NEWS – Sound:Gender:Feminism:Activism Research Event, London College of Communication

Von: holly via cec conference

Datum: Tue, 18 Oct 2016

Betreff: [cec-c] Sound:Gender:Feminism:Activism Research Event, London

College of Communication



White Noise

11th and 12th November 2016, 10am – 6pm


London College of Communication

London, SE1 6SB

Tickets: £25/10 including a special publication celebrating SGFA

and lunch (Leon Lewis gourmet vegetarian catering) on both days.

Book here

Join Facebook here

Join us on Twitter

At SGFA::2016 we will seek to listen together to the complex interplay

between the auditory and social protocols of White Noise. Working out

from white noise’s original sonic conception of a random frequency,

broad-based signal that seemingly masks everything else, white noise is,

increasingly, all around us. As Jennifer Stoever-Ackerman explains,

white noise has become a “sonic protocol,” a socio-cultural norm

transmitted as an often sub-audible yet ubiquitous frequency,

establishing and maintaining perceptual limits of what and who can be heard.

As in previous years, SGFA::2016 will feature a mixture of live

performance, audio and video work and scholarly papers from presenters

including Annie Goh, Anuka Ramischwili-Schafer; Barby Asante and Side

Room; Dan Scott; Gabriella Beckhurst; Gilles Aubry; INVASORIX; Marika

Pratley; Miriam Schinckler; Natasha Lall; Nicola Woodham; Paul Tourle;

Poulomi Desai; Rebecca Bruton; Rommi Smith; Seda Ergül and Tuna Erdem

(Istanbul Queer Art Collective); Shanti Suki and Syma Tariq.

We are delighted to announce that our keynote presenters will be curator

and art historian Christine Eyene and Kingston University chair of

sociology and gender, Professor Vron Ware.


Book here

Join us on Facebook

Join us on Twitter

Dr Holly Ingleton

Associate Lecturer Sound Arts and Design



London College of Communication

University of the Arts London

NEWS – Seminar: Listening to the End of the World

Von: Dawn Scarfe

Datum: Tue, 18 Oct 2016

Betreff: [cec-c] Seminar: Listening to the End of the World

Listening to the End of the World: Live streaming the University of

Tokyo Cyberforests and other remote objects

Sat 29 October 2016

13:00 – 17:00

Goldsmiths University of London

Room 274, 1st floor Richard Hoggart Building

New Cross

SE14 6NW

A team from the University of Tokyo will present the work of

Cyberforest, a unique trans-disciplinary research programme which has

been streaming and archiving live sounds, video and other data from the

University of Tokyo Forests since 1995.

London-based artist collective SoundCamp will curate two panels bringing

together artists, academics and naturalists to place this pioneering

work in the context of related practices in the UK and beyond. This

sharing of ideas and experiences will be the basis for further exchanges

and collaborations.




John Levack Drever (SPR, Goldsmiths)

Hill Hiroki Kobayashi (University of Tokyo)

Rachel Jacobs (Active Ingredient and MRL, Nottingham)

Glenn Boulter (Octopus Collective, Cumbria)

Sarah Dalrymple (Cumbria Wildlife Trust)

Japan Bird Research Association

Organised by:


Hosted by:

Unit for Sound Practice Research, Goldsmiths


£ Donation

Available from eventbrite

NEWS – Sound Source Separation Website (Latest Updates)

Von: Kevin Austin via cec conference

Datum: Mon, 17 Oct 2016

Betreff: [cec-c] Sound Source Separation Website (Latest Updates)

Back in January of 2015 I went live with my website,

, which is dedicated to providing a

collection of resources for individuals interested in upmixing older

mono musical source material to stereo through the use of audio spectral

editing, sound source separation, and related processes.

The website has now been visited by individuals in 110 countries! Of

particular interest to researchers are the over 1030 links to research

papers, presentations, etc. in the field, which are listed on the

RESEARCH pages of the website.

There are now almost 30 examples linked to on the MEDIA

pages of the website!

I recently added a search function to assist in searching the website’s

content. Be sure to check out the companion Facebook page

where I post information

about updates to the website as well as related content. Don’t forget to

“Like” the Facebook page to follow us!

As always, your comments, questions, and suggestions are always

appreciated and most welcome! If you are aware of any research papers,

presentations, etc. that should be added, please don’t hesitate to

contact me with the links! It is my sincere hope that you find the

website interesting, informative, and thought provoking!

Christopher Kissel

CALL – IRCAM-ZKM | Call for residencies

Von: Yannick Hofmann

Datum: Mon, 17 Oct 2016

Betreff: IRCAM-ZKM | Call for residencies

IRCAM-ZKM | Call for residencies

The artistic research residency program is open to composers,

professional musicians, choreographers, stage directors, sound

designers, and students who wish to carry out their musical and artistic

research using IRCAM or its partners’ facilities and extensive research


Upon nomination, each candidate will be granted a residency in an

associated laboratory during a specific period that will range from

three to six months long. During this period, candidates will work in

association with a team/project at IRCAM or with a partner (this year we

continue the collaboration with ZKM | Institute for Music & Acoustics),

carry out the musical and scientific experimental work associated with

their proposed project, and participate in the intellectual life of the


At the end of their stay, candidates will be invited to share the

results of their work with the international musical research community

in the form of documentation and public presentations.

Information on past editions can be seen on IRCAM’s Musical Research

Residency Website.

Call for proposals​​​

For the 9th edition of the Musical and Artistic Research Residency,

IRCAM invites composers and artists to submit artistic projects on novel

and unexplored paradigms requiring collaborations with IRCAM research.

The program is open to all artists, regardless of age or nationality,

who wish to carry out experimental research using partners’ facilities

and extensive research environment. An international panel of experts

including researchers, composers, computer musicians, and artists will

evaluate each application. Upon nomination, each candidate will be

granted a residency at IRCAM (for the IRCAM Track) or in a partner

institution (for the joint ZKM/IRCAM Track) during a specific period

(three or six months) and in association with scientific team/projects.

Selected candidates receive the equivalent of 1,200 Euro per month to

cover expenses.

Applications are accepted only online via the Ulysses Network: Applicants can submit their material

upon creation of an account on the website. The deadline for application

is October 30th 2016 (midnight Paris time).

An international panel of experts will evaluate all applications and

final results will be announced in January 2017. In special cases, a

scientific committee organized by IRCAM and partners may interview the

candidates. Evaluation is based on the project’s novelty and

collaborative aspects, and the holder’s prior experience and ability to

undertake the proposed project.

For the 2018 edition, applicants can submit applications for either of

the following tracks (to be specified in the online application form):

IRCAM Residency Track

Candidates will work in the context of the Research and Development

department in Paris, in order to pursue their work. They will

collaborate with members of IRCAM teams thus enabling them to deepen the

muscial and technological issues explored through experimentation as

well as participate in the intellectual life of the institute.

ZKM / IRCAM Joint Residency Track

The purpose of the Joint ZKM/IRCAM residency is to foster collaborations

between the two institutions around one or two artistic projects that

demand joining research, technical and artistic efforts between the two


Candidates applying to the Joint ZKM/IRCAM Residency Track should choose

the Special Track in their application. Submitted applications should

clearly demonstrate collaborative aspects with two institutions for the

project. The Work Plan of the proposal should also clearly demonstrate

the will to carry out the project in both locations (Paris/France for

IRCAM and Karlsruhe/Germany for ZKM) during the project life. Given the

bi-localized nature of this call, the minimum duration residency for

this call is 4 months. Final selection for this track is subject to a

joint evaluation of proposals by ZKM and IRCAM, based on relevancy,

quality and novelty of proposed projects.

Final laureates of Joint ZKM/IRCAM Residency Track can redeem travel

costs between laboratories once or twice during the residency, based on

the proposed project. Laureates are expected to spend at least half of

their residency period in each institution.

For this call, the Joint ZKM/IRCAM Residency Track program is

particularly interested in artistic residencies calling for innovative

employment of Wavefield Synthesis, Vector Based Amplitude Panning and

Ambisonics spatial sound diffusions. But proposals covering other themes

within the activities of both institutions are welcome.

ZKM is a cultural institution in Karlsruhe, Germany, that combines

production and research, exhibitions and events, among others, for the

development of interdisciplinary art projects.

More about ZKM at:

Submission Instructions

Create an account (or use pre-existing account) on After creating your profile, create your

application for “Ircam – Artistic Research Residency Program” via the

“Your Application” panel. You can save your application as draft before

the submission deadline. The system will warn for any incomplete

material before the final submission.

Applicants are highly encouraged to consult existing and prior work

related to their proposed project at Ircam and elsewhere through various

sources including Ircam Research websites and program partners.

Required material:

– Biographical details: Short biography, Detailed CV, and Motivation Letter

– Project title – Project abstract

– Detailed Project Proposal: Detailed Project description, including

the state-of-the-art background and justifications on the novelty of the

proposed project, and possible ways to achieve goals through a

collaborative musical research project. Projects should clearly address

artistic challenges that can be solved/explored using scientific and

technological advances.

– Summary of collaborative aspects: Briefly describe the collaborative

aspects (within a research and artistic environment) that the proposal


– Work plan: Preliminary work plan including requested residency period

and duration (between January 2018 and December 2018), and Ircam teams

or staff who will be involved with the project.

– Multimedia (audio/video) samples: Samples of prior or current work

representative of the artistic and research quality of the applicant’s

work. Submission of program notes and scores along the multimedia is

highly recommended.


– Applications can be in French or English for the Ircam Track, English

is mandatory for the joint ZKM/Ircam residency track.

– Application procedure is strictly ONLINE. No material through mail or

post will be considered.

– A candidate can not represent for more than two consecutive years.

Submission deadline is strict and will be automatically closed by

October 30th 2016 (midnight Paris time). No exceptions will be granted.

– Any incomplete and defected application according to the above

guidelines will be rejected. Authors are responsible for the application

content and its verification.

– All submission materials are considered confidential and will not be

used by Ircam or any third-party without the consent of the applicant.

– The artistic research residency is by no means a commision for an

art-work or a scientific residency. It can however become an

experimental stage for an art-work in collaboration with scientific

research teams.

STARZACH-BÖRSTINGEN – CLOSING // Abschlussveranstaltung // vorort²_draußen Symposium

Von: Monika Golla

Datum: Sun, 16 Oct 2016

Betreff: CLOSING // Abschlussveranstaltung // vorort²_draußen Symposium


Abschlussveranstaltung // vorort²_draußen // Internationales


am Donnerstag, 20. Oktober 2016

•18 Uhr | Ausstellung [ 6 pm: Exhibition ]

>Brandstifter // Asphaltbibliotheque Börstingen“ – Installation

>Kosmas Giannoutakis // „Börstinger Klangströme“ – Sound Installation

>Andrea Golla // „Interventionen im öffentlichen Raum mit

Blattvergoldung“ – Installation im Öffentlichen Raum [ Public Space

Installatinon ]

•20 Uhr | Abschlusslonzert [ 8 pm: Final Conceret ]

>Gerald Fiebig // „Schulweg Börstingen“- Klang-Performance (UA) [ Sound

Performance ]

>Stephanie Müller & Klaus E.Dietl // „Börstingen 11“ – Stummfilm mit

Live-Musikperformance (UA) [ Silent Movie with Live-Music Performance ]

>Makiko Nishikaze // „Börstingen Hören“ – Klang-Performance-Stück (UA)

[ Sound Performance Peace ]

• Ort: Kleiner Veranstaltungsraum / RoteSofa // kunstort eleven

artspace, Schulstraße 27, 72181 Starzach-Börstingen

kunstort eleven artspace

Schulstraße 27, 72171 Starzach-Börstingen

Tel.: +49 1573 8218662

Tel.: +49 1520 1929499>


STELLENAUSSCHREIBUNG – 4 fully-funded PhD fellowships, Music Technology at NYU

Von: Kevin Austin via cec conference

Datum: Sat, 15 Oct 2016

Betreff: [cec-c] 4 fully-funded PhD fellowships, Music Technology at NYU

The Music Technology program

of New York University is accepting applications for at least 4

fully-funded PhD fellowships to start in Fall 2017. Fellowships are for

4 years including full tuition remission, health insurance and a yearly

stipend. Accepted candidates will join the Music and Audio Research

Laboratory (MARL, a multidisciplinary

team of scholars and practitioners working at the intersection of sound,

music, science and technology, and will work on a variety of projects

including recently-funded initiatives such as the NYU Holodeck, SONYC is

December 1.

We believe that both our program and the research community benefit from

the diverse viewpoints and ideas of a diverse body of scholars.

Therefore *we strongly encourage applications from women and other

groups traditionally underrepresented in science and technology research*.

For more information about the PhD program and MARL please visit:

Any questions about the program and our research can be sent to Juan

Pablo Bello (>).

About MARL: Since its foundation in 2008, MARL has produced more than

175 publications in books, conference proceedings and scientific

journals; raised in excess of $4M in funding from governmental agencies,

industry, private foundations, and a variety of university initiatives;

and gained visibility in a multiplicity of research communities such as

ICAD, AES, ISMIR, ICMC, NIME, and SMPC. Most importantly all of our PhD

graduates have gone to pursue research careers in industry and academia

in their areas of specialization.

About the Department: Music Technology at NYU is housed within the

Department of Music and Performing Arts Professions in the Steinhardt School of Culture,

Education, and Human Development. Founded in 1925, Music and Performing

Arts Professions functions as NYU’s „school“ of music and developed into

a major research and practice center in music technology, music

business, music composition, film scoring, music performance practices,

performing arts therapies, and the performing arts-in-education (music,

dance, and drama). Today, 1,600 students majoring in these renowned

music and performing arts programs are guided by 400 faculty. Our degree

programs are marked by an integration of performance, research,

technology, and practice, in ways that bring performance majors and

composers together with choreographers, directors, actors, dancers,

educators, librettists, and filmmakers in collaborative projects often

reviewed by the New York media.

About the University: New York University is the largest private

research institution in the United States, and one of the few schools

where faculty and students pursue exceptional scholarship that

integrates creative practice with STEM research. Students in Music

Technology take advantage of not only their own faculty and facilities

but also the Courant Institute of Mathematical Sciences, the Polytechnic School of Engineering, and research centers such as the Center for

Urban Science and Progress, the Center for Data

Science and the Media and Games Network (MAGNET).

Juan Pablo Bello

Associate Professor, Music Technology and Electrical & Computer Engineering

Director, Music and Audio Research Lab (MARL)

New York University

STUDIUM – Master of Music in Digital Arts and Sound Design at University of Miami’s Frost School of Music

Von: Juraj Kojs via cec conference

Datum: Sat, 15 Oct 2016

Betreff: [cec-c] Master of Music in Digital Arts and Sound Design at

University of Miami’s Frost School of Music

Would you be kind to invite any qualified undergraduate students to

consider UM for a Master of Music in Digital Arts and Sound Design at

UM?Many thanks.


The University of Miami’s Frost School of Music offers a Master of Music

degree in Digital Arts and Sound Design (M.M.). The degree provides

students with the opportunity to develop advanced compositional skills

in digital music and arts. The thesis project for this degree will

consist of a major work composed in the areas of digital music, sound

installation or multimedia.

The Frost School of Music is equipped with a number of state-of-the art

music technology studios which are available to the students. The DASD

students are encouraged to take advantage of collaborating with the

students and faculty from other disciplines. In addition to on-campus

opportunities, we have set up a network of relationships with major

music, technology and art institutions in Miami, which the students are

encouraged to explore. Interactive multimodal installations driven by

sensor technologies, techno-human performances, electronic music

ensemble events and outdoor public sonic experiences exemplify the

program’s focus on artistic exploration of new technologies. In addition

to their work with the faculty, the students interact with the visiting

artists that in the past included Jonty Harrison, Laurie Anderson, Mason

Bates Pamela Z, Jaroslav Kapuscinski and Mari Kimura to name a few.

To apply, the student must submit a portfolio

of original electroacoustic and/or multimedia works. The portfolio

should include items such as sound recordings, videos, programming

examples and any other related documentation. For specific requirements,

please refer to the Graduate Portfolio Requirements

After review of the portfolios, finalists will be invited to do an

on-campus interview. Teaching Assistantships are available to highly

competitive applicants. To be considered, the student must interview

with the department faculty.

Deadline: December 1, 2016

Program Contact: Juraj Kojs at

NEWS – Ouvirouver Journal v.12 n.1 is online

Von: Daniel Barreiro via cec conference

Datum: Fri, 14 Oct 2016

Betreff: [cec-c] Ouvirouver Journal v.12 n.1 is online

The current issue of the Ouvirouver Journal contains a special section

dedicated to Electroacoustic Music / Music Technology that might be of

interest to some list members.

This is the list of titles and DOI links (after opening the link for

each article click on „PDF“ to download it):

Round the World in Sixty Minutes: approaches to the evocation of space,

place and location in recent multichannel works

Jonty Harrison

Discurso y sentido en música electroacústica

Rodrigo Sigal Sefchovich

Identidad y arte sonoro: el proyecto “Argentina suena”

Raúl Minsburg

B – is for Bird – A game-audio musical work for resynthesized syrinx

Ricardo Climent

Site and Time Specificity In the Performance of Live Electronics

Theodoros Lotis

Hacia una metodología para la recuperación del Patrimonio Sonoro

Histórico. El Circuito de Restauración de antiguas grabaciones.

Daniel Schachter

STARZACH-BÖRSTINGEN – LABOR // interdisziplinäres Kunstfestival // vorort²_draußen Symposium

Von: kunstort_ELEVEN_artspace, Monika Golla

Datum: Fri, 14 Oct 2016

Betreff: LABOR // interdisziplinäres Kunstfestival // vorort²_draußen


LABOR // vorort²_draußen

ein experimentelles interdisziplinäres Kunstfestival

in Starzach-Börstingen


Samstag, 15. Oktober ab 15 Uhr


Sonntag, 16. Oktober ab 11 Uhr ***

Über 20 Künstlerinnen und Künstler aus 10 Nationen zeigen ihre

Klangkunst, Performance, Installationen, Filme, Audio-Wanderungen,

Vorträge und mehr.

• Alle Aktionen finden am kunstort eleven* und im Ort (Börstingen)

selbst statt. Beginn jeweils pünktlich mit der Performance „Finish-Line“

an der Bushaltestelle „Schule“, gegenüber Rottenburger Str. 3.

>Tizo All // Brasilien-Berlin // „Matches of Afternoon“ –


>Daria Baiocchi // Italien // „1916“ – Klangstück

>Eva Baumann // Berlin // „drinnen wie draußen“ – Installative

choreografische Versuchsanordnung

>Sara Belo // Portugal-Belgien // „MAGMA“ – Vocal Solo Performance

>Brandstifter // Mainz // „Asphaltbiblotheque Börstingen“ – Präsentation

>Harry Chapman // England // „Two Tracks, Two Speeds – Börstingen I+II

A/B“ – Experimentelle Filmskulptur

>Gerald Fiebig // Augsburg // Klangstücke

>Friendly Fire // Leipzig // „Walking (Inside: Börstingen)“ –

Performance Walk

>Werther Germondari // Italien // „Finish Line“ – Aktion Performance

>Kosmas Giannoutakis // Griechenland-Österreich // „Timelife – for

double bass and live audiovisual processes“ – Video

>Andrea Golla // Berlin // „Interventionen im öffentlichen Raum“ –


>Nikolaus Heyduck // Darmstadt // „Aussen – Innen – Börstingen (& XT)“

– Video-Klnag-Installation & Sound Performance

>Stephanie Miracle Companie* // USA-Essen // „Fakers Club – Episode:

Börstingen“ – Performance Walk

>Stephanie Müller & Klaus E.Dietl // München // „Listen To The Roots

Let Them Ring On“ – Video-Sound-Performance

>Makiko Nishikaze // Japan-Berlin // „Ein Tag in Börstingen im Herbst“

– Klangperformance

>Anja Claudia Pentrop // Potsdam // „Kunst durch Gefängnisgitter –

künstlerische Arbeiten zwischen Drinnen und Draußen“ – Thematischer Vortrag

>Veronika Reichl // Berlin // „Das Gefühl zu denken: Zum Verstehen und

Nichtverstehen von Theorie“ – Lecture mit Animationsfilmen

>Eyal Segal // Israel // „The Human Turgor“ – Lecture & Video Installation

• • • Genauer Zeit-Ablauf demnächst auf


kunstort eleven artspace

Schulstraße 27, 72171 Starzach-Börstingen

Monika Golla & Frank Fierke

kunstort ELEVEN artspace

Schulstraße 27, 72181 Starzach, Germany

Tel.: +49 1573 8218662

Tel.: +49 1520 1929499

Vienna Session

Von: Christian Banasik
Datum: Thu, 13 Oct 2016
Betreff: Vienna Session

concert Info

Vienna / Wien

22nd October 2016 / 8.00 pm

Galerie Wechselstrom
Grundsteingasse 44
1160 Wien

Christian Banasik:
audible gestures – typewriter sound labyrinth*

sound performance, live-electronics, remix

I See a Voice
Das Blindenspiel
Ihr Fassen nach Wind
Glass Cutter

best regards
christian banasik

DEGEM News in eigener Sache

Sehr geehrte Inserentengemeinschaft,

seit einigen Wochen habe ich einen Teil der Meldungen zu einem Blog

verlinkt (DEGEM News plus). Dies ist eine Erweiterung der DEGEM News,

keine Einschränkung. Die betroffenen Nachrichten enthalten nur eine

Subject-Zeile und als Meldung einen Link, der nach Blogspot weiterleitet.

Dieses Vorgehen hängt damit zusammen, dass der Hinweis, die Beiträge für

unsere News nur in Text und ohne Attachments an uns zu schicken, sehr

oft nicht beachtet wird. Um nicht jedesmal eine wichtige Meldung wegen

dieser Ignoranz unterdrücken zu müssen, bringe ich Beiträge, die ich

(sic, ich!) für wichtig halte, in diesem Blog. Der stellt übrigens nicht

mehr als eine Notlösung dar. Manche der so publizierten Meldungen werden

übrigens nicht ganz korrekt dargestellt, worauf ich keinen Einfluss habe.

Unser RSS-Feed bietet die üblichen systembedingten Möglichkeiten, Texte

und Links zu präsentieren, mehr nicht. Daher schicken Sie bitte die

Meldungen, die wir verbreiten sollen, in Reintext, OHNE HTML, OHNE

Anhänge! Die werde ich so schnell und vollständig wie möglich

bearbeiten. Danke!

Mit besten Grüßen,

Michael Hoeldke

DEGEM News admin.


HULL, UK – Sound + Space: Sonic Art from HEARO (University of Hull, UK)

Von: Rob A Mackay

Datum: Wed, 12 Oct 2016

Betreff: [cec-c] Sound + Space: Sonic Art from HEARO (University of

Hull, UK)

Sound + Space: Sonic Art from HEARO’

Middleton Hall, University of Hull

3rd Nov, 5pm – 6pm

A concert of sonic art and live electronic music, showcasing the latest

work produced by composers in the Music Studios of the School of Arts at

the University of Hull. Works will be projected over our brand new

immersive sound system HEARO (Hull Electroacoustic Resonance Orchestra),

taking the audience on a 3D sonic journey through spaces imaginary and

real. The programme includes award winning work from Rob Mackay and Matt

Barnard, a new composition for augmented trombone by Tony Boorer, and an

acousmatic/electronic work from graduate turned film composer Ben Fowler.

There will also be the opportunity to experience audiovisual

installations in the foyer before and after the concert. Including

‚Vuelo de Las Monarcas/Flight of the Monarchs‘ from Rob Mackay, Rolando

Rodriguez and Jessica Rodriguez and sound works from Tariq Emam and Carl


11am-1pm: Sonic Arts workshop. Observers welcome!

The workshop will feature an indroduction to sound diffusion on the

HEARO system; a demo from PhD student Tony Boorer on his new interactive

system for tromobone; and a talk from Ben Fowler about his recent

experience of composing the music for the movie ‚DxM‘ starring Sam

Neill, with examples mixed in Dolby Atmos.

Pay what you can – donations gratefully received for the University of

Hull concert series

Enquiries: 01482 465998,

Hope to see some of you there!


Dr Robert Mackay

Senior Lecturer in Music

Music Postgraduate Coordinator

School of Arts, University of Hull

T: 01482 466212