From Silence to Noise

Electric cars must make noise under new EU rules

Electric car plugged inStepping out in front of quiet cars is a particular hazard for blind people

Electric and hybrid cars will have to generate noise to make them safer for pedestrians, especially the visually impaired, the European Parliament says.

MEPs agreed that in future the vehicles must be fitted with devices to make them “sound similar” to cars with combustion engines.

The move has been welcomed by campaigners.

MEPs also voted to tighten noise emission standards for cars, vans, lorries and buses over the next decade.

The new law is expected to be rubber-stamped by the European Council.

Under the revised rules, new models of electric and hybrid vehicles will have to make a noise by 2019 and all new electric and hybrid cars must be audible by 2021.

However, with the number of quiet cars increasing all the time, it said the 2021 deadline was too late.

NordiCHI’14 Helsinki 26-30.10. 2014


Quick Facts about NordiCHI’14 Performance submissions

  • Deadline for submissions: August 14, 2014
  • Submission: by email to
  • Notification: September 11, 2014
  • Camera-ready deadline: September 18, 2014
  • Submission format: 2–4 pages in SIGCHI Extended Abstracts Format
  • At the conference: Monday evening, 27.10.2014
  • Archiving: Extended abstracts available for conference attendees on USB stick

A message from the Performances chair
For the first time, NordiCHI invites submissions of provocative, sophisticated, fun, fast and foundational music/sound art performances for the performance program of the conference, which will take place as part of NordiCHI’14 in Helsinki, October 26-30th 2014. We strongly encourage submissions that represent a diverse range of practices in any form of live music/sonic art, exploring the conference topic:
- artistic and aesthetic aspects of interaction and interface design

Koray Tahiroğlu, Aalto University

Performances at NordiCHI’14
The performances will take place in a casual environment during the conference get-together event. Maximum duration of 10 minutes is strongly encouraged for each submission. All the associated electronics, hardware, software must also be provided by the performer. The venue will include a decent sound system and video projection.

Performance submission content
Maximum 4 pages in SIGCHI extended abstract format; unanonymous.
Selected proposals will be included on the NordiCHI’14 USB stick.

The proposal must include:
• Title of work
• Name of composer/performer
• Description of piece
• Video URL of submitted proposal – links to any relevant media file of the performance
• Biographical note
• Duration, number of performers
• Technical requirements for the performance

Performance selection process
A jury will select the performances through a single-blind review process.


AudioHEARth is the collective name for an exciting series of events specifically designed to nurture the social side of Audiograft. Our eclectic programme, running alongside Audiograft, includes a buffet for Audiograft artists and audiences, a book club on Sounds & Literature, a Sound Art pub quiz, family friendly workshops, a Sonic Bingo and most importantly the Audiograft after-party, a unique chance for the artists, audiences and organisers to come together, network, drink and celebrate on the last night of the festival!

Sound Art in Flanders


8 → 25 MAY 2014 


Klinkende Stad is a leading project for international sound art. It is the twilight zone in which visual art, sound and music are brought together in sound installations and walks. Klinkende Stad 2014 invites you to discover the work of brash seventy-year-olds and legendary sound artists Bernhard Leitner (AT) and Akio Suzuki (JP).


Field Studies Spring Workshop London, 14-17 April

‘A sculpture can be heard before it can be seen’.
Joseph Beuys, 1982

Field Studies is a four-day masterclass led by acclaimed international artists and composers, complemented by a programme of workshops, evening lectures, screenings and performances. First taught in 2010 and originally conceived as a field-recording course exploring sound in the context of architecture and the city, Field Studies attracts students from many different backgrounds due to the course’s eccentric curriculum and the people who teach it.

Field Studies is an opportunity to learn how sound can be recorded; how hearing affects the way we perceive places and space; and how ‘sound’ can operate as a paradigm and starting point in creative practice and discourse. At the same time, the question of sound tends to move to the periphery as the course develops, in favour of other questions that may be about music, notation and choreography; recording and observation; public space, citizenship, or simple acts such as cooking and eating together. Adopted from a short essay by Paul Valéry that represents the value of distraction and practice over theory, this year’s subtitle pays hommage to the most interesting of these: how can a group of strangers, within a matter of a few days and often entirely without programme, form an ‘ensemble’ and develop something like a performance based on a common sense of purpose?

Field Studies is organised by Musarc, a research and teaching programme led by Joseph Kohlmaier at The Cass Faculty of Art, Architecture and Design, London Metropolitan University. Musarc explores performance and composition in relation to the creative process; investigates listening in the context of architecture and the city; and has at its heart one of London’s most progressive amateur choirs.

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Sam Auinger

Sam Auinger is a composer and sound-artist based in Berlin. Together with Bruce Odland he founded O+A in 1989. Their central theme is “hearing perspective”. Their work is known for large scale, public space sound installations which transform city noise into harmony in real-time. Beside his artistic work Sam Auinger was a guest professor at the University of the Arts in Berlin.. He is collaborating with cityplaners and architects, giving lectures and is a frequent participant of international symposiums on the topics of urban planing, architecture, media, the senses and sound in specific.


Michael Klïen

Michael Kliën’s artistic practice encompasses interdisciplinary thinking, critical writing, curatorial projects, and centrally, choreographic works equally at home in the Performing as well as the Fine Arts. His works have been performed and situated in many countries across the world. Commissions include Ballett Frankfurt, ZKM (Karlsruhe), Tanzquartier Wien and the Vienna Volksoper; exhibitions include IMMA (Irish Museum of Modern Art) and Hayward Gallery (London). He received a PhD from the Edinburgh College of Art in 2009 and, as a committed teacher, has been lecturing about his findings at numerous distinguished academic and non-academic institutions. He has been co-founder and Artistic Director of the London based arts group Barriedale Operahouse (1994—2000) and Artistic Director/CEO of Daghdha Dance Company (2003—2011). Based in Greece and Ireland, he is currently working as an independent artist.


Claudia Molitor

Photo by Claire Shovelton

Claudia Molitor is a composer/artist whose work often draws on traditions of music and sound practices but also extends to video, performance and fine art. Qualifications and hierarchies of listening and seeing are explored in work that approaches the musical experience as a multi-sensorial encounter. Her work is regularly commissioned, performed and broadcast throughout Europe, recently having worked with hcmf//, Spor, Tete a Tete, BBC Proms, Tate Britain, Electra Productions, Sonica, Turner Contemporary and Cryptic.


Aki Suzuki

Photo by Keiko Yoshida

A legendary Japanese sound artist Akio Suzuki has been performing, building instruments, and presenting sound installations for nearly 40 years. His music is simple and pure, exploring how natural atmospheres and sounds can be harnessed and then set free. To experience his art is to lose oneself in the sound that surrounds us. Akio performs on a range of unique self-made instruments including Analapos – an instrument he invented in the 1970s that creates echoes through the acoustic transmissions of a spiral cord stretched between two metal cylinders, De Koolmees - consisting of hollow glass tubes suspended over a frame, and an ancient stone flute (Iwabue) passed down through his family for many generations. Akio has collaborated with artists such as Toru Takemitsu, Takehisa Kosugi, Derek Bailey, Peter Brötzmann, Steve Lacy and John Butcher.



David Toop

David Toop is a composer/musician, author and curator based in London who has worked in many fields of music, writing and listening practice. He has recorded Yanomami shamanism in Amazonas, appeared on Top of the Pops, exhibited sound installations internationally, and performed with artists including John Zorn, Evan Parker, Bob Cobbing, Ivor Cutler, Akio Suzuki, Elaine Mitchener, Lore Lixenberg, Rie Nakajima and Max Eastley. His published books includeOcean of SoundHaunted Weather, and Sinister Resonance. He has released eight solo albums, including Screen CeremoniesBlack Chamber and Sound Body, and as a theorist and critic has written for many publications. Exhibitions he has curated include Sonic Boom at the Hayward Gallery, London, Playing John Cage at Arnolfini, Bristol, and Blow Up at Flat-Time House, London. His opera – Star-shaped Biscuit – was performed in Aldeburgh in 2012 and he is currently writing Into the Maelstrom: Improvised Music and the Pursuit of Freedom. He is University of the Arts London Chair of Audio Culture and Improvisation.



Joseph Kohlmaier

Photo by Chryssa Panoussiadou

Joseph Kohlmaier is an artist, teacher and graphic designer whose work ranges from public art projects to education, writing, performance and composition. Born in Austria, Joseph studied photography at the Schule für Künstlerische Photographie in Vienna and architectural history in London, where he gained a masters degree in 2005 and where he now teaches as a senior lecturer in the history and theory of architecture. He is one of the founding directors of graphic design practice Polimekanos. He founded Musarc in 2008 and acts as its creative director.


Stefan Kraus

Photo by Ludovic des Cognets

Stefan Kraus is an independent artist and director of graphic design practice Polimekanos. He worked in London for Imagination, Nick Bell Design and for Duncan Baird Publishers. Before moving to England in 1997, Stefan studied at the Hochschule der Bildenden Künste Saarbrücken in Germany, where he received his degree, and also for one year at the Beaux-Arts de Nancy in France. His main focus of his studies were fine art, art theory and design.


Melanie Pappenheim

Melanie Pappenheim is a singer and performer. Always interested in combining music with visual art, she has devised work with numerous leading multimedia groups including DV8 Physical Theatre, Lumiere & Son and The Shout. She appeared as the solo singer/actor in the award winning A Ring A Lamp A Thing at the ROH by playwright Caryl Churchill and composer Orlando Gough and also at the ENO as Elizabeth I in Dr Dee by Damon Albarn and Rufus Norris. Her voice has inspired many contemporary composers such as Gavin Bryars, Graham Fitkin and her long time collaborator Jocelyn Pook – she was the soloist in Pook’s highly acclaimed Hearing Voices, directed by Emma Bernard, performed at the QEH in December 2012 with the BBC concert orchestra. Melanie’s voice can be heard on countless TV and film scores including Gangs Of New York, Eyes Wide Shut and Dr Who – she was the soloist in the first ever Dr Who Prom in 2008. She runs her own company Flam Productions with fellow singer Rebecca Askew, composes music for plays and radio drama and has created several sound installations with Echo City stalwart Giles Perring. Her first collaboration with Musarc was ‘Sweet Dreams’ performed at St Sepulchre’s church in the City of London in July 2013.


Field Studies
Mon 14 – Thu 17 April 2014

The Cass Faculty of Art, Architecture and Design
London Metropolitan University
Central House
59-63 Whitechapel High Street
London E1 7PF


The fee for Field Studies is £350 for professionals and £290 for students. The course is limited to a maximum of 40 participants. To apply, please send a short statement to Joseph The application deadline is 1 April 2014.

Studio materials, recording equipment and lunch will be provided. You should bring your own laptop and install basic sound editing software (free software available – we can advise). You need to arrange your own travel to and from the faculty, and accommodation if you live outside London.

Sound and Safe

  • Unravels an aspect of life-listening while driving-that is an everyday reality for millions of people
  • Explains how and why the car has become such an important place for finding auditory privacy
  • Puts readers behind the scenes at international standardization committees and automotive test benches
  • Includes over fifty beautiful period images
  • Includes a YouTube discussion, analyzing automotive commercials

Do you enjoy listening to music while driving? Do you find radio traffic information indispensable? Do you appreciate the moments of your drive in which you can listen to or sing along with whatever you like?

This book shows how we created auditory privacy in cars, making them feel sound and safe, even though automobiles were highly noisy things at the beginning of the twentieth century. It explains how engineers in the automotive industry found pride in making car engines quieter once they realized that noise stood for inefficiency. It follows them as they struggle against sounds audible within the car after the automobile had become a closed vehicle. It tells how noise-induced fatigue became an issue once the car became a mass means for touring across the country. It unravels the initial societal concerns about the dangers of car radio and what it did to drivers’ attention span. It explores how car drivers listened to their cars’ engines to diagnose car problems, and appreciated radio traffic information for avoiding traffic jams. And it suggests that their disdain for the ever-expanding number of roadside noise barriers made them long for new forms of in-car audio entertainment. 

This book also allows you to peep behind the scenes of international standardization committees and automotive test benches. What did and does the automotive industry to secure the sounds characteristic for their makes? Drawing on archives, interviews, beautiful automotive ads, and literature from the fields of cultural history, science and technology studies, sound and sensory studies, this book unveils the history of an everyday phenomenon. It is about the sounds of car engines, tires, wipers, blinkers, warning signals, in-car audio systems and, ultimately, about how we became used to listen while driving.

Hearing Modernity




Grand Narratives of Sound - September 16, 2013 

Jonathan Sterne, Veit Erlmann

Decentering Sound - September 30, 2013

Ana Maria Ochoa, Charles Hirschkind

Sound in Torture and Surveillance - November 18, 2013 

Suzanne Cusick , Thomas Y. Levin

Mediated Technologies - November 25, 2013 

Flagg Miller, Trevor Pinch

Hearing Through the Body - February 24, 2014

Mara Mills, Mark Butler

Sounds and the Brain - Tuesday, March 11, 2014

Vijay Iyer, Aniruddh Patel

Aural Memory - March 31, 2014 

Wolfgang Ernst, Karin Bijsterveld

Reflections on the Voice  - April 14, 2014

Brian Massumi, Steven Connor

Ending Session - April 21, 2014 at 5pm 

Jacques Attali, French economist




Call for Entry - Selection for the Festival of Sonic and Audiovisual Creations

On the occasion of the fourth edition of the international festival “Segnali - Audiovisual and Performance Arts”, sponsored by the Francesco Morlacchi Conservatory of Music in Perugia, where one of the first ever departments of Electronic Music in Italy was set up in 1979, and the Pietro Vannucci Academy of Fine Arts, established in 1573 as the second of its kind in Italy after that of Florence, the organizing committee intends to attract attention to the work of the students of Italian music conservatories and fine arts academies, by also inviting works realized in the European higher education institutions of art and music, including those that explore the relationship between Aural Arts and Visual Arts and the various disciplines that fall under the heading of Sound Studies.

The opening of the festival to sonic and audiovisual creations from all over Europe reflects the intention of broadening the range of contemporary media taken into consideration. Therefore, in addition to sending audiovisual art, it will be possible to send the multimedia documentation of works that fall under the definition of Sound Art - with a particular emphasis on sound installations, sound sculptures, soundscapes and ‘soundwalks’ - also with the aim of putting together an archive for European research within the educational and research institutions that correspond to those in Italy.

Segnali 2014 will especially concentrate on audiovisual works (with a maximum duration of 30 minutes). It will be also possible to send documentation regarding audiovisual performances (lasting up to 45 minutes) and the selection committee reserves the right to request the staging of a live performance. The organizing committee also reserves the right to include the works of Sound Art it receives in any initiatives and exhibitions it may hold in future.

Works created in 2012, 2013 and 2014 are eligible and welcome. The decisions of the selection committee will be final and irrevocable, and the outcome of the selection will be communicated as soon as possible.

Each video submitted for selection must be accompanied by a Full Technical Information Sheet, in English or in Italian, which specifies as follows: the creator/s of the images, the creator/s of the music and sound, the biographies of the creator/s (max 500 characters including spaces), a short synopsis describing the work (max 500 characters including spaces), the country/countries of production, the year of production, the duration of the work in minutes and seconds, the original digital format, and the specifications for the video projection of the work. Appropriate informative materials must be provided with the documentation of the audio-video performances and all of the works of sonic art that are submitted to the 2014 selection committee, for the purpose of inclusion in the Sound Art archive.

The works submitted for selection must be received no later than Monday the 3rd of March 2014 and may be sent by post, or uploaded and transferred online in high quality video formats (mp4, mpeg4, mpeg, mov, avi). The postal address they should be sent to is:

Prof. Luigi Ceccarelli

Dipartimento di Nuove Tecnologie e Linguaggi Musicali-Cattedra di Musica Elettronica

Conservatorio di Musica “Francesco Morlacchi”

Piazza Annibale Mariotti 2

06124 Perugia

Indications for downloading the submitted works and relative multimedia documentation online should be sent to organization e-mail address:

The international festival SEGNALI. AUDIOVISUAL AND PERFORMANCE ARTS is promoted by the “Francesco Morlacchi” Conservatory of Music of Perugia,” the “Pietro Vannucci” Academy of Fine Arts of Perugia, the Umbria Region, the “Oreste Trotta” Regional Sound Archive, and the Municipality of Perugia (Centre for Contemporary Culture - Palazzo della Penna, Informagiovani and Youth Policies Department). It has the patronage of Perugia 2019 – a city which has been put forward as a candidate as the European Capital of Culture.

Special Session on: Machine Creativity through Intelligent Computational Means

The 5th International Conference on Information, Intelligence, Systems and Applications - (IISA 2014), July 7-9 2014 Chania, Crete

Creativity represents a fundamental aspect of human intelligence. Several interdisciplinary approaches attempt to identify the correlation between them: are they part of the same process or do they represent different / distinct ones? The recent scholar advances in the field of artificial intelligence and machine learning has exposed additional perspectives of creativity and intelligence relations, specifically applied in the field of intelligent, computer-mediated environments: Can machines be creative? Or, in a more technical sense, can creativity be modelled under an algorithmic perspective towards the implementation of machines that ultimately exhibit creativity or behave creatively?

Recent research efforts have indicated that the descriptive quality of several signal- dependent features can be potentially used for the automated generation of multimedia content with appealing aesthetic, or emotionally enhanced content. The latter criteria represent a fundamental base for defining machine creativity within the rather limited scope of modern, interactive audiovisual arts.

Aim of this Special Session is to highlight issues of machine creativity within the aforementioned research directions and scope, pinpointing the collaborative facets that may emerge from the field of computer-aided sonic/music and/or visual synthesis, under an artistic perspective. Therefore, submissions are encouraged that incorporate intelligent algorithms for audiovisual signal analysis and automatic multimedia composition, with focus on the potentialities that may emerge regarding the determination of quantities and techniques that can provide indications of machine- oriented artistic creativity. We invite original, high quality submissions with substantial contributions to this session, of which the topics of interest include but are not limited to:
• Affective and expressive multimedia interfaces
• Emotional descriptors for multimedia applications
• Emotion recognition
• Multimedia-related aesthetic measures and analysis techniques
• Subjectively driven multimedia synthesis
• Multimedia transcription and annotation

Important Dates
Full Paper Due Date: March 1, 2014
Notifications to authors: March 31, 2014
Camera-ready paper deadline: April 18, 2014

Papers are invited from prospective authors with interests in this particular special session and related areas of application. All contributions should be original and not published elsewhere or intended to be published during the review period. All papers are to be submitted electronically in PDF format to the special session organizers. Details of the required paper format are available at the official IISA 2014 website ( authors/). For further information, please contact directly the Special Session Organizers.

Session Organizers
Assist. Prof. Andreas Floros
Audiovisual Signal Processing Lab., Dept. of Audiovisual Arts, Ionian University, Greece
e-mail: Tel.: +30 26610 87725 Fax: +30 26610 87766

Dr. Maximos A. Kaliakatsos – Papakostas
Computational Intelligence Lab., Department of Mathematics, University of Patras, Greece e-mail: Tel.: +30 2610 997348

Prof. Michael N. Vrahatis
Computational Intelligence Lab., Department of Mathematics, University of Patras, Greece e-mail: Tel.: +30 2610 997348

MC SpecialSessionCfP