News from the Sonic Arts Network

Big Ears CD

The long awaited and latest offering from the SAN CD series has arrived.  Curated by Tim Steiner, the publication documents the attempts of the Big Ears radio show (broadcast on Resonance FM) to implement the principles of Charles Fitzgerald’s legendary 1931 broadcast manifesto with guidance on how to create your own radio show.  Featuring a mixture of meticulously organised chaos, sharply swinging moods, a totally unpredictable play list and a host of haphazard influences. If you would like to buy up as many of the CDs as you can and distribute them to your friends or randomly selected local radio DJs then you can purchase them from the SAN shop.

Call for Lists

SAN would like to invite sound/image/text submissions for inclusion in a SAN CD publication concerning ‘Lists’ to be curated by Craig Robinson. More details in the Call sections below...

Sonic Postcards

Sonic Postcards is coming to the end of its first year and a total of 52 projects have taken place in diverse locations and schools across the UK including; Shetland, Aberdeenshire, Cumbria, Yorkshire, Suffolk, London, Sussex, Devon, Somerset and many places in between! It has been an incredibly successful year and our network of workshop leaders, additional artists, trainees and partner organisations has now grown immensely since the start of the project! The Sonic Postcards team is now strategically planning next year's projects which are already gearing up to be even bigger!


21 June – 20 August
Sound Lines by Bill Fontana
(live sound sculpture)
Dark Neville Street (Dark Arches), Leeds

Bill Fontana will transform the labyrinthine Dark Arches of Leeds into a live sound sculpture –Sound Lines – for two months from 21 June 2005. Launched during Architecture Week, a specially designed loudspeaker system will emit the live sounds of the River Aire below and the Leeds City train station above as Fontana orchestrates an ever-changing composition transforming the space into an immense, brick-built acoustic instrument.

29 June - 23 September
Hearing Voices
(sound/photo installation)
Brunei Gallery, University of London

Hearing Voices is a gallery installation by sound artist John Wynne which combines photography and sound to address issues of portraiture, identity and technology in a cross-cultural context. Wynne travelled to the Kalahari Desert in Botswana to record the voices of 8 speakers of highly endangered Khoisan ‘click-languages’. Large-scale photographs of the subjects taken by Denise Hawrysio have been mounted on special ‘flat loudspeakers’ so that the images themselves are the actual, physical source of the sounds, all of which have been derived from the voices of the people depicted.

26 July 2005 - 5 March 2021
Hearwear – The Future of Hearing
V&A, London

The results of an innovative project to radically re-think the future of hearing, Hearwear displays designs and prototypes by some of the UK's best designers. Hearwear suggests revolutionary new possibilities in hearing products for everyone, not just people who are deaf or hard of hearing, and introduces the possibility of new products to allow everyone to control and enhance the sounds around us.

30/31 July
(live/work event)
Florence Trust , St Saviour's Church, London

A two day new work/live art event at the Florence Trust, Counter Measure is the curatorial partnership of artists Jon Ford and Kevin Quigley, which sets out to confront new ideas within cross-platform works. This year they have asked 14 artists to make works about their personal and universal relationships to the concept of time.

6 August
Sounding Architecture
(launch event)
Serpentine Gallery, London

Sound artist Kaffe Matthews and artist Lynn Cox have been working with visually impaired adults, exploring non-visual perceptions of architectural space and the environment. The results will form the basis of a one-day seminar, Sensual Clues.

3 September – 27 November
Justin Bennett : Noise Map
GEM, museum of contemporary art, The Hague, Netherlands

Justin Bennett, who featured at the SAN Expo in Scarborough, charts the sounds of everyday life in his first one-man museum exhibition. Bennett will show a selection of work produced over the last fifteen years, including a number of sound sculptures never previously presented to the public. The piece Soundhouse (pictured) consists of a structure built of PVC tubing ending in funnels. If you put the funnels to your ear, you hear fragments of various conversations between a man and a woman.



Closing date: 5th August 2005

Based in the Department of Music and shared with the Humanities Advanced Technology and Information Institute, this is a key post aimed at developing and supporting the use of information and communication technology in music teaching and research. Job responsibilities come under three main headings: research support; lab management, administration and development; and teaching support. The postholder will provide technical support specific to music.

The Department has extensive high-quality audio and computing facilities. These comprise: four Mac-based Electroacoustic Studios with Digidesign audio hardware; two Mac-based audio workstation labs; an undergraduate PC cluster; a PC cluster for postgraduates and researchers; and a number of web and ftp servers running Linux. Applications include ProTools, Logic, Cubase, Finale and Sibelius, Max/MSP, PD/GEM, Csound and more.

The Department is a thriving environment for research and teaching across a wide range of areas including electroacoustic and acoustic composition, music technology, historical and cultural musicology, and Scottish music.

For further details, please see:

Department of Music:




Humanities is one of the fastest growing faculties of De Montfort University and comprises two successful Schools with forward looking, energetic staff teams, and established research strengths.  The University’s work in performance recently gained national recognition as a Centre of Excellence in Performance Practice. As part of the continuing expansion and success of its provision, the Faculty is now seeking further to strengthen its academic distinction through the following new appointments.


At the beginning of 2005 De Montfort University was awarded £4.5million as a Centre of Excellence in Performance Practice.  This award is part of the Higher Education Funding Council initiative to create a number of Centres of Excellence in Teaching and Learning around the Country.  De Montfort University’s Centre of Excellence is concerned with developing new teaching approaches to Dance, Drama and Music Technology. The Centre is the base for our nationally recognised academics and has a strong research profile.  It encourages innovative approaches to learning, to practice, and to the making of performance.

Fellowships (12 months fixed term contracts):

Music Technology, based at Leicester - (Please quote Ref: 3738)

Dance, based at Leicester - (Please quote Ref: 3739)

Performing Arts, based at Bedford - (Please quote Ref: 3740)

(Dance/Theatre interdisciplinary work)                                                                                                

£23,643 to £29,479 (starting salary dependent upon qualifications and experience)

Reporting to, and mentored by, the Centre Director, you will be part of one of the three subject area teams.  In addition to a teaching timetable of around 250 hours, you will devote time to learning about teaching in your subject area within the University context through shadowing experienced colleagues, classroom observations and undertaking pedagogic research tasks.

For an informal discussion about the above posts, please contact the Centre Director, Mr Rob Brannen. (tel. 0116 257 7318  email

Further particulars, which include details about qualifications, experience and personal attributes needed for each of the above positions will be provided upon application.

Closing date for all posts:  28 July 2020


The Whitechapel is one of the most dynamic and prestigious public galleries in the UK, celebrating figures in modern and contemporary art from around the world.

We are currently looking for a passionate and experienced music curator full of ideas and vision to compliment our diverse and groundbreaking late night programme including poetry, film and performance.  With a proven track record in putting on innovative and successful music nights the new curator will help us expand our music programme to include Friday nights.

A broad outlook is essential as is an understanding of the Whitechapel's programme and our diverse audience. The Music Curator will act as the driving force behind the nights offering opinion and ideas on all aspects of the events.

To apply:
Please visit for a job description.

Submit a CV, covering letter and a CD containing up to 10 tracks which gives us an idea what your tastes in music are and what your vision is for the 'feel' of Friday music nights by 11am on Monday 29 August to Tom Wilcox, General Manager, Whitechapel, 80-82 Whitechapel High Street, London, E1 7QX.

Interviews will be held on Monday 5 September

Four short listed candidates will each be given one Friday music night each to curate at the Whitechapel, between October and December 2005, as a trial and the Music Curator will be selected from this shortlist.

If you have any queries please email

The Whitechapel strives to be an equal opportunities employer and welcomes applications from all sections of the community.


Sonic Arts Network would like to invite sound/image/text submissions for material to be considered for inclusion in a Sonic Arts Network limited edition CD publication concerning ‘Lists’. The edition will be published in November/December 2005 in a limited run of 1000 editions and will be curated by Craig Robinson, illustrator and creator of
Lists are never far away from us.  As humans, we are obsessed with order.  We have an obsessional drive to categorise, sort and list everything.

In Art, Literature, Science and Philosophy, lists can be found. Musical examples of listing range from Berio to Billy Joel.
We ask for audio (music/found sound/sound art/spoken word), literature, pictures and suggested reference points.
The idea may be interpreted in the widest possible sense and can be approached from multiple perspectives - acoustical, visual, philosophical and personal.
We encourage a diversity of styles and materials for selection.
The CD and its accompanying print materials will be the sixth in a series of numbered, limited edition audio CDs, produced and distributed three times a year, with guest curators and specially commissioned packaging.  The CDs are free to members of the Sonic Arts Network (for more information on membership visit, reaching practitioners and listeners in all corners of the globe, with a limited number of issues released in selected outlets. Previous artists whose work has featured in the CD series have included: Christian Marclay, Yasunao Tone, Francisco López, Antonin Artaud, Jaap Blonk, Lucia Pamela and a host of others.
No payment can be offered for submissions nor materials returned.
Submissions should be sent to:
Lists, c/o Sonic Arts Network,
The Jerwood Space,
171 Union Street,
SE1 0LN.

Deadline for submissions is 19 September 2020
Further information/clarification concerning the submission of materials is available from



RMA Research Students‚ Conference, 4-7 January 2006
University of Leeds, School of Music

The RMA Research Students Conference is open to postgraduates studying in the UK or abroad. It offers the opportunity for students to present research in a friendly and supportive atmosphere. Alongside social events, skills training sessions, and concerts, the programme will include:

- two keynote speakers; Professor Richard Rastall (University of Leeds) and Dr Julian Johnson (University of Oxford)
- parallel sessions of student papers
- composition workshops
- performance workshops
- lecture/recitals
- roundtable sessions on music and queer theory, and music and diaspora

For full details, visit the conference website:


Postgraduate students are invited to submit proposals for papers (20 minutes), lecture/recitals (30 minutes), or poster presentations, on any area of musical research. Student composers may present papers discussing their own work, and we welcome presentations that are interdisciplinary in nature. Proposals should not exceed 200 words in length.

Scores and electroacoustic compositions may be submitted for inclusion in the following workshops:

Electroacoustic compositions:

Electroacoustic works are invited for recorded media to be performed on up to twelve speakers, including stereo works for diffusion, multi-channel works, and works that include visuals. All audio work should be submitted on DAT or Audio CD; multi-channel works on Data CD (aif or wav files) or ADAT HD-24 (removable drive); audio-visual work on DVD. Works should be no more than 10 minutes in duration, recorded at 44.1Khz, and should be accompanied by a programme note of up to 100 words.

Ensemble compositions:

Scores are invited for the following ensemble: flute (doubling piccolo), clarinet in B flat, percussion (one player), and electric bass. Works should last 3-5 minutes. In the first instance, please send one score (no parts required) which should be neatly handwritten or computer printed. A programme note (of not more than 100 words) should also be included. Selected compositions will be performed by FOCAM (University of Leeds) and discussed in a workshop (see Percussion parts can be written for standard orchestral percussion instruments and/or African drums. For any unusual requirements, contact Dr Mic Spencer (

A call for compositions for solo brass instrument will be circulated at a later date.

Please send proposals and compositions (with name, institutional affiliation, and full contact details) to:

RMA Research Students‚ Conference
School of Music
University of Leeds


Requests for further details should also be sent to this address

Closing dates:
- compositions Friday, 18 November 2020
- all other proposals Friday 2 December 2020


Most Significant Bytes 2005 Call for Works

Most Significant Bytes Multimedia Concert seeks electronic multimedia works for the 2005 concert. MSB seeks primarily video and sound compositions in which sound plays a crucial role (please no short narrative films). Some electronic sound-only compositions will be also be considered. For the 2005 season MSB will not accept works for live performers and electronics. Submission guidelines can be found on the MSB website at:

Note: MSB is not accepting guest artists applications for the 2005 season.


Radio Territories

Where does radio leave us, and what future does it point to?
The legacy of radio and the arts has spawned forms of radical culture, from early Modernist notions of the “Wireless Imagination” and its subsequent vernacular tongues to Acoustic Ecology’s call for “Radical Radio” based on removing the DJ, transmission and broadcast media upsets and redistributes understandings of place, corporeality, social exchange, and the politics of information. Such instances of radicality find their counter-balance within public broadcasting, whose support of public services and cultural programming generates other forms of unique broadcasting. The relationship between sub-cultural radio and public broadcasting is at the heart of Radio Territories, as questions of culture, politics, and technology are brought to the fore. While literature and theories on and about radio have appeared intermittently, the current initiatives around digital streaming, web-radio, and podcasting demands a contemporary measuring of the radiophonic and subsequent burgeoning of new cultural forms. To address radio in the present, Radio Territories seeks to open the book on its historical, medial, and aesthetical status.

We invite proposals by theorists, artists, engineers, DJs, and historians, which pursue a critical assessment and activation of the contemporary radio dial. Critical and creative essays will be coupled with artistic and audio projects so as to locate the territories of radio and its ever-expanding and deepening reach. While radio through the Modern period stitched together an electronic network by expanding outward, digital radio finally fulfils Marshal McLuhan’s global idea of the “extended nervous system” by networking individual lives on a cellular level. Radio is no longer out there, in the ether, but totally inside, as individual transmissions that nonetheless speak from within a crowded room. An abstract of 300 words should be submitted no later than August 15th . Final articles are due November 15th. We also encourage the submission of art and audio projects that expose the performative nature of radio. Radio Territories will contain an accompanying CD.

Abstracts and correspondence should be directed to the editors at:
Erik Granly Jensen –
Brandon LaBelle –


EvoMUSART 2006

4th European Workshop on Evolutionary Music and Art

10-12 April, 2006, Budapest, Hungary
Submission Deadline: 5 November 2020

EuroGP website:
EvoMUSART2006 website:
Exhibition website:


EvoMUSART 2006 is the fourth workshop of the EvoNet working group on Evolutionary Music and Art. Following the success of previous events and the growth of interest in the field, the main goal of EvoMUSART 2006 is to bring together researchers who are using Evolutionary Computation for artistic tasks, providing the opportunity to promote, present and discuss ongoing work in the area.

The workshop will be held from 10-12 April, 2006 in Budapest, Hungary, as part of the EuroGP&EvoCOP2006 event.

Accepted papers will be presented orally at the workshop and included in the EuroGP2006 conference proceedings, published by Springer Verlag in the Lecture Notes in Computer Science series.

This year, the exhibition component of the workshop is entitled 'Process Revealed', and focuses on the disclosure and explanation of the processes involved in artistic creation. 'Process revealed' considers the generative, the algorithmic and the evolved in relation to analytical, performative possibilities. The submission of works for 'Process Revealed' is independent from the submission of papers.


The papers should include original and unpublished contributions related to the use of EC in the scope of the analysis, generation and interpretation of art and music. Topics of interest include, but are not limited to:
- Generation
o Evolutionary Art Systems that create drawings, images, animations, sculptures, poetry, text, etc.;
o Evolutionary Music Systems that create musical pieces, sounds, instruments, voices, etc.;
o Robotic Based Evolutionary Art and Music;
- Analysis and Interpretation
o Systems that resort to EC to perform the analysis of image, music, sound sculpture, or some other types of artistic object;
o Systems in which the analysis of artworks is used in conjunction with EC techniques to produce novel objects;
- Computer Aided Creativity
o Systems in which EC is used to promote the creativity of a human user;
o New ways of integrating the user in the evolutionary cycle;
o Collaborative distributed environments;
- Theory
o Surveys of the current state-of-the-art in the area; identification of weaknesses and strengths; comparative analysis and classification;
o Validation methodologies;
o New models designed to promote the creative potential of EC;
o Aesthetics, emotional response;
o Studies on the applicability of these techniques to other creativity-related areas;


Submission: 4 November 2020
Notification: 12 December 2020
Camera ready: 9 January 2021
Workshop: 10-12 April 2006


Rules and regulations:

This competition is open to composer who are less than 31 years old on August 31st 2005, regardless of nationality or origin worldwide.

How to enter:
Composers have to send to the address indicated below not more than two works for tape solo (recorded on CD), realized not before 2003, which haven’t ever been performed in public manifestations nor awarded in other competitions. Participants are cordially invited to send besides a standard stereophonic sound file also the file for quadriphonic realization to be executed in the concluding concert (4 file mono wave or 2 file stereo wave or 1 file quadriphonic wave), showing the arrangement files. The quadriphonic version is optional.

Every piece has to be completed with a clear and complete description, both on practical than conceptual level. You're invited to send a copy of the score, if written.

The length of the work cannot be more than thirteen minutes.

The composer has to submit also a short resume, completed with personal information, postal and e-mail address.

Participation is free of charge; participants will have to cover their postal expenses (or their material won’t be considered). The works will not be sent back. The application implies the acceptation of this regulation.

Submissions should be sent to:

Gianluca Vergani (artistic coordinator)
via Togliatti 1
26016 Spino d’Adda (CR)

The jury (Giovanni Cospito, Raffaele De Tintis, Pietro Polotti) will meet at the beginning of September, will evaluate the works and will notify the results before Sept. 30th 2005. Winners will be notified by mail or telegram.

For further information write to:


White Circle is a game for 40 participants who never meet. It was created to consider the methods and motives for CD consumption and to document activities from the last few years.

A series of 7 white disks, most of them CDs, are sent to the participants over 7 months, each disk in its own handmade package. Each package comes with notes and a small gift or two. Participants are required to carry out a task in order to receive the next disk. Completing the game and receiving all 7 disks can cost as little as £15 including postage fees, and you can stop playing at any time simply by not carrying out a task.

To join the game and receive your first package free of charge in August, send your name and UK postal address to where questions can also be sent. Your details will not be used for anything other than sending you the 7 packages.

Lawrence English - Transit

Cajid Media -

Cajid Media’s third release is Transit by Brisbane based sound artist Lawrence English and features contributions from DJ Olive, Ben Frost, Cat Hope, Robin Rimbaud, Mike Cooper, Philip Samartzis and more. Despite the large list of guests on the album, you wouldn't know any of them had a hand in the work. The moody combination of field recordings, ominous drones, electronics and events seem to pass before you and at times you may forget that a human is responsible for manipulating what you're hearing. I couldn't pick out the guitar, bass or turntables featured but instead heard the manipulated field recordings from Vietnam, Tasmania and Thailand as well as lush rainforests, crackly announcements over loudspeakers, spiralling drones, passing birds, sine waves, sirens and what could be described as ghosts hauling furniture across the upstairs floors.

Over the course of seven tracks, Lawrence English uses Ableton Live to piece together all of the manipulated sound work and contributions and creates more of a headphone environment to experience then simply a track to listen to but after a few listens you begin to pick out things like Gail Priest's haunting vocal contribution or the sound of processed rumbling traffic. You'll also notice sounds that seem to disappear and reappear later on other tracks. I was previously unfamiliar with the work of Lawrence English but Transit has definitely tweaked my interest.

Reviewed by Justin Hardison
Justin Hardison records under the name My Fun and aims to create narrative work using small microphones, sampling, and assorted software sound generation. He lives with his wife and cat in London.


Re: - Alms

Constellation records -
Distribution -

“Play as loud as possible” – this is what the second offering from Canadian duo ‘Re:’ instructs. Complying with this request intensifies our perception of the mechanical industrial rhythms and the humming electrical resonance - we can almost begin to see the rust falling from disused factory and military parts as they’re forcibly wrenched back in action, else taken to with lead-piping. Although utilising field recordings as their source, Re: are keen to point out that this is definitely not an ambient record; by stereotypical genre definition perhaps not, but by following their recommendations and cranking up the decibels it certainly constructs the ambience of an industrialised situation.

Amongst the highly intoxicating concoction of digital signals the listener finds elements of piano, drums and organs which inject those fading signs of humanism into the mix. In fact the 40 minute album progresses very organically as a whole, with rhythms emerging from patterns found naturally within the more textural content and tracks morphing from one into another, but not without contrast. The militant marching of ‘On Golden Pond’, a track which interjects seemingly random samples of creaking chairs and dinner conversation, creates a light relief from the dark, brooding feel of ‘Orientalism as a Humanism’ which comes before. ‘Laser, Tracers, Radar Drones’ explores tight-bandwidth filter improvisation to eerily beautiful effect before falling into ‘Pawk’, paradoxically the weakest yet most annoyingly catchy track on the album, consisting of not much more than an organ loop and some mediocre manipulation. With this exception, the album is undeniably encapsulating, a treat for fans of both electroacoustic and abstract beat-based composition alike.

The duo consists of Aden Evens and Ian Ilavsky who turned their attentions to various music projects in 1996 after meeting in the philosophy department at McGill University. The album is released on Constellation Records which Ilavsky co-founded in 1997, on which you can find artists such as Sackville, Polmo Polpo and Godspeed You! Black Emperor [check out the links above for more details].

Reviewed by David JC de la Haye
A composer and bassist who’s recently completed an MMus at Newcastle, and available for all types of musical debauchery…