Thursday, April 01, 2010


Professional Opportunities Compilation
March 24, 2010
Harvestworks New Works Residency Program
The New Works Residency Program offers commissions of up to $4000 to make a new work in our state of the art digital media facility. The artist works with a project manager, engineer and programmer (if required). New works may include multiple channel audio or video installations, interactive performance systems, data visualization or projects involving hardware hacking, circuit bending or custom built interfaces, as well as projects that use the web. Emerging artists and artists of color are encouraged to apply. Residencies run from July 1, 2010 - June 30, 2011.
Deadline: April 1, 2010
Synapse Residency Program
The Australian Network for Art & Technology (ANAT) is calling for applications from Australian creative practitioners and science and research organisations for the 2010 Synapse Residency program. Now in its fifth round, the program is a core element of the Synapse initiative of the Australia Council of the Arts and ANAT, which enables collaboration between artists and scientists.
Deadline: April 23, 2010
Postdoctoral Positions at New England Complex Systems Institute
The New England Complex Systems Institute (NECSI) has openings for postdoctoral appointments in the study of complex systems. In addition to general projects, there will be openings in research fields such as: Social and global systems, biological systems, cognitive systems, evolution, non-equilibrium dynamics, agent based modeling, multiscale analysis, complex systems engineering, management /organization science, and education of complex systems concepts. NECSI Postdoctoral fellows may also receive joint appointments at MIT, Harvard, or other Boston-area academic institutions.
EMPAC: Artist & Scholar/Researcher in Residence
EMPAC is pleased to announce that it is accepting applications for both its Artist in Residence and its Scholar and Researcher in Residence programs. For full program details, guidelines and application information visit:
The Vermont Composition Workshop
A week-long workshop for composers led by Jon Appleton, with adjunct faculty Dennis Bathory-Kitsz and Ileana Perez Velázquez. The Vermont Composition Workshop (VCW) is designed for active composers who are seeking a critical ear and/or new directions for their music. It is conducted in a small setting, residency based, and accommodates three students per session. The workshops are led by the instructor selected by the participant. Individual instruction and critiques take place daily throughout the week; group discussion are held three times per week.
I’d like to alert you to the 7th annual composition course this summer as part of the “UPBEAT” International Summer Music School in the town of Milna on the beautiful Adriatic island of Brac in Croatia. The dates of the course are 8 through 17 July. The composition course in Milna consists of a series of daily group meetings with Professor Joel Hoffman. The course this year will focus on writing for an ensemble consisting of composer-performers and selected instrumental musicians from other courses in the International Summer School "UPBEAT".
Deadline: April 30, 2010
Metamorphoses 2010
The Métamorphoses composition competition comprises two categories:
category A for composers under the age of 28 and composition students (proving such quality) and category B for all composers of less than 50 years old who wish to compete in this category.
The competition takes place in two stages:
1. Members of the pre-selection jury receive and listen to all the competing works. Then they meet at the end of June 2010 to listen again to the best entries and choose the 5 or 6 works from category B that will be selected for the October 2010 final and published on stereo CD. This jury also elects the winner of category A, whose work will also be included on the CD.
A spatialization competition will be held during the festival L'Espace du Son in October 2010. The candidates will perform a set work chosen from the works received for the Métamorphoses competition. The jury reserves the right to decide whether this work will be included on the CD.
2. During the final of the Métamorphoses competition which will take place on 21 October 2010, the finalist composers who wish to do so can spatialize their work in public on the M&R acousmonium (loudspeaker orchestra). At the end of the evening, a jury different from the preselection jury will determine the ranking and award prizes.
Deadline: April 2, 2010
Eighth International Competition for Composers, Citta' di Udine
The competition will accept unpublished compositions by musicians of any nationality and of any age. In the following categories: instrumental compositions for chamber orchestra and electro-acoustic music. Previously performed compositions will be accepted. More than one composition may be submitted.
Deadline: April 30, 2010
The Foundation Destellos
The Foundation Destellos, call for works for the Third Competition of Electro-acoustic Composition, open to composers and artists of any nationality, up to 50. The objectives of this competition are the promotion and development of the artistic creation in relation with new technologies. Likewise, it is an intention of the Foundation Destellos to stimulate the creativity of the young generations of artists and to provide them new routes of diffusion of their works. The first prize will be attributed by Destellos and will consist of 500 American dollars and a residence of study of Mar del Plata(Argentina). The second two prizes, consisting of collections of CD of electroacoustic music, offered by: The organization Akusma
Deadline: April 30, 2010
Unique Forms of Continuity in Space: International Composition Competition and Workshop
To celebrate the 2010 Week of Italian Language throughout the World, during the month of October, the Italian Institute of Culture, Melbourne, and the Federazione CEMAT (Sonora supported by the Italian Ministry for Foreign Affairs, and the Italian Ministry for Cultural Affairs Department for Performing Arts), will sponsor an international competition and workshop for composers.
Deadline: April 30, 2010
International Music Prize for Excellence in Performance 2010
The National Academy of Music, a Colorado public educational charity, in conjunction with the Municipal Conservatories of Neapolis and Sykies in Greece, is pleased to announce a call for submissions for the 'International Music Prize for Excellence in Performance 2010', an international competition for instrumental and vocal performers. The goal of this competition is to encourage and motivate highly talented performers of all ages and levels, from the earliest stages to professional, to persist in building a career in performance by rewarding them with recognition and honour. Each entry consists of an entry form, a video-recorded audition and an entry fee. Entrants must submit their performance in a standard DVD Video format.
Deadline: April 30, 2010
Prix Ton Bruynèl 2010
The Foundation Ton Bruynèl is pleased to announce the Prix Ton Bruynèl 2010. Every two years the Foundation intends to award a prize of 3000 Euro in order to stimulate the creation of new works. Composers of any age or nationality may submit one electroacoustic work in each category:
A: works for tape / live electronics only, maximal duration 10 minutes
B: works for tape / live electronics and one to eight instruments, maximal duration 15 minutes
C: works for mixed media, maximal duration 20 minutes
Deadline: May 5, 2010
T-Stick Composition
The 2010 T-Stick Composition Workshops (2010TCW) bring together five composers (any nationality, all ages) to develop new live electroacoustic solos for the soprano t-stick digital musical instrument in collaboration with Canadian composer and digital instrumentalist, D. Andrew Stewart. 2010TCW is looking for composers who have distinct proposals for the t-stick. Preference will be given to unique projects that, firstly, illustrate a wide-ranging use of the t-stick and secondly, seek to expand the performance modes of the instrument.
Deadline: July 1, 2010
Soundcrawl: Nashville
Calling all: electroacousticians, composers, musicians, sound artists, noise designers, aural engineers, audio tinkerers, etc., etc. from anywhere at any time to a call for works for SoundCrawl:Nashville 2010. We are looking for stereo works not longer than 7 minutes in AIFF format. Submitted files must be titled as LastName_PieceTitle. Video projection is available this year in one space. Submitted video files must be formatted in h.264 .mp4 with the same time restrictions and stereo sound. There are no live performances.
Deadline: August 1, 2010
ISCM World New Music Days 2011 Zagreb, Croatia
26th Music Biennale Zagreb 7-17 April 2011
Members of the International Society for Contemporary Music as well as music publishers and individual artists are encouraged to submit their works according to the detailed instructions and criteria described in the call for works.
Deadline: August 1, 2010
IMCSIT is organized by the Polish Information Processing Society in cooperation with the IEEE Computer Society (Poland Chapter), Council of European Professional Informatics Societies (CEPIS), the Systems Research Institute Polish Academy of Sciences, and the Institute of Computer Science Polish Academy of Sciences. IMCSIT is now accepting proposals concerning a number of topics.
Deadline: May, 31, 2010
eContact! extends an open call for contributions to an issue featuring divergent approaches to electroacoustic creation, including hardware hacking, live coding, DIY instruments and set-ups, circuit bending, installations, interactivity, laptop orchestras, videomusic and more.
Deadline: May 1, 2010
Organised Sound
Denis Smalley: his influence on the theory and practice of electroacoustic music. Denis Smalley is one of Britain’s foremost exponents of acousmatic music, and a voice of international influence in both music and words. In marking his 65th year (2011), this issue aims to re-evaluate and extend the ideas and issues raised Denis Smalley’s music and writings, to develop their connections with the work of others, and the UK. It will focus especially, but not exclusively, on theoretical writings such as ‘Spectromorphology and Structuring Processes’ (1986), ‘Defining Timbre – Refining Timbre’ (1994), ‘Space-Form and the Acousmatic Image’ (2007), and on the influence of Smalley’s musical output. New analyses will be welcomed, especially those which seek to apply or evaluate Smalley’s theoretical ideas through analysis of his music or that of other composers or the development of future analytical tools. Naturally, there will be a focus on acousmatic music, although music with live instruments will not be excluded since it also features in Smalley’s output.
Deadline: June 15, 2010
1st Biennial in Music Composition and Education
The Department of Music of the School of Arts - College of Philosophy and Humanities of the National University of Córdoba, Argentina intive you to participate in our 1st Biennial in Music Composition and Education that will take place in our University Campus Pabellon CEPIA and MEJICO on 1-2-3 September 2010.
Deadline: June 30, 2010
Leonardo Journal: Nanotechnology, Nanoscale Science and Art
2011 is the International Year of Chemistry! To celebrate Leonardo is seeking to publish papers and artworks on the intersections of chemistry, nanotechnology and art for our on-going special section on nanotechnology and the arts. Since its inception nanotech/science has been intimately connected to chemistry; fullerenes, nanoputians, molecular machines, nano-inorganics and self-assembling molecular systems all spring from the minds and labs of chemists, biochemists and chemical engineers. If you’re a
nano-oriented chemist who is serious about art, an artist working on the molecular level, or a chemical educator exploring the mysteries of nano through the arts we are especially seeking submissions from you.
Organised Sound: An International Journal of Music and Technology
The distinctions between a performer, an instrument, and an environment seem at first glance self evident, but plenty of evidence exists that the relationships between them can be complex and dynamic. A musical instrument is not, or at least not only, a physical object, but has properties which emerge through use or expectation (programming). A systemic understanding of performance activity might usefully enhance our understanding of the interpenetrations and feedback systems which exist between apparently disparate component parts. As we move into a musical world where we can intervene digitally in the performance ecosystem we open up possibilities for new formulations of and relationships between the ‘components’, whether by accessing ‘distant’ or virtual audiences/environments, or by combining physical and virtual elements in an unforeseen manner.
Music has always drawn on other disciplines and ways of modelling the world for metaphors which expand its resources both sonically, as organised sound, and socially, as human activity. This issue of Organised Sound invites submissions from both theorists and practitioners for whom ecosystemic or biological models form a provocative or productive point of departure for any aspect of their work.
Deadline: November 1, 2010
Lecture and Workshop Series: Living Circuits by Phillip Stearns
Current VanLier resident Phillip Stearns offers a 5-part educational lecture/workshop series on basic electronics and networked sciences. Lectures will be held on evenings during the week free of charge and be accompanied by an optional hands-on ticketed workshop held on the weekend following. The goal of the lectures is to provide a background and context to the contemporary use of electronics, computing, and biology in the development of neural networks. Each lecture will contain a historical overview of a key topic accompanied by demonstrations and animations. The optional workshops will focus on applying the information and knowledge presented in the lecture through hands on-projects led through slide-show, animation, and direct instruction.
20th Annual Deep Listening Retreat
Deep Listening® is a form of meditation based on experiencing heightened awareness of sound, silence and sounding. Deep Listening practice evolved and developed from Sonic Meditations (Smith Publications, 1971) an earlier body of work by Oliveros now performed in many parts of the world. Daily Retreat activities with instructors Pauline Oliveros, Heloise Gold and Ione include seven hours of daily ritual, attention to breath, listening/sounding meditations, T’ai Chi and Qi Gong movement practices, practicing, journeying for expanded creative resources, listening through dreams, tracking listening with sound journals, interaction, discoveries, exploration strategies for creating and performing, scoring, writing, drawing, creative movement sessions in the open air, listening for creative opportunities, free time, exchange and lively conversation.
July 6-10, 2010 Nau Côclea Camallera, Spain
EcoSono Institute
Study and research environmental sound, marine ecology, recording and computer music composition while exploring the beauty of the Caribbean Sea during this two-week summer intensive program in Puerto Rico, St. Kitts, Dominica, Barbados, Grenada, Trinidad, Curacao, Bonaire and Aruba. The adventure will offer a fascinating course of study in sound and ecology from the comfort and safety of a first class ship as we explore the beauty and culture of the Caribbean. The Institute will be led by UVA Professor and international award-winning composer, technologist and teacher, Dr. Matthew Burtner ( ). The academic concentration will be supported by advanced creative work, and travel in the Caribbean
Deadline March 31, 2010
Join Leonardo at a Discount and Enjoy Full Membership Privileges in the Leonardo Education Forum
The Leonardo Education Forum (LEF) is currently recruiting new members. LEF members benefit from the full range of benefits available to members of Leonardo/ISAST (discounts, invitations to networking events) as well as those available to LEF (voting privileges and the eligibility to present papers at conferences where LEF has a presence including CAA, SIGGRAPH and many others worldwide)
When you subscribe to Leonardo or Leonardo Music Journal (at any level) you will automatically become an associate member of Leonardo/ISAST. We encourage you to renew (or begin, if you are new to the community) your Leonardo/ISAST subscription and membership today with the 20% discount, by visiting: (at checkout enter LEONLEF09 in the discount code box).
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Monday, November 30, 2009

Milkcrate 32: Adventures In Homewares Featuring The Mortar And The Pestle Now Online

"An exploration of the sounds of the mortar and the pestle. Enter a sonic world of isolation."

Milkcrate 32: Adventures In Homewares Featuring The Mortar And The Pestle is now online on the milkcrate website. Grab it here.

Milkcrate 31: rrrr Now Online

"A wonderful masterpiece of drone music, created using rocks and stones. "

Milkcrate 31: rrrr is now online on the milkcrate website. Grab it here.

Saturday, October 03, 2009

Milkcrate #31 - Brian Green - "rrrrrr"

Experimental musician / circuit bender / generative composer Brian Green (from South Carolina, USA) has made a work under the standard milkcrate conditions.

"rrrrrr" is a drone piece 149 minutes long, made from the sound of clinking stones together.

"I decided to give another go at the milkcrate project as i really enjoyed the last one i did and i feel i push myself alot to do very different things when im doing one of these," says Brian.

Listen to Brian's session and read more about it on his blog here.

Friday, May 22, 2009

The Sound of a Pin Dropping

Milkcrate #30 is now online -

Milkcrate 30 - It Is Finished

We've finished this milkcrate, website will be updated soon.

3rd song done and a PB

I'm currently waiting for my 3rd song to export. It goes for 19 minutes 27 seconds, and is not only a personal best for any Milkcrate song written by myself, but is longer than the total mount of music I have ever written in any Milkcrate session :D

Seb has just gone for a nap, after writing the longest Milkcrate track, ever.

It's 2:51 AM

My track is now 65 minutes and 36 seconds long.
I think it's time for a break.

Thursday, May 21, 2009

It's 10:09 PM

I've written more than 30 minutes of music.
And it's just one track so far.

Can I have that with more gr00ve? I need a little more gr00ve. Thanks.

This is my 12th Milkcrate, and my first in about 2 years. Last week I dusted off my PC after not having used it in 12 months. I haven't used Cubase in that long but it's all coming back to me. I'm currently finishing my 2nd track. My first track went for a minute and a half and was made up of ambient sounds, my 2nd track has more pitched sounds and is currently going for 3 minutes.