Thursday, 22 December 2011

Sound art and electronic music courses at Hola folkhögskola 2012

A distance learning course in sound art will be held during the first semester 2012 at Hola folkhögskola, close to Kramfors in Northern Sweden. Since the course info is in Swedish, I guess the course will be taught in Swedish, too. A rudimentary English translation of the course description:
The course is for artists and other interested who want to refine their ways of expressing themselves in sound. It is a course for those who want to broaden their styles with creative work with sound in sound art projects. The course includes seminars, projects under supervision, listening skills and analysis of sound in film, music, radio and web. Literature studies.
The application deadline is January 15, 2012.

Hola folkhögskola also has a distance learning course in electronic music with Pd for beginners, application deadline February 15, 2012, and a one-year course in Music production and audio engineering starting the second semester 2012. One can choose electronic music and sound design as a specialisation. Application deadline April 15, 2012.

Monday, 12 December 2011

Some sound art papers

The papers from the Sound Art Theories Symposium 2011 papers are now available. For those interested in digital archiving, David Grubbs' paper "'Remove the Records from Texas': Parsing Online Archives" discusses two "very different kinds of online archives", UbuWeb and DRAM (the acronym stands for Database of Recorded American Music, but the archive holds works from other countries as well).

Saturday, 3 December 2011

Calls for 2012

Please note that all calls etc. for 2012 will be published here, and not in separate posts.

Thursday, 1 December 2011

New books and CDs in EMS' library

New books
  • Aare, Anders: Ljuddesign för scenen
  • Acoustic environments in change, Five village soundscapes
  • Darmstädter Beiträge zur Neuen Musik 1959
  • Diederichsen, Diedrich & Ruhm, Constanze (ed.): Immediacy and non-simultaneity : utopia of sound
  • Hellström, Björn: Noise design : architectural modeling and the aesthetics of urban acoustic space
  • Helmholtz, Hermann von: On the sensations of tone as a physiological basis for the theory of music
  • Kirn, Peter (ed.): The evolution of electronic dance music
  • Manzo, V. J.: Max/MSP/Jitter for music : a practical guide to developing interactive music systems for education and more
  • Mossberg, Frans (ed.): Buller i blåsväder
  • Mossberg, Frans (ed.): Ljudmiljö, hälsa och stadsbyggnad
  • Numminen, M. A.: Till Helsingfors
  • O'Konor, Louise: Viking Eggeling 1880-1925 : modernist och filmpionjär : hans liv och verk
  • Re-tooling residences : a closer look at the mobility of art professionals
  • Salter, Chris: Entangled : technology and the transformation of performance
  • Shryane, Jennifer: Blixa Bargeld and Einstürzende Neubauten : German experimenal music : evading do-re-mi 
  • Tonsättare i Sverige 1981
  • Young, Gayle: The sackbut blues : Hugh Le Caine : pioneer in electronic music
  • Zetterblom, Margareta: Textile sound design
  • Åman, Jan & Birnbaum, Daniel (ed.): De ou par Marcel Duchamp par Ulf Linde
New CDs  
  • 5 composers
  • 5 composers : second coming
  • 5 composers : 3rd hearing
  • Academic noise
  • Archipel électronique. Vol. 1
  • Ars Ludi: Percussione e oltre
  • Bilbao Kolektibo Elektronikoa: BIKE 3.0
  • Bits and pieces
  • Broberg, Jonas & Karlsson, Erik Mikael: Two composers
  • Cache 2004
  • Cache 2007
  • Cache 2008
  • Cache 2009
  • Electronic music from Catalonia 2010
  • Electronic music. Vol. IV, Música viva competition : prize winners 2007 - 2008 - 2009
  • Elektrofoni : new electroacoustic music from Sweden
  • Gros: Homes
  • Johansson, Pär: The empty palace
  • Kubisch, Christina: Licht Himmel : Gasometer Oberhausen
  • Leak: Redemption
  • Leak: The old teahouse
  • Liljekvist, Jan: The strange and incredible world of Dr Jayne Insane and the Gutbucket Philharmonicks
  • Lindström, Mats & Runolf, Sören: A wonder of beauty and efficiency
  • Lundsten, Ralph: Nordic nature symphony no. 3 : ”A midwinter saga”
  • México electroacústico 1960-2007
  • Pauk: Insekt
  • Phonorama
  • Riis, Jakob: No Denmark
  • Rylander, Henrik: Formation
  • Sigal, Rodrigo: Space within
  • Six winners : the Stockholm Electronic Arts Award
  • Winner takes all
(The full catalogue can be found here:

Saturday, 26 November 2011

EMS12 call for papers

Next year's Electronic Music Studies Conference, EMS12, will take place in Stockholm on June 11-15 2012. It is co-organised by EMS (Elektronmusikstudion) and KMH (The Royal College of Music). Keynote speaker is Lars-Gunnar Bodin and the theme of the conference is Meaning and meaningfulness in electroacoustic music.

Deadline for submission of papers: Tuesday 17 January 2012, 09.00 CET (GMT+1)
Extended to Monday 30 January 2012, 12.00 CET (GMT+1)

Thursday, 3 November 2011

New CDs in EMS library

Some of these CDs are a gift from Tamas Ungvary. These CDs are listed separately below. Thanks, Tamas!

New CDs
  • BBC radiophonic music
  • BBC radiophonic workshop : a retrospective
  • Cage, John: Bird Cage
  • Estonian music now 2011 : exploratory music from Estonia
  • Futurism & dada reviewed
  • Musica futurista : the art of noises : music & words from the italian futurist movement 1909-1935
  • Splitting bits, closing loops : sound on sound
  • The Wire Tapper 25
  • The Wire Tapper 26
  • The Wire Tapper 27
CDs from Tamas Ungvary
  • Ars Ludi: Percussione e oltre
  • Bianchini, Laura: Immobile e doppio
  • Computer music @ CCRMA. Volume one
  • ICMC 1992
  • ICMC 1994
  • Interpreting the soundscape
  • IRCAM : les années 90
  • Lupone, Michelangelo: In un grattacielo
  • Sala, Oskar: My fascinating instrument : Mixturtrautonium
  • Viñao, Alejandro: Son entero, Triple concerto
  • Voigtländer, Lothar: Elektro-akustische kompositionen

Sunday, 30 October 2011

New books and CDs in EMS' library

A few of the books below were a gift from Johan Boberg. Thanks, Johan!

New books
  • Adams, John Luther: The place where you go to listen : in search of an ecology of music
  • Adams, Randy ; Arisona, Stefan Müller & Gibson, Steve (ed.): Transdisciplinary digital art
  • Alfredsson, Johan: "Tro mig på min ort" : oöversättligheten som tematiskt komplex i Bengt Emil Johnsons poesi 1973-1982
  • Allen, Greg: Klaus Schulze : electronic music legend
  • Appleton, Jon H. & Perera, Ronald C. (ed.): The development and practice of electronic music
  • Austin, Larry & Kahn, Douglas: Source : music of the avant-garde, 1966-1973
  • Beins, Burkhard et al.: Echtzeitmusik Berlin : Selbstbestimmung einer Szene = Self-defining a scene
  • Bohman, Stefan ; Lundberg, Dan & Ternhag, Gunnar (ed.): Musikinstrument berättar : instrumentforskning idag
  • Cádiz, Rodrigo: Computer music control by fuzzy logic : theory and applications
  • Dzuverovic, Lina & Neset, Anne Hilde (ed.): Her noise
  • Edwards, Folke (ed.): Futuristisk teater & film
  • Ehlin, Fredrik (ed.): Lina Selander : the space of memory
  • Erlmann, Veit: Reason and resonance : a history of modern aurality
  • Focke, Anne (ed.): Trimpin : contraptions for art and sound
  • Forrest, Peter: The A-Z of analogue synthesisers. A-M
  • Forrest, Peter: The A-Z of analogue synthesisers. N-Z
  • Gann, Kyle: No such thing as silence : John Cage's 4'33
  • Garcia-Valenzuela, Pablo: Aesthetic in temporal forces and electroacoustic composition
  • Geisler, Ursula & Rosengren, Henrik (ed.): "Min tid ska komma" : Gustav Mahler i tvärvetenskaplig belysning
  • Giannoulakis, Stelios: Relationships: fusion and dialectic : portfolio of electroacoustic compositions
  • Goodale, Greg: Sonic persuasion : reading sound in the recorded age / Greg Goodale
  • Gorges, Peter & Sasso, Len: The Wizoo pro guide to Nord Modular
  • Griffiths, Paul: Modern music : a concise history
  • Gustafson, Klas: Levande musik i hela landet : Rikskonserter från början till slut
  • Henderson, Dave: Journey to a plugged in state of mind : electronic music : a century of exploration and exploitation
  • Henry, Otto W .: A preliminary checklist: books and articles on electronic music
  • Hermele, Vanja: I väntan på vadå? : Teaterförbundets guide till jämställdhet
  • Hermele, Vanja: Konsten - så funkar det (inte)
  • Honing, Henkjan: Musical cognition : a science of listening
  • Iannis Xenakis (Musik-Konzepte 54/55)
  • Izhaki, Roey: Mixing audio : concepts, practices and tools
  • Jansma, Linda Seiffarth, Carsten (ed.): Seeing sound : Gordon Monahan : sound art, performance and music 1978-2011
  • Karkoschka, Erhard: Das Schriftbild der Neuen Musik
  • Kelly, Caleb (ed.): Sound
  • Kommittén för jämställdhet inom scenkonstområdet: Plats på scen : betänkande
  • Matossian, Nouritza: Xenakis
  • Nielsén, Tobias & Nilsson, Sven: Kultursverige 2040 : vad vi vet, vad vi tror, vad vi vill
  • Nordwall, Ove (ed.): Från Mahler till Ligeti : en antologi om vår tids musik
  • Oliveros, Pauline: Sounding the margins : collected writings 1992-2009
  • Pearson, Matt: Generative art : a practical guide using processing
  • Qian, Jinyu: Virtual sound localization with modified spectral cues
  • Rainer, Cosima et al. (ed.): See this sound : Versprechungen von Bild und Ton = Promises of sound and vision
  • Rikskonserter i siffror
  • Russolo, Luigi : The art of noises
  • Sauer, Theresa: Notations 21
  • Selander, Lina ; Termaenius, Johan & Vogel, Felix: Around the cave of the double tombs
  • Sigal, Rodrigo: Compositional strategies in electroacoustic music : generating materials and creating an effective musical language in electroacoustic music
  • Sounding code : Supercollider symposium 2010, 18-26/09/2010
  • Sundin, Paulina: Re-inventing harmony in electroacoustic music : a commentary on my recent music
  • Sinnreich, Aram: Mashed up : music, technology, and the rise of configurable culture
  • Stolpmann, Bjoern: Beats and bytes : die Enstehung von Digitallabel für elektronische Musik
  • Ungeheuer, Elena (ed.): Handbuch der Musik im 20. Jahrhundert. Bd 5, Elektroakustische Musik
  • Varga, Bálint Andrés: Conversations with Iannis Xenakis
  • Wilson, Scott; Cottle, David & Collins, Nick (ed.): The SuperCollider book
  • Zölzer, Udo (ed.): DAFX : digital audio effects
  • Österberg, Eva: Tystnader och tider : samtal med historien
New papers/articles
  • Cowley, Julian: The Swedish sound art : don't call it sound art if the term shocks you
  • Delalande, François: Music analysis and reception behaviours: Sommeil by Pierre Henry
  • Eriksson, Tor: Leo Nilsson
  • Kendale-Green, Bruce: Rune Lindblad : the pioneer of Swedish electronic music. Part 1, The concrete music from 1953 to 1972
  • Orrghen, Anna & Bodin, Lars-Gunnar: Lars-Gunnar Bodin : en intervju : 5 september 2007
  • Orrghen, Anna & Morthenson, Jan W.: Jan W. Morthenson : en intervju : 17 augusti 2007
  • Orrghen, Anna & Sundqvist, Göran: Göran Sundqvist : en intervju : 31 augusti 2007
  • Wiggen, Knut: Elektronmusikens utveckling och dess ställning i Sverige
New scores
  • Stockhausen, Karlheinz: Kontakte : für elektronische Klänge, Klavier und Schlagzeug
  • Stockhausen, Karlheinz: Studie II : elektronische Musik : 1954
New CDs
  • Computer music journal : sound and video anthology. Volume 33, 2009
  • Computer music journal : sound and video anthology. Volume 34, 2010
  • Isolrubin BK [Lustmord]: Crash Injury Trauma
  • Lustmord: Other dub
  • Lustmord: Other
  • Lustmord: Songs of Gods and Demons

Saturday, 15 October 2011

Even more calls

Please note that this page is no longer updated.

This is a list of conference calls for 2013. Please note that, though I only list deadlines for paper submissions, many of these conferences also accept music and performances. Links to past conferences are at

CMMR 2013. 10th International Symposium on Computer Music Modelling and Retrieval/Computer Music Multidisciplinary Research 2013, "Sound, Music & Motion", October 15th – 18th 2013, CNRS - Laboratoire de Mécanique et d’Acoustique, Marseille, France. Paper submission deadline: June 15th 2013

ISMIR 2013. 14th International Society for Music Information Retrieval Conference, 4th - 8th of November 2013, Curitiba, Brazil (organized by PUCPR). Paper submission deadline: 10 May 2013

NIME 2014. 14th International Conference on New Interfaces for Musical Expression (NIME), June 30 - July 3, 2014, Goldsmiths University of London, London, UK. Paper draft submission (mandatory): January 31, 2014

Friday, 22 July 2011

More calls, conferences and some other stuff

Maryanne Amacher online archive:

An online open source database of city sounds and soundmaps from around the world using online found sounds and field recordings:

A nice collection of sound art links:


KISS2011. Kyma International Sound Symposium, 15-18 September 2011, Porto, Portugal

TCMP2011. Tracking the Creative Process in Music, September 29th – October 1st 2011, Maison Européenne des Sciences de l’Homme et de la Société, Lille

First international Csound Conference. September 30 to October 2 2011, HMTM (Hochschule für Musik, Theater und Medien), Hannover

Sound Art Theories Symposium 2011, November 5-6, School of the Art Institute of Chicago. Deadline for paper submissions: August 1, 2011

Symposion on Xenakis’ electroacoustic music, 23-25 may 2012, Université Paris 8, E.A. 1572. Esthétique, musicologie, danse et création musicale in collaboration with Cdmc, Grm, Cix, Ircam, Motus. Deadline for proposals of papers: 1th of January 2012

IRCAM music research residency 2012-13. Application deadline: October 14, 2011 (Midnight Paris Time)

For more conferences, see Some conference calls for 2011.

Friday, 22 April 2011

R.I.P. Max Mathews

Synthopia reports that computer music resarcher Max Mathews (1926-2011) died yesterday, April 21. Mathews was the originator of MUSIC I-V, the predecessors of the Csound/Cmix/Cmusic family. The first computer synthesised music was generated by Mathews in 1957, using MUSIC I on an IBM 704 mainframe.

Friday, 8 April 2011

New books in EMS' library

We have received a gift of 58 books (and some cd:s that I haven't catalogued yet) from EMS veteran and PDP-15 hybrid synthesiser whiz Tamas Ungvary. These books are listed separately below. Thanks, Tamas!

New books
  • Priest, Gail (ed.): Experimental music : audio explorations in Australia
  • Perloff, Marjorie & Dworkin, Craig: The sound of poetry, the poetry of sound
  • Boulanger, Richard & Lazzarini, Victor: The audio programming book
  • Cipriani, Alessandro & Giri, Maurizio: Electronic music and sound design : theory and practice with Max/MSP. Vol. 1
  • Farnell, Andy: Designing sound
  • Daniels, Dieter & Naumann, Sandra (ed.): See this sound : audiovisuology 2 : essays : histories and theories of audiovisual media and art
  • Erlandsson, Thomas: Ljudinstallationer i Sveriges utemiljö : examensarbete i landskapsarkitektur
  • Fylkingen: Fylkingen 1933-1959 : utgiven med anledning av kammarmusikföreningen Fylkingens tjugofemårsjubileum
  • Leitner, Bernhard: Ton-Raum TU Berlin
  • Johnsson, Bo: Analoga kretsar. A, Faktabok
  • Johnsson, Bo: Grundläggande elektronik : elektronik 2000. Faktabok
  • Molin, Bengt: Analog elektronik
  • Karlsson, David: En kulturutredning : pengar, konst och politik
  • Peterson, Lars: Det kulturella kapitalet : kritik av kultursponsringen
  • Rånlund, Sven ; Österling, Fredrik & Östersjö, Stefan (Horisont): Handlingsplan för den nutida konstmusiken
  • Stålhammar, Maria & Wiklander, Nils: Lyssna! : en festivalrapport
  • The Swedish dance history
  • Wiggen, Knut: Att spela piano
  • The sound projector 16-19
Books from Tamas Ungvary
  • Dhomont, Francis (ed.): L'espace du son
  • INA-GRM: Le traité des objets musicaux 10 ans après (Cahiers recherche/musique 2)
  • INA-GRM: Synthétiseur ordinateur (Cahiers recherche/musique 3)
  • Ruschkowski, André: Soundscapes : elektronische Klangerzeugung und Musik
  • Beauchamp, James W. & Von Foerster, Heinz: Music by computers
  • Howe, Hubert S.: Electronic music synthesis
  • The arts & technology : a symposium, April 9-12, 1986, at Connecticut College
  • The arts & technology II : a symposium, February 2-5, 1989, Connecticut College
  • Proceedings : the fourth biennial Arts & Technology Symposium, March 4-7, 1993, Connecticut College, New London, Connecticut
  • Strawn, John (ed.): Music and digital technology : the proceedings of the AES 5th international conference, [Los Angeles, California, 1987, May 1-3]
  • Leopoldseder, Hannes (ed.): Der Prix ars electronica [1994] : internationales Kompendium der Computerkünste = international compendium of the computer arts
  • Leopoldseder, Hannes & Schöpf, Christine (ed.): Der Prix ars electronica 95 : internationales Kompendium der Computerkünste = international compendium of the computer arts
  • Austin, Larry & Clarke, Thomas (ed.): Proceedings : 1981 International Computer Music Conference November 5-8 : presented by the School of Music and the Union Program Council North Texas State University, Denton, Texas USA
  • International Computer Music Conference 1984 = Conference internationale d’informatique musicale, 19-23 octobre, Paris, France
  • Berg, Paul (ed.): Proceedings of the International Computer Music Conference, Royal Conservatory, The Hague, Netherlands, October 20-24, 1986
  • Beauchamp, James (ed.): Proceedings of the 1987 International Computer Music Conference : University of Illinois at Urbana-Champaign, Urbana, Illinois USA, August 23-26, 1987
  • Lischka, Christoph & Fritsch, Johannes (ed.): Proceedings of the 14th International Computer Music Conference, Cologne, September 20-25, 1988
  • Wells, Thomas & Butler, David (ed.): Proceedings : 1989 International Computer Music Conference, November 2-5, the Ohio State University, Columbus
  • Arnold, Stephen & Hair, Graham (ed.): Proceedings : ICMC, Glasgow 1990
  • Alphonce, Bo & Pennycook, Bruce (ed.): Proceedings : ICMC, International Computer Music Conference, Montreal 1991
  • Strange, Allen (ed.): Proceedings : International Computer Music Conference, San José, California, October 14-18, 1992
  • Ohteru, Sadamu (ed.): Proceedings of the 1993 International Computer Music Conference, September 10-15, 1993, International Computer Music Association and Waseda University
  • Siegel, Wayne & Brandorff, Steffen (ed.) : Proceedings of the International Computer Music Conference 1994 : [the human touch]
  • Proceedings : International Computer Music Conference : digital playgrounds : September 3-7, 1995
  • Ayers, Lydia & Horner, Andrew (ed.): Proceedings of the 1996 International Computer Music Conference, August 19-24, 1996
  • Rikakis, Thanassis & Cook, Perry R. (ed.): Proceedings : International Computer Music Conference 1997 : Thessaloniki, Hellas, 25-30 September, 1997
  • ICMC99 : 1999 International Computer Music Conference, Beijing, China : program
  • Tarkka, Minna (ed.): ISEA' 94 Catalogue
  • Actes : 6e Symposium des arts électroniques, septembre 1995 = Proceedings : 6th International Symposium on Electronic Art, September 1995 : ISEA 95, Montréal
  • Friberg, Anders ; Iwarsson, Jenny ; Jansson, Erik & Sundberg, Johan (ed.): SMAC 93 : proceedings of the Stockholm Music Acoustics Conference July 28-August 1, 1993
  • Workshop on artificial intelligence and music, Tuesday, August 7, 1990 : abstracts : ECAI - European Conference on Artificial Intelligence, Stockholm, Sweden, August 6-10, 1990
  • DeLio, Thomas (ed.): Contiguous lines : issues and ideas in the music of the '60's and '70's
  • Dibelius, Ulrich: Moderne Musik. [1], 1945-1965 : Voraussetzungen, Verlauf, Material
  • Kolleritsch, Otto: Zur Neuen Einfachheit in der Musik
  • Morthenson, Jan W.: Nonfigurative Musik
  • Neuland : Ansätze zur Musik der Gegenwart : Jahrbuch. Band 1
  • Neuland : Ansätze zur Musik der Gegenwart : Jahrbuch. Band 3
  • Neuland : Ansätze zur Musik der Gegenwart : Jahrbuch. Band 4
  • Stürzbecher, Ursula: Werkstattgespräche mit Komponisten
  • Zimmerschied, Dieter (ed.): Perspektiven neuer Musik : Material und didaktische Information
  • Kolisch, Rudolf & Türcke, Berthold: Zur Theorie der Aufführung : ein Gespräch mit Berthold Türcke (Musik-Konzepte 29/30)
  • Evangelisti, Franco: Franco Evangelisti (Musik-Konzepte 43/44)
  • Kagel, Mauricio: Worte über Musik : Gespräche, Aufsätze, Reden, Hörspiele
  • Gottfried Michael Koenig (Musik-Konzepte 66)
  • Sabbe, Herman: György Ligeti : Studien zur kompositorischen Phänomenologie (Musik-Konzepte 53)
  • Sabbe, Herman: Karlheinz Stockhausen : ... wie die Zeit verging ... (Musik-Konzepte 19)
  • Garland, Peter (ed.): Soundings 13 : the music of James Tenney
  • Der Komponist Isang Yun
  • Erickson, Robert: Sound structure in music
  • Gabrielsson, Alf: Action and perception in rhythm and music : papers given at a symposium in the Third International Conference on Event Perception and Action [Uppsala, 1985]
  • Lerdahl, Fred & Jackendoff, Ray S.: A generative theory of tonal music
  • Meyer, Leonard B.: Emotion and meaning in music
  • Pressing, Jeff: Synthesizer performance
  • Kosko, Bart: Fuzzy thinking : the new science of fuzzy logic
  • Kreuzer, Franz: Gödel-Satz, Möbius-Schleife, Computer-Ich : Franz Kreuzer im Gespräch mit Paul Watzlawick, Werner Schimanovich, Eckehart Köhler, Paul Badura-Skoda und Werner Leinfellner
  • Richards, Whitman (ed.): Natural computation
  • Risset, Jean-Claude: An introductory catalogue of computer synthesized sounds
  • Gravesaner Blätter 18

Monday, 28 March 2011

New issue of Hz, #16

Quantum Improvisation: The Cybernetic Presence
by Pauline Oliveros
"It's already evident that computers and human intelligence are merging. What would I want on a musician chip if I were to receive the benefit of neural implant technology? What kind of a 21st Century musician could I be?" Composer/musician and one of the key figures of electronic music Pauline Oliveros' essay from 1999 centres around the question by revisiting 100 years of music history since the first magnetic recording in 1899.

Moistmedia, Technoetics and the Three VRs
by Roy Ascott
One of the most influential theoreticians/artists in the field of telematics Roy Ascott's article about Moistmedia, written in 2000, in which he predicts "a convergence of three VRs" (Virtual, Validated and Vegetal): "At this interspace lies the great challenge to both science and art: the nature of consciousness. A technoetic aesthetic is needed which...may enable us as artists to address the key questions of our time."

Grains of Gold in All This Shift: Web 2.0, Crowdsourcing and Participatory Art
by Amanda Wasielewski
"The Web 2.0 ideas of 'social networking' and 'crowdsourcing' have filtered through to the art world where artists are, whether consciously or not, using Web 2.0 principles and forms in their work." Amanda Wasielewski's critical examination over the recent activities of participatory art both on and offline which "begins to look like crowdsourcing."

Dynamic screen / room:
by Thore Soneson
"During the last decades moving images, video and screens have expanded from on-the-wall projections to dynamic and multi-modulated images in different spatial settings – on multiple screens, in dynamic and interactive room environments and in an immersive physical context." Film maker/producer Thore Soneson's research into the contemporary "dynamic screen" for his project "Journey to Abadyl".

First Museum Shooters
by Mathias Jansson
"When the small company id Software in Texas, USA, 1993 released the videogame Doom few would have guessed that this game would change the entire game industry, and even fewer would have guessed which impact Doom would have on the art world." Game Art specialist Mathias Jansson's article about "museum shooters" in the field of Game Art.

SONOMATERIA: Audio-tactile Composition
by Irad Lee
Irad Lee, sound and interaction designer, "describes the inspiration and implementation of SONOMATERIA, a multi-user sound sculpture, installation, tangible sound interface and intersensory composition," which "aims to explore the mutual reinforcing effect that the manipulation of tactile and auditory perceptions can have on each other...."

Sunday, 27 March 2011

Sound art courses in Sweden

There are at least two courses in sound art for active professionals (e.g. artists, musicians, sound engineers) that might be of interest this year.

The first is a one-year sound art course (M.A., 60 ECTS), at The Stockholm Academy of Dramatic Arts in Stockholm. The course is arranged in collaboration with EMS, and will be taught in Swedish. The course info is also in Swedish, but with some help from a well-known free online service, I've translated it thus:
The master's programme in sound art is a multi-disciplinary training aimed at professionals who are interested to deepen and explore sound art. The training focuses on sound installation and you will explore how sound can be used in different rooms and on different types of sites.

The purpose of the course is to provide an overview of methods and processes within the sound art field, and an understanding of the role of sound in contemporary art.

The goal is to help you gain knowledge and understanding of sound installation in public and other rooms, and how to use sound as a tool in various types of artistic production. In parallel with ongoing practical production training, we will discuss artistic courage and the ethical approach to working with sound in public places.

The second is a distance learning course in sound art and sound design (15 ECTS), at The Department of Music and Media at Luleå University of Technology in Piteå in Northern Sweden. Since the course info is in Swedish, I guess the course will be taught in Swedish, too. English translation:
The course is for artists and other interested who want to work with sound creation and sound design. Your individual production work is done continuously during the course and is combined with seminars, workshops, lectures, group work and individual supervision. Current events in the sound field may be treated on the course.

During the course you will meet active practitioners as lecturers and at workshops. You will learn about various tools like Pure Data and Audiomulch, solder piezo-electric microphones, work with field recordings and sound installations interspersed with studies of existing sound/sound design-work, and immerse yourself in your own project to be presented at the end of the course.

Four meetings during autumn 2011 and 2-3 meetings in spring 2012, combined with distance learning at any place.

The application deadline for both courses is April 15, 2011. The deadline for the course at the Stockholm Academy of Dramatic Arts has been extended to May 17, 2011.

Friday, 25 February 2011

Some conference calls for 2011

FIMPaC 2011. The Forum for Innovation in Music Production and Composition, Thursday 12 & Friday 13 May 2011, Leeds College of Music. Deadline for the submission of proposals: Friday 25 March 2011

Audio-visuality. A conference on the experience of audio-visual art, artefacts, and media texts. May 26-29, 2011, Aarhus(?), Denmark. Deadline for paper submissions: February 15, 2011

NIME 2011. 11th International Conference on New Interfaces for Musical Expression. 30 May - 1 June 2011, Oslo, Norway. Deadline for paper/performance/installation/workshop submissions: 31 January 2011 (22:00 CET)

EMS 2011. Electroacoustic Music Studies Conference, June 14-18, New York. Deadline for receipt of proposals for papers: Monday, January 17, 2011 midnight EST

ICAD 2011. International Community for Auditory Display conference, June 20-24, Budapest. Deadline for papers, posters, and aural categories (short oveview of intent): 31 January 2011

SMC 2011. 8th Sound and Music Computing Conference, 6-9 July 2011, Padova, Italy. Deadline for paper and music submissions: Friday 25 March 2011

ACMC 2011. The Australasian Computer Music Conference 2011, 6-9 July 2011, The School of Music, University of Auckland, New Zealand. The special theme of ACMC11 is Organic Sounds in Live Electroacoustic Music. Deadline for receipt of proposals of papers and creative work: Thursday 31 March 2011

ICMC 2011. International Computer Music Conference (ICMC), 31 July to 5 August, Huddersfield, West Yorkshire, UK. Deadline for music and paper submissions: 18 January

UVM 2011. Understanding Visual Music 2011, Concordia University, Montreal, Canada, August 26th and 27th. Deadline for reception of proposals: June 18th, 2011

DAFx-11. The 14th International Conference on Digital Audio Effects, September 19-23, IRCAM, Paris, France. Deadline for full paper/poster submissions: Thursday March 31th, 2011. The proceedings are available online.

Wednesday, 23 February 2011

Electroacoustic music meta-bibliography

The meta-bibliography is available again, in a thoroughly revised and updated version.

(The EAM meta-bibliography is a bibliography of electroacoustic music bibliographies. It is a spin-off from my master's thesis in library and information science, and covers websites, books and journal articles that list items of interest to EAM composers and researchers.)

Sunday, 20 February 2011

New journal: JAR - The journal for artistic research

"The journal for artistic research (JAR) is an international, online, Open Access and peer-reviewed journal for the identification, publication and dissemination of artistic research and its methodologies, from all arts disciplines. The Journal is underpinned by the Research Catalogue (RC), a searchable, documentary database of artistic research work and its exposition, that functions as an inclusive, open-ended, bottom-up research tool supporting the development of the Journal's academic contributions."

Issue #0 presents work by:
  • Bertha Bermudez, Scott deLahunta, Marijke Hoogenboom, Chris Ziegler, Frederic Bevilacqua, Sarah Fdili Alaoui, Barbara Meneses Gutierrez, Amsterdam
  • Richard Blythe, Melbourne
  • Sher Doruff, Amsterdam
  • Cathy van Eck, Zürich
  • Mark Fleischman, Cape Town
  • Abhishek Hazra, Bangalore
  • Anders Hultqvist, Gothenburg
  • Daniel Kötter, Constanze Fischbeck, Berlin
  • Tuija Kokkonen, Helsinki
  • Elina Saloranta, Helsinki
  • Sissel Tolaas, Berlin
  • Otto von Busch, Gothenburg
JAR is published by the Society for Artistic Research (SAR). "[SAR] was established in March 2010 as an independent, non-profit organisation for the purpose of publishing JAR." SAR:s institutional members are art and design schools and universities.

The journal invites submissions. JAR is peer-reviewed, but not the RC.

Sunday, 13 February 2011

Hz calls for articles

On-line journal Hz ( is looking for articles on New Media, Net Art, Sound Art, Electro-Acoustic Music, Virtual World/Machinima. We accept earlier published and unpublished articles in English. Please send your submissions to

Deadline: 1 March, 2011

Hz is published by the non-profit organization Fylkingen in Stockholm. Established in 1933, Fylkingen has been known for introducing yet-to-be-established art forms throughout its history. Nam June Paik, Stockhausen, Cage, Stelarc, etc. have all been introduced to the Swedish audience through Fylkingen. Its members consist of leading composers, musicians, sound artists, dancers, performance artists and video artists in Sweden.  For more information on Fylkingen, please visit or

The journal of music and meaning revamped

In the new issue, no. 9, of The journal of music and meaning, the editors announce that the journal will be published in blog format from now on. Entire issues will not be published at the same time. Instead, papers will appear in the blog when ready. The posts consists of and abstract, the author's credentials, and a link to the paper in PDF. This is good news, although I find the new format somewhat confusing, perhaps because the new issue lacks a table of contents.

JMM #9 contains some articles of particular interest to readers of this blog:

Sunday, 23 January 2011

Some notes from the Lustmord seminar at Audiorama, January 14

Brian Williams, a.k.a Lustmord, resists being pigeonholed, but it's probably safe to say that Lustmord was instrumental in creating the dark ambient genre in the early 1980's. During this period, he was also involved with the industrial acts SPK, Throbbing Gristle and Nurse with Wound. Among Lustmord's most successful records are Heresy (1990), The Place Where the Black Stars Hang (1994), and Stalker (together with Robert Rich, 1995). In 1993, he started working as a sound designer and sometimes composer for motion pictures, e.g. The Crow, From Dusk till Dawn and Underworld. A born Welsh, he now resides in Los Angeles, where he has collaborated with metal bands Tool and Melvins.

Williams began the seminar by playing Lustmord’s very first track, and told us a bit about his childhood and attending art school in the U.K. He continued by playing some examples of his work in movie sound design, which mainly entails providing composers with sound libraries, where the same basic sounds are available in many variants. Ordinary sounds are usually transformed to feel bigger and have more impact. Sounds and music are added during post-production, when the team is short of time and money, so composers and sound designers have to work under heavy time pressure.

Lustmord was started because Williams didn’t hear the music he wanted to hear, but now he never listens to dark ambient, dislikes being imitated, and doesn’t want to collaborate with people doing the same thing as himself. He prefers Kraftwerk and music with a slow groove, like dub and early hip hop.

Williams considers a Lustmord album a single work, not a collection of tracks. Rather than being “dark” or “ambient”, he wants to express a sense of awe and a cosmic world view, where man is insignificant (Williams is an atheist). The records are always based on a specific idea, but he categorically denied seeing pictures in his head when composing: “I work only in sound”. The sound should be big and dynamic, and he uses none or very little compression.

When asked why he so seldom plays live, he answered that it hadn’t been very practical earlier, and that he hadn’t thought that it would be very interesting for an audience, but he changed his mind after seeing Kraftwerk using laptops on stage and after his own performance for Church of Satan in 2006.

Although Williams didn’t seem very eager to speak about his work, and hadn’t prepared his presentation thoroughly, he willingly answered the audience’s questions. He was humble about his accomplishments, and described himself as a ”non-musician”, due to his lack of formal training. He stressed that equipment doesn’t matter, but ideas do, and considers himself to have a punk attitude – “You can do it!” – from the early years spent with Throbbing Gristle, when “punk actually meant something for a year or so”. He stated that punk isn’t a style, but an approach, a way to do something. Perhaps that is the reason why Williams doesn’t want to be associated with a certain genre.

Denna text finns också på svenska hos Nutida Musik.

Tuesday, 18 January 2011

New books in EMS' library

  • Daniels, Dieter ; Naumann, Sandra & Thoben, Jan: See this sound : audiovisuology : compendium : an interdisciplinary survey of audiovisual culture
  • Falkenberg Hansen, Kjetil: The acoustics and performance of DJ scratching : analysis and modelling
  • Flisbäck, Marita: Konstnärernas inkomster ur ett jämställdhetsperspektiv : ekonomi, arbete och familjeliv
  • Foy, George Michelsen: Zero decibels : the quest for absolute silence
  • Gilfillan, Daniel: Pieces of sound : German experimental radio
  • Groth, Sanne Krogh: To musikkulturer - én institution : forskningsstrategier og text-ljudkompositioner ved det svenske elektronmusikstudie EMS i 1960'erne og 1970'erne
  • Keizer, Garret: The unwanted sound of everything we want : a book about noise
  • Bussy, Pascal: Kraftwerk : man, machine and music
  • Herzogenrath, Wuld & Ingmar Lähnemann: Christina Kubisch : Stromzeichnungen : arbeiten = electrical drawings : works 1974-2008
  • Kubisch, Christina: Wellenfang
  • Meyer, Petra Maria (ed.): Acoustic turn
  • Motte-Haber, Helga de la ; Osterwold, Matthias & Weckwerth, Georg: Sonambiente 2006 Berlin : klang kunst sound art
  • Niebur, Louis: Special sound : the creation and legacy of the BBC Radiophonic Workshop
  • Nudds, Matthew & O’Callaghan, Casey (ed.): Sounds and perception : new philosophical essays
  • O’Callaghan, Casey: Sounds : a philosophical theory
  • Peters, Gary: The philosophy of improvisation
  • Prochnik, George: In pursuit of silence : listening for meaning in a world of noise
  • Ramb, Stefanie: Zwischen radioteater und ljudkonst : ist das Hörspiel in Schweden auf unabhängigen Wegen in eine experimentelle Zukunft?
  • Seiffarth, Carsten & Steffens, Markus (ed.): Singuhr - hoergalerie in parochial : sound art in Berlin : 1996-2006
  • Seiffarth, Carsten; Schneider, Detlev & Broeckmann, Andreas (ed.): Tesla Berlin : medien>kunst<labor 
  • Whittington, William: Sound design and science fiction

Friday, 7 January 2011

PhD for Paulina Sundin

Congratulations to Swedish composer Paulina Sundin, who has recently finished her doctoral dissertation, Re-inventing harmony in electroacoustic music : a commentary on my recent music! Here is the abstract:
Re-inventing Harmony in Electroacoustic Music reflects on research regarding structuring pitch-based material in my music written between 1999 and 2010. The selected works illustrates the process leading up to my research based on psychoacoustic consonance and dissonance and my strategies to create a new kind of harmony – a harmony based on concrete sounds with inharmonic spectra.

The discussion will refer to pieces by composers who have worked with harmony based on the analysis of sound spectra; instrumental and mixed works by spectralist composers such as Grisey, Murail and Saariaho and electroacoustic works by Harvey and others.

I will address the importance of research in the psychoacoustic field, in particular, research by William A. Sethares regarding inharmonic spectra and scales and how it has affected my works.
(One can download the dissertation via the link above, although it's painfully slow, at least right now, and sometimes the download is aborted.)