from the Sonic Arts Network
Sonic Postcards Website Relaunch
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Sonic Arts Network is pleased to announce the relaunch of the all-new Sonic Postcards website. The site allows you to navigate a virtual landscape full of ‘hotspots’. Each hotspot coincides with a school that has participated in the Sonic Postcards Project. If your avatar strolls onto a hotspot, you’ll be able to listen to the Sonic Postcards, view images, photos and maybe even movies and learn a little more about each specific project.
The site also offers plenty of extras; You can change the profile of your intrepid sonic traveller and you’ll be able to listen to the sounds they make as they move around the terrain; Visit the specially commissioned Sound Toys section and explore the audio tools and games available; Learn more about our aims, objectives, the technology we use, press and some of the partnerships we’ve established on the Project Info pages.
Enjoy exploring the world of Sonic Postcards and keep checking the site and listening to compositions from new schools.
The site is still being finetuned and your feedback on the site is always welcome and can be sent through the Contact page of the site.
5 November – 15 January
Playing John Cage
Arnolfini, 16 Narrow Quay, Bristol
Featuring new commissions and installations by Alvin Curran, Ryoji Ikeda, Rolf Julius, Tagaki Masakatsu, Kaffe Matthews, Carsten Nicolai, Akio Suzuki and Michael Prime. It also presents works by Gavin Bryars, Michael Parsons, Mieko Shiomi and Christian Wolff as well as by Cage himself. Audible mushrooms, sonic furniture and a new take on Cage’s fascination with Kyoto’s most famous Zen garden. This exhibition explores the legacy of John Cage’s ideas on contemporary music, art and sound.
18 November - 18 December
South London Gallery, SE5
Her Noise is a season of installations, events, performances and screenings by a wide network of artists whose practice involves the use of sound as a medium. Featuring work by Christina Kubisch, Kaffe Matthews, Kim Gordon with Jutta Koether, Emma Hedditch and Hayley Newman.
21 November - 10 December
Irish Guide Dogs for The Blind HQ, Model Farm Road, Cork
Danny Mc Carthy is artist in residence with the ‘Irish Guide Dogs For The Blind’ at their National Headquarters and Training Centre in Model Farm Road, Cork. As part of a 'Cork2005 Arts In Health Strategy' he has spent a number of months recording staff, clients and animals, made field recordings and edited and processed them.
021 4878200 or 0872 403940
Spaces Between Goes Hard Hat
Projected onto the outside of the Royal Festival Hall under scaffold, with live music accompaniment by Kaffe Matthews and EQ a free short film screening: Spaces Between Goes Hard Hat.
De Sonis: Leafcutter John
The FleaPit 49 Columbia Road, London, E2
De Sonis - 'about sounds' - is a new monthly micro event curated and produced by london-based [no.signal] and hosted by The FleaPit. To inaugurate and launch De Sonis, [no.signal] has invited long-time collaborator Leafcutter John to present his latest album. "The Forest and The Sea" - a hybrid of electronic and acoustic songs using vocals, traditional instrumentation and field recordings.
Build A Fort, Set It On Fire
Flapper and Firkin, Birmingham
Noise trio consisting of James Ockelford from Fontaine (gtr, electronics), Lee Hooper from Sierpinski and Infecto School (bass frequencies) and Justin Wiggan from Dreams of Tall Buildings (scrapes, bells and drums) will be performing new material - a minimalist patchwork of reoccurring phrases, organic noise and pulsing rhythms.
Wild Dog 2 – Swimming to Greenwich
Greenwich Picture House, Greenwich High Road, London SE10
Wild Dog 2 moves down river to Greenwich and has a seaward focus in a programme containing live moving image and film; classical dance; live and electronic music.
The Electronic Winter Ball
Secret catacomb venue under Regents Street
Glitch fest in previously unused labyrinthine catacombs under Regent Street; featuring Mouse on Mars, Süd Electronics and Warp Records Djs.
28th Electroacoustic Concert Series
City University, London, EC1V 0HB
A mix of new music from City, a new multi-channel work by Canadian Ned Bouhalassa, and François Bayle’s classic work, 'Toupie dans le ciel', from 1979.
HIT presents HITMAS
Filthy MacNasty’s, Angel, London
HIT present HITMAS - a Christmas arts and music event. Featuring the theremin and puppet play of Ninki-V (as seen at Expo 966, Scarborough); Crooner classics from Mickey Fordola; Ergo Phizmiz will provide a new soundtrack to a much loved Christmas Film exclusively for HIT; Installation artist Claudia Borgnia will create a site-specific installation for the event using her main medium – plastic bags; Plus performance art, poetry and the HIT Mix Tape Secret Santa (bring a Mix tape/CD and get one back). In good Christmas spirit – it’s all FREE.
SPRAWL: 10th Anniversary
Yacht Club, Temple Pier, Victoria Embankment
Sprawl is 10 years old. To celebrate, they have invited over two US artists, Taylor Deupree and Richard Chartier. Joined by Iris Garrelfs and Si-cut.db.
Sonic Art Meeting Group
Leeds Metropolitan University
Present your own music, participate in a free-form improv session, or listen and discuss ideas. Everyone welcome, regardless of background or level of experience.
Vacancies: Sonic Arts Research Centre, Belfast
FOUR positions attached to the Sonic Arts Research Centre, Queen's University, Belfast.
Lecturer/Senior Lecturer in Music Technology
School of Music and Sonic Arts
The aim of this position is to produce high-quality research and publications in music technology and to undertake undergraduate and postgraduate teaching in the area of research and other areas. Relevant fields of research expertise include human-computer-interaction, hardware development for musical and/or haptic applications, sensor and wireless technologies for creative and multimedia applications, image processing and visual technologies for creative applications. The postholder will be attached to the Sonic Arts Research Centre and must be able to demonstrate experience in interdisciplinary research.
Lecturer in Music Technology
School of Music and Sonic Arts
The aim of this position is to undertake high-quality research in music technology and to deliver undergraduate and postgraduate teaching in the research area and elsewhere as appropriate. Relevant fields of research and expertise include physical modelling of musical instruments, digital signal processing for musical applications, hardware development for musical applications, acoustics, room modelling and wave field synthesis. The postholder will be attached to the Sonic Arts Research Centre and must be able to demonstrate experience in interdisciplinary research.
RCUK Academic Fellowship – Creative Media
School of Music and Sonic Arts
This is a 5 year personal Research Fellowship leading to a permanent Academic position. Although staff holding or promised permanent positions are not eligible to apply, applications are invited from researchers who are currently in receipt of research fellowships or grant funding. The Academic Fellow will be based at the Sonic Arts Research Centre (SARC) and will develop creatively-led projects in visual/video technologies which compliment the audio-based work already underway at SARC.
School of Music and Sonic Arts
Required to commence as soon as possible for 2 years, to assist in the pre-compositional development of musical materials and systems in the preparation of large-scale works for tape, live electronics and instruments.
The Sonic Arts Research Centre (SARC) is a newly established centre of excellence, dedicated to the research of music technology. This unique interdisciplinary project has united internationally recognised experts in the areas of musical composition, signal processing, internet technology and digital hardware.
The Centre is established in a purpose-built facility located alongside the engineering departments of Queen's University. The centrepiece of SARC, the Sonic Laboratory, provides a unique space for cutting-edge initiatives in the creation and delivery of music and audio. The Sonic Laboratory's uniqueness is vested in the degree of flexibility it can provide for experiments in 3D sound diffusion and for ground-breaking compositional and performance work within a purpose-built, variable acoustic space.
The Centre was completed in October 2003 and was officially opened by Karlheinz Stockhausen during the Sonorities Festival in April 2004.
COMA: Volunteer Assistant Coordinator
COMA Contemporary Music Summer School 2006
This volunteer position provides an ideal opportunity for the right candidate to take on a large and exciting project. You must be ready for a challenge and willing to ‘muck in’. Must be well organized and have intermediate computer skills, with a keen interest and enthusiasm in music, contemporary classical music in particular.
COMA (Contemporary Music Making for Amateurs) is a UK-wide network, which provides opportunities and encouragement for amateur musicians to take an active part in the creation and performance of contemporary music. The Summer School, founded in 1993, enjoys an international reputation and attracts leading composers and performers as tutors and provides a vibrant and inspiring environment for musicians of all abilities.
Duties to include: Dealing with applications and responding to enquiries Publicity, marketing and recruitment Tutor contracts and liaison Coordination of the music for the Summer School Administration of concert series at the Summer School Production of programmes at the Summer School Support for the overall administration of the Summer School Support for the overall day-to-day running of the Summer School, including accommodation etc
The office is based in Southwark Street near London Bridge. Hours to be negotiated (minimum one, ideally 2-3 days per week), starting week commencing 29th January 2006. Full attendance at the Summer School 22nd-29th July 2006 required.
Travel and lunch expenses provided. Fantastic experience for a budding Arts/Events Manager.
Please send CV and covering letter to: firstname.lastname@example.org by 1 January 2006. Interviews will take place during the second week of January.
Further information about COMA at www.coma.org
Youth Music LIVE Project Co-ordinator
12 months - 3 days per week (22.5 hrs flexible) Fee 18k
Jan 2006 - Jan 2007
Purpose: To oversee the establishment of the SHIPS (Southampton, Hampshire, Isle of White and Porstmouth) "Youth Music - Live Project" and cement it as the support structure for young people’s music making and performance in the region.
Background: JIF - The Joint Investment Fund (JIF) was set up by the SHIPS Arts Officers Group. Together with Arts Council England South East, the group is funding a range of regional projects based on four national Priorities for
Partnership set out in the document "Local Government and the Arts - A vision for Partnership".
Research: Research was commissioned to investigate current provision of (live) music making opportunities for young people in the SHIPS region and a plan was produced to inform future developments. The research suggests the creation of a SHIPS Youth Music - Live Project to establish a permanent infrastructure to support the following stake-holders:
New musicians with rehearsal and tuition facilities.
Established bands with performance opportunities and Music Industry advice.
Existing venues and facilitators with business support and CPD opportunities.
Local Music Industry professionals with peer networking and access to new talent.
Key areas for decision making:
Interpret findings from Research Report and expand to include all types of musical performance.
Establish a network and build relationships between venues, professionals and facilitators.
Develop protocol/standards for venues and young people. Commission the development of and research for a chosen website.
Develop a regional live circuit programme of performance.
Manage operational budget
Reports to: Live Music Project Steering group
Timescale: January 2006 - January 2007
Hours: 3 days per week (22.5 hours flexible)
2006 Brunel Bicentenary Composition Competition
Brunel University Arts announce a competition for a new 12' work for solo cello with live electronic transformation, and string orchestra.
The new work will be performed by cellist Matthew Barley and the SouthBank Sinfonia, conducted by Peter Wiegold, on 28th September 2006, in London’s Cadogan Hall, and then recorded for Quartz Records.
How to enter:
Eligibility: Open to all ages and nationalities.
Composers are invited to send scores and/or CDs (3) of past work, and a proposal for this new piece, both musical and technical.
From these proposals, one composer will be selected to write the new work.
Closing date for material and proposals: Monday 16 January 2021
Winning composer to be notified by 1st February 2006
Work to be completed by 10th August 2006
Specified duration for new work: 12’
The judges for the competition will be Professor Peter Wiegold, international composer and conductor, Chair of Music Research at Brunel; composer Colin Riley, Subject Leader in Music, Brunel University; and distinguished cellist Matthew Barley, Associate Artist, Brunel University.
It is expected that the composer will work closely with Matthew Barley before the completion deadline, and that composers will already be familiar with the
relevant technology (probably MAX-msp).
Prize: There is no financial prize, but there will be full technical support, the opportunity to work with a leading soloist and very fine young orchestra in a prime London venue, and a commercial recording as part of a CD of new music for cello and electronics.
Materials and proposals should be sent to:
Jay Wilkinson, Director, The Arts Centre, Brunel University, Cleveland Road, Uxbridge, Middx UB8 3PH (with SAE if you wish to have them returned).
Further details from Brunel Arts on 01895 266074 or email email@example.com
Call for Entries
Threshold is hosting a 3-week residency for sound artists and media artists to work collaboratively with a group of Architectural Association graduates to create a sound_space landscape. Participants will work on-site to transform E:vent’s basement space into an immersive audio/visual
The aim of the residency is to provide a platform to explore the potential
of emerging creative partnerships within sonic and spatial practice.
WHO SHOULD APPLY:
This residency is relevant for artists whose work evokes, delineates or
occupies a space through sound and/or digital media.
April 7 - April 30
Deadline of submission:
January 15th 2006
To apply for the residency:
You must download and fill out the application form which can be found at
http://www.eventnetwork.org.uk/residency.php and send it to firstname.lastname@example.org
Call for Proposals
Electroacoustic Music Studies Network (EMS) - International Conference Series in a special cooperation with the Electronic Music Association of China's (EMAC) MusicAcoustica 2006 Festival in Beijing
EMS06 - Electroacoustic Music Studies - Conference Theme: Terminology and Translation
Time and place: 23-26 October, 2006 – BEIJING, CHINA
The EMS conference is organised yearly through the initiative of the Electroacoustic Music Studies Network, an international team which aims to encourage reflection on the better understanding of electroacoustic music and its genesis, appearance and development over the span of a century. The organizers are all engaged in the key areas of debate and actively seeking the development of solutions.
The first conference, in October 2003, was a result of the initiatives of De Montfort University (UK), the University of Paris-Sorbonne (France), and INA/GRM (France). It took place at the Georges-Pompidou Centre in Paris, within the auspices of IRCAM’s Résonances 2003 festival. It second event took place in October 2005 in collaboration with Concordia and McGill Universities and the Université de Montréal. Selected papers of both events appear in Organised Sound (Cambridge University Press). As of 2006, thanks to a collaboration with ISAST (International Society for the Arts, Sciences and technology) and OLATS (Observatoire Leonardo des Arts et Technosciences), a Leonardo-EMS prize will be given to a selected communication of a researcher 35 years or under of age for publication of the paper in Leonardo (MIT Press).
The special theme of EMS06 is:
Electroacoustic Music Studies –Terminology and Translation
The terminology in our field is in an awkward state. It is assumed that projects posing new approaches toward coherent structuring of local knowledges will have faced not only these trans-terminological issues but also multilingual issues. The objective of this ‘summit’ is to create a forum of sustained co-operation.
The theme is related to:
1.Ontologies (Structured Terminology)
2.Glossaries (Construction, Evolution, Translation, Platforms)
4.The Knowledge Base (Schemas, Prototypes)
5.Semantic Web (Metadata, Linkage)
6.Discourse Analysis (Authoritative Sources)
7.Music/Journal/Content Database Organisation and Indexing
8.Expert Domains (Community: People who use/live the vocabulary)
For more information please visit...
EMPIRICAL SOUNDINGS: Call for Work
EMPIRICAL SOUNDINGS - soundscapes from the commonwealth
During the 2006 Melbourne Commonwealth Games to be held 15-26 March, a cultural festival will be held in Melbourne and provincial cities in the state of Victoria, Australia. Bendigo, a large provincial city 150 km north of Melbourne, as part of its cultural festival, will host a surround sound installation featuring soundscapes by sound artists living in various Commonwealth countries.
Sound artists from Commonwealth countries are invited to submit sound pieces expressing some aspect of their home country or one or more of the sports included in the Commonwealth Games (sports that will be contested are: aquatics, athletics, badminton, basketball, bowls, boxing, cycling, gymnastics, hockey, netball, rugby 7s, shooting, squash, table tennis, triathlon and weightlifting).
A 5.1 surround sound system will be available so soundscapes can be in any configuration suitable. Pieces should be no longer than 7 minutes long. Up to 10 pieces will be selected for the installation, which will run from March 15 - March 26, 2006. An honorarium of $AUD100 will be paid for each piece used.
Expressions of interest and requests for further information can be sent to Jacques Soddell (email: email@example.com)
The deadline for submissions is 28 January 2006.
Further submission information will become available on the website (http://cajid.com/empirical/)
Call for Works
Fifth Annual International Women’s
Electro-Acoustic Listening Room Project
Cal State Fullerton
Voices on the Edge:
Women in New Music Festival
March 9th-12th, 2006
Concerts, Listening Room, Lectures, Master Classes, Workshops featuring
PAMELA Z, voice and electronics
ETHEL, string quartet
CHEN YI, composer in residence,
and other guest composers, performers, scholars
International Women’s Electroacoustic Listening Room Project:
The Women in New Music Festival features day-long playback of works by women in electroacoustic music During the 8 hours of the electroacoustic listening room the listener’s mind is immersed in the sounds of diverse compositional voices of women composers in electroacoustic music from over 20 different countries from around the globe.
The Women’s Electroacoustic Listening Room strives to present a diverse sampling of different approaches to electronic music, with examples from classical computer music, environmental music, and meditative music to works that expand acoustic virtuosity and improvisation with virtual instruments to sonic documentaries that capture the inner workings of the mind: horror, humour and the unfolding of human dramas.
This year the Women’s Electroacoustic Listening Room focuses on VOICES ON THE EDGE and will also go ON THE ROAD and be presented at various venues throughout the United States and Europe.
Submit your proposed electronic/electroacoustic work for inclusion in the listening room event: Voices on the Edge. Maximum length 12 minutes. Please include: CD of proposed work, submission information: length of work, name of composer, contact information, program notes and short bio to address below. Also send all submission information by email to
Dr. Pamela Madsen
California State University, Fullerton
P.O. Box 6850
Fullerton, CA 92834-6850 Postmark Deadline: January 15th, 2006
For more information contact: firstname.lastname@example.org
Call for Papers/Presentations
Two Thousand + SIX
A new international conference focusing on performance in technology mediated environments
This new conference will kick off as part of the 2006 Sonorities Festival of Contemporary Music (www.sonorities.org.uk), hosted at the Sonic Arts Research Centre, Queen’s University Belfast (www.sarc.qub.ac.uk). The festival is the longest-running new music festival in Ireland that presents cutting-edge new music and features some of the most thought-provoking and controversial musicians.
The "mini-conference" aims to reflect the innovative approach of the festival and will, for the first time, bring together performance practitioners (from music, dance, theatre and new media), composers, and theorists in order to discuss a wide variety of topics on performances that are informed by new technologies.
The "mini-conference" is planned for Saturday, the 29th of April 2006 at SARC in Belfast. Paper sessions will take place in the morning and the afternoon, with two keynote speakers, a lunchtime performance and an evening concert.
Susan Broadhurst Sue is a writer and practitioner in the creative arts. She is currently Subject Leader of Drama Studies at Brunel University. She is the author of " Liminal Acts: A Critical Overview of Contemporary Performance and Theory" (1999); "Digital Practices: A Critical Overview and Neuroesthetic Approach to Performance and Technology (forthcoming, 2005), and "Performance and Technology: Practices of Virtual Embodiment and Interactivity (forthcoming, 2006). Sue is also co-editor of the Body, Space & Technology online journal.
Ben Watson. Wire contributor, Trotskyist and Zappaphile, Watson has written extensively on themes such as pop culture, situationism, punk, Adorno, Frank Zappa and improvisation. He is the author of "The Negative Dialectics of Poodle Play", “Derek Bailey and the Story of Improvisation”, and “Art, Class and Cleavage”.
Call for papers/presentations:
For this one-day conference we invite proposals for papers that reflect on performance and technology. As this is a short event, a maximum of 16 papers of 20 minutes duration (plus question time) will be accepted.
Abstracts (max. 350 words) are due by the 15th of December 2005.
Presenters of accepted papers/presentations will be informed by the 15th of January 2006. The registration for the one-day event will be £40 (£15 unwaged). This includes free access to all Sonorities Festival events on the 29th April 2006.
All accepted papers will be published online. Further information on the conference will be posted in December 2005 on the SARC website: www.sarc.qub.ac.uk
Submissions and all queries should be directed to:
SPNM Call for Works 2005
Deadline: 27 January 2021
This is the UK’s most inclusive call for new music. You can be ANY AGE. Your music can be of ANY DURATION, written in ANY STYLE, in ANY GENRE and for ANY FORCES AND MEDIA.
spnm’s annual call for works finds the best new music in the country each year. It is open to anyone who is composing new music, of any age, based in the UK or Ireland. From the anonymous submissions a panel from a broad range of musical backgrounds selects 30 composers to join the spnm shortlist. Over the next three years spnm then offers these composers opportunities to have performances of their work, participate in training and professional development and receive promotion from spnm for them and their work.
Whether your work is for western or non-western acoustic instruments, an electronic piece or an installation, electroacoustic or improvised, if your work is new and taking the form and its audience forward, you should apply for this call.
For more information and to download an application form, visit http://www.spnm.org.uk/activities/callForWorks.html
Son of Clay
The Bird You Never Were
Son of Clay, a.k.a. Andreas Bertilsson lives and works in Berlin, exploring the contrasts between the binaries of chance/structure, organic/processed sounds and nature/urban life. Fusing purely acoustic material with digital processing and field recordings, Bertilsson attempts to create atmospheres that blur the distinction between digital and analogue sounds. The Bird You Never Were (2004), is his second release on Komplott.
The short space of time between hitting play and hearing a sound actually seems composed here. As such, the opening track, Bring Me Water Or Bread, seemingly ‘falls’ out of this silence, in a gesture not unlike tripping up. Sadly, this is not indicative of the rest of the piece, which rolls along apace, but apparently on autopilot. Feedback floats in and out of focus against a rolling seascape of FM flotsam and jetsam, gently bobbing around on the cusp between forwards and reverse.
Balmy woodwinds take over in The Colour Scheme, a more thoughtful piece, but one that seems only to exist specifically to be usurped by Forest on Paper. And rightly so: this little gem melds squeaks and squeals with an array of strange percussion, like a museum display case that contains more species than the geographical area it aims to represent. Lasting just over 1:30, it does not stagnate, accommodating Vision Thing in its small, but perfectly formed wake. FM bell sounds are foregrounded under dark skies, and despite howling clues regarding the generative tools behind this track, its pacing, rhythm and momentum carry the listener through the storm at a brisk pace.
One bad edit later, and we find ourselves in what sounds like a disused Soviet barn [Max Kristofer]. Wind blasted, and a rat is struggling with something heavy. Sadness is here, and for the first time, the ‘instruments’ manage to decay convincingly into overwrought digital synthesis. A beautiful track, which segues into The Rook; an object lesson in timing and improvisation, if not much else.
I Can’t Make It Alone fuses gestural acoustic noises over impish, inquisitive synthesis, resulting in some surprisingly expressive moments. Here is the locus of Son of Clay’s ‘Timing and Elegance’ aesthetic. This continues in First Snowflakes, Then Winter Fall, and some much-needed dynamism materialises. Apart from the odd duff sample, I’m beginning to detect a narrative thread and enjoy the sounds that deliver it. Stealthily, we descend into a sort of folded landscape, which sounds like a forest floor, but very deep underground. So deep in fact, that we emerge, blinking in the light of So Much Love I Can Take, a comparatively jaunty number, and a gentle nudge to say ‘this is the end of the album’.
Though I grasp the ideas behind this, I am not entirely convinced that every single sonic object is as meticulously placed as implied. Not that this is a bad thing: there are moments of pure, scrabbly improv that warm up the almost alienating sparse soundscape. My overall verdict is ‘fair to middling’, and although this album improves towards the end, it is marred by a couple of spectacularly bad edits between tracks and a permeating GRM watermark. Aside from these relatively minor complaints, the warmth conveyed is enough to lend it a certain charm. [6/10]