from the Sonic Arts Network
After the two successful festivals, Cut and Splice and Expo 966, SAN looks forward to a packed summer.
The latest release in the CD series is imminent. Curated by Tim Steiner, host of the Big Ears radio show on Resonance FM, the CD documents the results of his endeavours to implement the principles of Charles Fitzgerald’s legendary 1931 manifesto of broadcasting. Containing games, features, tips on how to produce your own show, a poster, and of course a fantastic and diverse playlist, including Otomo Yoshihide, Halim El-Dahb, Leon Theremin, Nam June Paik, Philip Corner, Louis and Bebe Barron, Glenn Miller, Sol Hoopii, Harry Champion and The Children's Choir of Skranevatnet Skolekor amongst many more. Two more Cds are also set to follow later in the year.
This weekend we present work from the Sonic Postcards project by children from Barrow Island Community Primary School and Lindal and Marton Primary School at Artgene Gallery, Barrow-in-Furness, Cumbria (www.artgene.co.uk). Members are welcome to attend the private view this Friday, from 5-8pm. Other current Postcards projects include the recording of Big Ben with Pimlico school, Spaghetti Junction sounds in Birmingham, presentations in Scarborough and many more workshops taking place all over the country.
August will see the release of a DVD of Vicki Bennett’s (People Like Us) new SAN commissioned film, 'Story Without End' plus three of her past pieces. The DVD will be launched in Coventry, at the Herbert Art Gallery and Museum, where the film is to be exhibited throughout the month.
This September SAN will be running The Connectors, an audio-visual event that will take place at The Watershed in Bristol. Focusing on real-time manipulation of audio and video, the week will feature software training and hands on workshops delivered by international artists in Jitter, Processing and Director software. The event will culminate in an evening of performances by Rechenzentrum, Kurt Ralske, Andreas Schlegel, Brian O’Reilly, Yasser Rashid and Jo Hyde. More details will be on the Sonic Arts Network website soon.
And here in the office we bid adeus to Phil Hallett who, after seven years with the organisation is taking a hard earned six months sabbatical, from July to January 2006. Becca Laurence, Sonic Postcards Project Director, will be acting CEO in his absence.
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.
Rarescale: concert 3 - premiere series
The Space, 269 Westferry Road, Isle of Dogs
Carla Rees (quarter-tone alto flute), Kerry Yong (piano) Michael Oliva (electroacoustics).
European premiere: Michael Oliva - Apparition and Release (afl & ea), UK premiere: Stockhausen - Klavierstuck XVI (pf & ea)
Also David Burnand - Night Scene, Lorenz Dangel - Sound Tracking, Luigi Nono - ...sofferte onde serene., Patrick Nunn - into my burning veins a poison, Giacinto Scelsi - Aitsi, Marc Yeats - an illusory spector (WP)
7 June - 31 July
Aureole - Katy Connor, Andrea Berry Sophie Hamar, Helena Gough
The New Art Gallery, Walsall
Aureole is a collaboration between a filmmaker, dancer, choreographer and composer. This multi-channel audiovisual installation explores notions of the self by re-imagining the personal experience of pregnancy. Features an eight channel soundscape.
29 June (exhibition contd. 7 July)
Sonic Mapping by Bill Fontana
(Artist talk & Installation)
Following Fontana’s composition performance of St Martin’s Bells on Sunday, Vivid is hosting a discussion evening and installation of the work in the form of an 8 channel surround sound installation in Vivid’s new space on Heath Mill Lane, Birmingham. Bill Fontana will be in conversation with Ben Borthwick, Curator at Tate Modern and regular contributor to The Wire magazine. This discussion event will look at the spatial concerns of sound.
Music for Disklavier
Drama Studio 1, Goldsmiths College, London
An evening of experimental music for MIDI piano, featuring interactive and generative work by composers based at Goldsmiths College.
29 June - 23 September
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.
29 June, 6 & 13 July
Music We'd Like To Hear
St Anne & St Agnes, London
A concert series curated by Tim Parkinson, Markus Trunk and John Lely and featuring Paul Whitty, Robert Wannamaker, Markus Trunk, Michael Parsons, Christian Wolff, Thomas Stiegler and John White (29). Tom Johnson, Kunsu Shim Nackt, Paul Newland, Alvin Lucier, Alastair Bannerman (6). Buruk, Antoine Beuger, John and Cornelius Cardew (13).
020 8991 5783
2 & 3 July
Performances in Colourscape
Clifton Park, Rotherham
HyperYak - Michael Ormiston (Khoomi overtone singing and electronic processing), Jeff Higley (Tibetan singing bowls and other ethnic instruments), Simon Desorgher (ethnic and european flutes) and Lawrence Casserley (percussion, monoharps, suranghi, chitarra tagliapasta, computer processing).
8 - 9 July
Annual SuperSonic festival featuring DJ X, Shitmat (Planet Mu), Chris Clark (Warp) stages of live performances, art installations, film programme, video bingo and karaoke. Also including Psychic TV, Rother & Moebius, Black Galaxy vs Kreepa (ex Napalm Death/Scorn), Brian Duffy and Modified Toy Orchestra plus much more.
Music/Audio Technician Vacancy
Technician - Music, Technology and Innovation, De Montfort University, Leicester
An exciting and varied post working within the subject areas of sound recording, digital composition and technology-centred performance work, the post-holder will offer technical support to students and staff as well as maintenance of the facilities.
Preferably qualified to degree or HND standard (or similar), you should be familiar with a range of professional music technology software and Macintosh computer systems.
Closing date is 6 July 2020
£15,699 - £19,613 per annum pay award pending
Full details available at http://www.jobs-dmu.co.uk/allvacs.asp
Please Quote Ref: 3692
Call for works
The 2nd International Festival of Audio-Visual Arts ÛVIDEOLOGIA will take place in Volgograd, Russia in the 1st decade of November 2005.
Artists are invited to participate!
The festival debuted in 2004 and united authors working with videoart, experimental cinema, animation, VJ works and musical accompaniment to video. The international competition selection and hors concourse programs of international & Russian festivals & curators were demonstrated in the cinema hall for four days. Jury and audience evaluated official selection videos. Along with screenings VIDEOLOGIA 2004 includes video gallery, theoretical forums, concerts and performative actions in clubs. Works taking part in the selection were subdivided into two nominations according to the main conceptual lines of the festival:
• Intersection of video with other arts (poetry, painting, photography, dance);
• (V)ideological statement of an artist.
Developing their theoretical and artistic interest in omnipresence of the aesthetical and the seeming lack of taboos for art in contemporary culture curators of ÛVIDEOLOGIA 2005 link its key conceptual lines to the issues of the 1st festival. As the sample of das Gesamtkunstwerk, integral creative work, audio-visual art incorporates poetry, dance, theatre, photography and even the non-spectacular self-criticism. This claim for omnivorous wholeness is consonant to the events on the present sociopolitical scene, where alteration has become constancy. The ability of audio-visual works to underline the multitude of thematic elements & to act as digital pseudo-equivalent of the endless scope of modifications makes it the art of kinetic Becoming rather than the art of statuary Being. Dissonance and constraint caused by constant becoming in love, politics, theory, production, economy, technology and war are relieved in cathartic (v)ideological statements, in which audio-visual becomes verbal and words turn into images.
We invite artists to participate in VIDEOLOGIA 2005 with:
Experimental cinema and video
Accompaniment to cinema
• VOB, DivX, MPEG4, XviD, FLASH, GIF, TIFF, BMP formats on DVD, CDR and VHS are accepted.
• Duration of works should not exceed 30 minutes.
• The panel of coordinators of the festival will view every video.
• Only works created after January 1st, 2003 will be accepted.
• The entry deadline is October 20, 2005.
• The application form filling is required.
• All deliveries from international participants should be marked: "no commercial value - for cultural purposes only".
• Jury and audience will evaluate Works of the selection program.
• Works, which will not take part in the selection program, will be included into curators projects and into video gallery also taking place during the festival.
The submission forms can be found in the attached files and on the official site of the festival www.videologia.ru
Email to: email@example.com
Curators of the festival:
Nick Demidov mob. +7-903-316-82-60 8(8442) 23-83-54
Alexander Dudnik mob. +7-902-312-73-14 8(8442) 72-60-00
Yaroslav Khokhlov mob. +7-905-392-38-59
Ilya Permyakov mob. +7-903-478-67-38 8(8442) 35-40-40
Send your works to:
Yaroslav V. Khokhlov
Call for papers
Contemporary Music Review (Routledge)
Call for papers: The body/technology–instrument/technology paradigm.
We invite papers from writers reflecting on sound in relation to the body/technology; from anyone who attempts to define and/or critically examine threshold conditions of instrument and performer; writers who are keen to challenge con- or discontinuities of instrument and performer, be it in the form of laptop improvisation, interactive sound environments, 3d cave installations, sonic architecture, or other performance situations.
In an era in which technology has impacted immensely on ways in which instrumental music is being performed, indeed in which the role of the instrument, if not notions of the instrument itself, have become radically altered, we want to examine the instrument’s position as well as the role of the performer.
The body/technology – instrument/technology coupling or decoupling is something that can be, and needs to be explored from various angles. Such discussion invariably leads us to think about what we consider an instrument to be in technologically mediated environments, in particular if we keep in mind that the word’s origin suggests notions of “instruction” (from Latin: instruere): who instructs or who/what is instructed by whom?
• Do we see the instrument as extension, retraction or subversion of the body?
• Is the instrument one that brings the body into existence, or one that denies bodily existence?
• What are the implications of technological environments on the instrument-performer relation?
• Does the body become re-figured and re-inscribed by technology?
These are only a few of the questions that may arise; other exploratory paths that elucidate aspects of the body/technology–instrument/technology paradigms are highly encouraged.
For this discussion papers may rejoice in the liminal, the erotic, or the incestuous, they may celebrate touch, if not the self-touch, and may move beyond notions of the instrument as extension of the body in performance.
Papers from disciplines as varied as music, philosophy, anthropology, sociology, biology, informatics or architecture will be of interest.
Abstracts of around 300 words should be sent to the guest editor by the 31st of July 2005.
Full papers will be due at the end of September 2005.
Papers are accepted only in English.
Submission of a paper to this journal will be taken to imply that it represents original work not previously published, that it is not being considered elsewhere for publication, and that if accepted for publication it will not be published elsewhere in the same form, in any language, without the consent of the editors and publishers.
All queries should be directed to:
Contemporary Music Review:
Call for Contributions
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 ˆ Professor Richard Rastall (University of Leeds) and Dr Julian Johnson (University of Oxford)
- parallel sessions of student papers
- composition workshops
- performance workshops
- 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 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.
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 www.focam.co.uk). Percussion parts can be written for standard orchestral percussion instruments and/or African drums. For any unusual requirements, contact Dr Mic Spencer (firstname.lastname@example.org).
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
- compositions ˆ Friday, 18 November 2020
- all other proposals ˆ Friday 2 December 2020
B J NILSEN "FADE TO WHITE" (TOUCH)
THE CD SHOULD ONLY BE LISTENED TO ONCE AS AN EXERCISE IN TRANSPARENCY AND NON-PERMANENCE.
THE GENTLE HUM SWELLING IN "PURPLE PHASE" NILSEN SWARM OF LOW PRESSURE 40 WATT INSECT CLOUD DRONES SUCK YOU INTO HIS BOILED EMBRYO, AND EVERYTHING ELSE THAT IS IN THE ROOM WITH YOU. THUS BEGINS HIS LANGUAGE LIKE A VIRUS ON TO THE EARS.
THE NARRATIVE IS CRACKED AND TICKLED ON "DEAD RECKONING" AS THE BATTLES OF MOTIF BREAK AGAINST A GOSSAMER FILM WHICH STOPS THE NARRATIVE REVEALING ITSELF, NOT TELLING THE ENDING, HIDING THE SECRET, WITH SUCH A FORCE AS TO POSSIBLY STOP LIONS.
"LET ME KNOW WHEN IT'S OVER" - BROKEN SNOW FLAKES BREAKING ON TO THE TONGUES OF 1000 SCHOOL GIRLS WEARING HEADPHONES LISTENING TO SKIPPING CDS WHILST HEARTBROKEN AND DRESSED IN TURQUOISE, DANCING TO THE BUILDING RHYTHM, SPIRALLING WHITE MELANCHOLIC NOISE, DUCKING FROM SNAPPED BRASS BAND STAMMERS.
NILSEN USES FIBONACCI CIRCLES IN "IMPOSSIBILIDAD" FROM IMPLYING DECONSTRUCTED BROKEN CDS AS A BACKDROP TO THE WASPISH LURING NOISES, IT FOLDS THE ENVIRONMENT INTO A SEA SICKENING PHASE AND LEAVES THE SPEAKERS STRANDED WITH BRIEF CONVERSATIONS BETWEEN THE TIMBRES, LIKE A BOX OF UNOPENED BOOKS LEFT IN THE SEA.
THE VOID IS FURTHER EXPLORED ON "GRIPPA POLAR" – A POLAR MAP WITH ANCIENT CALLINGS AND WARNINGS HYPNOTISE THE LISTENER, WARNING HIM TO GET OUT/LEAVE. A ANOTHER CLOUD OF IMPENDING BEAUTY BEING DECONSTRUCTED, EMBRACING SLOW (E)MOTION, SHEETS OF SOUND BROKEN, KICKS IN THE EYE, REVELATION DISCUSSED.
WE COME FULL CIRCLE ON "9 WAYS UNTIL SUNDAY" – AGAIN BACK IN THE ROOM WE WERE INTRODUCED TO ON TRACK 1, BUT THIS TIME IT IS DILUTED, WE ARE LEFT FEELING ACCOMPLISHED, HAVING BEEN WATCHED BY SOMEONE/THING, AN OPERATION THAT WE NEVER AGREED TO BUT BENEFITED FROM.
THESE TRACKS ARE COMPLEX ANTHEMS FOR NOMADS WITH POLAR MAPS, GIVING THIS COLLECTION 2 LISTENS WILL ROB THE FRAGILE MAGIC AND TRUST IT EARNS ON THE FIRST LISTEN. SO LISTEN ONCE AND NO MORE.
Reviewed by Justin Wiggan
JUSTIN WIGGAN IS CURRENTLY UNDER INVESTIGATION BY USPD