Sonic Residues 02

Subject: Sonic Residues 02
From: Garth Paine (
Date: Tue Nov 16 1999 - 00:40:35 EST




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.

March 6 - 12, 2000.
Australian Center for Contemporary Arts, Melbourne

SONIC RESIDUES 02 is a week long festival of electroacoustic music,
sound art and installations.

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
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 dissemination 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 December 30, 1999. 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.

Final recordings or scores must be received no later than January 17, 2000.
Scores should be accompanied by a recording of the work.

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 -



Listen to some of the tracks from my latest CD at
See my MAP1 installation (RealVideo)

Activated Space
. Composer, Sound Designer, Installation Artist
.. Interactives Designer, Exhibition Consultant 61 3 95720133

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