Call for Works - Sonic Residues

Philly the Kid (
Fri, 3 Oct 1997 14:05:55 -0700

>I thought this may be of interest;
>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 . . . . . . .
>Sunday, December 21, 1997.
> Linden Gallery, St Kilda, Melbourne
>Linden Gallery hosts Sonic Residues, an all day event of electro acoustic
>music and sound art.
>Call for works
>Garth Paine, the curator, is calling for works that fall within two categori=
>1) Evolutionary Pieces
>These pieces will be established within one of the four galleries available
>for this event. 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 a number of concerts that will occur at
>approximately two hour intervals during the day. They should be not more
>than 15 minutes duration, and unless the composer can provide the hardware,
>of not more than four tracks.
>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. There are four galleries available but they do not
>have sound proofing nor doors available to reduce the cross talk between
>the areas.
>The four galleries present an interesting challenge for the specialisation
>of sound and for interactive possibilities. Interactive performance is
>encouraged and could take the form of audience interaction, dance,
>movement, singing, text and acoustic instruments.
>It is hoped that a four channel dissemination system will be available in
>each studio, however playback devices are very limited and composers are
>encouraged to consider what resources they may be able to supply themselves
>to bring their works to fruition.
>=85 No fees can be paid, however an APRA license will be current and those
>who register their works can claim a performance royalty.
>=85 The deadline for submission outlines is October 18, 1997. All submission=
>should include a detailed statement of required equipment with an
>indication by the artist of how much of that equipment they themselves
>could supply.
>=85 Final recordings or scores should be presented no later than November 22=
>Scores should be accompanied by a recording of the work.
>This is an all day event to which you can buy an all day ticket ($10)or a
>single concert ticket ($5). There will be food and drink available on the
>lawn outside the Gallery so that people can make a day of it, being able to
>wander in and out experiencing the evolution of the sonic space and the
>individual concerts.
>=85 Concerts are proposed to occur at 12.00 PM, 2.00 PM, 4.00 PM, 6.00 PM,
>possibly 8.00 PM.
>The gallery will be available for installation on Saturday December 20.
>All the equipment will be required to be removed on the evening of Sunday,
>December 21.
>The event will be widely publicised by posters and in the press.
>The objective of this event is to encourage a wider public interest in
>electro acoustic music and sound art.
>=46inancial support from the Port Phillip City Council and Linden Gallery is
>gratefully acknowledged.
>Please contact Garth Paine.
>Telephone/FAX - 61 3 95275549 Melbourne, Australia
>E-mail -
>PS. I'd love some feedback on a paper I have just writen
>"Immersive Virtual Environments - A Social Perspective"
>Thanks in advance.
>Garth Paine
>Composer, Sound Designer,
>Museums, Dance, Film, Theatre
>Interactive Immersive Environments
>61 3 95259844 (W)
>=46ax 61 3 95275549