Sonic Residues 02 A festival of electroacoustic music and sound art events
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CALL FOR WORKS for Sonic Residues 02 -November 17 to December 3, 2000 - Melbourne Australia
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SONIC RESIDUES 02
A WEEK OF ELECTROACOUSTIC MUSIC AND SOUND ART EVENTS
A web of interactions defined by the score, the space, the time, the performer. An ever-changing, ever-evolving, temporal event that explains itself by leaving a residue; a fine mist of vibrations outlining the web.
Australian Center for Contemporary Arts, Melbourne
SONIC RESIDUES 02 is a week long festival of electroacoustic music, sound art and installations.
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Call for works
Garth Paine (curator) is calling for works that fall within two primary categories.
1) Evolutionary Pieces
These pieces will be established within one of several galleries, or a garden space attached to the gallery. They should evolve and change over a lengthy period of time (ie four to eight hours). They may draw on audience or visitor presence as an interactive response and they may use acoustic performers as part of the evolutionary process at different points during the day. It should be understood that these works will become part of a more complex background environment and should therefore be written with consideration for the other sonic events that will occur in the gallery, or in close proximity, throughout the day.
2) Works of Finite Duration
These works are being sought for five concerts that will occur daily, and twice on Saturday, March 11. Works should be not more than 15 minutes duration, and unless the composer can provide the hardware, of not more than eight tracks (Tascam DA38 Possibly ADAT).
The curators are looking for a variety of work that reflect the following four approaches to this genre:
1. Works that are generated solely from text or voice-based material.
2. Works that use found sounds, molded to create new sonic worlds that extend our notions of acoustic reality.
3. Works that use exclusively electronically generated sounds. Sounds that do not draw on any naturally occurring noises as source material for their synthesis.
4. Interactive works - works that allow you to physically engage with them through your movement and behavior to create and/or experiencing the multifaceted sound world of the work itself.
The Environment
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The overall theme is one of environment and interaction. There will undoubtedly be a lot of interaction between the pieces occurring within the space during the day. Works will not be separated by soundproofing nor doors, so a reasonable level of cross talk between exhibits can be expected. The curators will take the character of each work into consideration when developing the relationships between the works.
Interactive performance is encouraged and could take the form of audience interaction, dance, movement, singing, text and acoustic instruments. Consideration of Spatialisation is highly recommended.
It is hoped that an eight-channel spatialisation system will be available for the concerts.
No fees can be paid, however an APRA license will be current and those who register their works can claim a performance royalty.
The deadline for submission outlines is July 30, 2000 All submissions should include a detailed statement of required equipment with an indication by the artist of how much of that equipment they themselves can supply.
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Final recordings or scores must be received no later than July 30, 2000
Scores should be accompanied by a recording of the work.
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The objective of this event is to encourage a wider public interest in electroacoustic music and sound art.
We wish to thank the Australian Center for Contemporary Art (ACCA) for their generous sponsorship of this event.
Sonic Residues is generously supported through the 2000 Arts Grants of the Cultural Development Branch of the City of Melbourne.
Please contact Garth Paine.
Telephone - 61 3 95720133
FAX - 61 3 95720153
E-mail - garth@activatedspace.com
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Please send your submission to
Please also email me the program notes as a Microsoft Word RTF file and include them also in the body of your email incase I have a problem with the RTF file. Please also include a paper copy with you submission.
The programme notes should include a short biography. The Biog should be not more than one paragraph, and the programme notes should be not more than half a page.
The curator maintains the right to edit both pieces of text as deemed appropriate.
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