Energies and the Arts Conference

Presented by National Institute for Experimental Arts in partnership with the Museum of Contemporary Art, Australia, 13-15 August 2015.

Energy often serves as a word-when-lost-for-words to describe situations of great intensity, or to describe something that fuses disparate elements or is itself diffused into the environment, or something that subtly comes from nowhere but animates everything. When energies are invoked they most commonly remain vague: being presumed rather than investigated in their historical, cultural, material and technical specificity. In the arts, energies occur throughout, though their analysis and clarification remains limited and under-examined.

Energies and the Arts will bring scholars and artists together to address historical and contemporary activities on the seemingly elusive properties and potentials of energy. The conference will explore how energy is engaged with across the arts including but not limited to: media arts, photography, music, ecological arts, science and the arts, and related areas within literature, poetics, critical theory and philosophy. It will also situate these energetic entanglements in the context of the arts and cultural activism located around fossil fuels and energy politics. How energies configure the arts at the outset of the 21st century is inextricably linked to equating energy with energy generation and the politics of power and environmental crises; while we encourage such emphases, we are also interested in how they might be extended to heterogeneous fields of energies. All varieties of energy - both real and imagined - will be brought to the forefront to explore how they have been understood and used; how energies configure and influence one another; and how artworks and theories might be better understood through them.

We invite proposals for 20 minutes papers which will be followed by 10-minutes of discussion. Papers will be selected for a book to be edited by the conveners of the conference. We are interested in all that vibrates, resonates, radiates, pulses, propagates, oscillates, diffracts, shimmers, scatters and dissipates in fluxes. We are attracted to frequencies, flows, fields, waves, spectra, torques, turbulences and barrages of bodies, circuits, transformations, communication, systems and environments. We are looking for close analyses of works of art in which energies work, including and beyond: light, color, the kinetic, sonic, rhythmic, cinematic, photographic, electronic, electromagnetic, biotic, metabolic, libidinal, ritualistic, psychedelic, esoteric, mechanical, thermal and solar. How artworks relate to the energetics of the senses, indigeneity, modernist shock, political power, global communications, global warming and notions of the cosmos and the collective are also encouraged.

Submission process: please complete the form below. Queries about submission and the conference should be directed to energiesinthearts@gmail.com

Deadline for submission: 10 January,  2015

Confirmed keynotes include:
Professor Linda Henderson, Department of Art and Art History, University of Texas, Austin
Martin Howse, artist, Berlin
Professor Marcus Boon, Department of English, York University, Toronto
David Haines and Joyce Hinterding, artists, Lawson

The conference is held in conjunction with the exhibition Energies: Haines and Hinterding at Museum of Contemporary Art from 25 June - 6 September 2014.

The conference is convened by:
Dr. Anna Davis, Curator, Museum of Contemporary Art, Australia
Professor Douglas Kahn, National Institute for the Experimental Arts, UNSW Art and Design
Dr. Josh Wodak, National Institute for the Experimental Arts, UNSW Art and Design

IEM Music Residency Program 2015 - Call for Applications

The Institute of Electronic Music and Acoustics (IEM) in Graz, Austria is happy to announce its new Music Residency program and invites applications from composers/sound artists for the 2015 edition.

The Residency is aimed at individuals wishing to pursue projects in performance, composition, installation and sound art, development of tools for art production and related areas.

Duration of residency: 5 months
Start date: March 1st 2015 (negotiable)
Monthly salary: Approx. EUR 1100 (net)

APPLICATION DEADLINE: 1st of December 2014 23:59 CEST

The Institute of Electronic Music and Acoustics is a department of the University of Music and Performing Arts Graz and was founded in 1965. An internationally well renowned institution in its field, it currently holds a staff of more than 25 members. IEM offers education to students in composition and computer music, sound engineering, contemporary music performance and musicology. It is well connected to the University of Technology as well as to the University of Graz through two joint study programs.

The artwork produced at IEM is released through the Institute’s own OpenCUBE and Signale concert series, as well as through various collaborations with international artists and institutions.

IEM’s main activities are centered around the three main research areas
       Computer Music
       Artistic Research
       Signal Processing and Acoustics
and contributions to these, or any other related field of relevance, are invited for the Music Residency program.

What we expect from applicants:
- An outstanding project proposal that adds new perspectives to the Institute’s activities and resonates well with the interests of IEM.
- The successful applicant will work on-site in Graz for the major part of the Residency.
- Willingness to exchange and share ideas, knowledge and results with IEM staff members and students and engage in scholarly discussion.
- The ability to work independently within the Institute.
- A dissemination strategy as part of the project proposal that ensures the publication of the work, or documentation thereof, in a suitable format. This could be achieved for example through the release of media, journal or conference publication, a project website or other means that help to preserve the knowledge gained through the Music Residency and make it available to the public.

What we offer to the successful applicant:
- Support in artistic production and arts-based research
- Exchange with competent and experienced staff members
- shared office space for the entire period and access to studios including the CUBE  which has a 24-channel loudspeaker system;
- Contact with peers from similar or other disciplines
- Infrastructure (electro-acoustic music studios, icosahedral loudspeaker array, motion capture technology)
- Concert and presentation facilities (CUBE 24 channel loudspeaker concert space)
- Existing networks with local/international partners
- We provide a monthly salary of approx. EUR 1100 net per month in addition to health and accident insurance.

An application form providing more information is available at

Feel free to contact residency@iem.at if you have any questions.

Online MSc in Sound Design

This distance online Masters course is for professionals working in sound production/design, to equip you with the skills to develop your career.


The MSc in Sound Design builds upon Edinburgh Napier University’s close contact with internationally recognised sound designers. The school also has an established record in listening and sound design research.

This is a work-based degree, which aims to deliver maximum impact by developing your skills and knowledge in order to become an advanced practitioner. The majority of the learning and studying takes place at work or online with some internationally renowned experts, giving lectures and tutorial support. There are opportunities to learn with your peers, and develop your professional network.

The Masters course is for you if you are:

  • Involved with sound design, and wish to develop a greater understanding of the subject area.

  • Involved with sound production but wish to move into the area of sound design.

Someone who designs sound and would like to gain postgraduate qualifications in the field.

What you study

This degree gives you the opportunity to build on existing competencies and develop new sound design skills. The emphasis is on becoming an advanced sound professional within linear and/or interactive media.

Postgraduate Diploma – the first 12 months

A 60-credit work-based learning module provides a tailored learning experience. You will be mentored by an academic tutor and draw on support from experienced academics and industry practitioners. You will develop competencies in understanding the principles of designing sound for linear and interactive media in order to become an advanced practitioner.

Three 20-credit modules: ListeningSound Design for Linear Media and Sound Design for Interactive Media, are also delivered as distance learning, allowing you to extend your knowledge in these areas.

Masters Degree – the next 6 months

On completion of the Postgraduate Diploma, you will complete a dissertation to gain your Masters Degree. The dissertation will develop your capability for independent research and apply your studies to your chosen field of specialization.

Learning in the Workplace

Learn, apply and evaluate advanced sound design practices in your workplace

  • Complete assessments based on your normal work activities, fully online, without attendance on campus

  • Study a balanced blend of sound design subjects to build on existing expertise and meet the needs of your organization

Receive online support throughout your course, with access to online tutors and industry experts

Further Information

For further information about the MSc Sound Design, and to note your interest, please contact: Dr Iain McGregor at i.mcgregor@napier.ac.uk or telephone: 0131 455 2788.  http://www.courses.napier.ac.uk/SoundDesign_W56742.htm       

“The MSc Sound Design is designed for current and future professionals working in the field of Sound Design”  


De Stem van West presents: EILANDRADIO

A 2 1/2 hour live performance / radio production by BMB con.
featuring Sara Nuytemans en Geurt Grosfeld.

Utrecht West, Sunday 21st September 2014
Starting point: Muntbrug, Utrecht at 14 hrs.

Cycle along the canals while you listen to sounds from
the Island of Utrecht West!

Please bring an FM radio with you! Some older telephones can
receive FM radio, and some Android phones do as well. 
iPhones will NOT work. some iPods include an FM tuner.

The radio frequency will be announced before the trip begins.

for more information see www.destemvanwest.nl or facebook.com/destemvanwest

Sound: Now and Next

Sound: Now and Next
The future of broadcast audio
19th - 20th May 2015, BBC Broadcasting House, London

The BBC are pleased to announce ‘Sound: Now and Next’ - a two-day event on the future of broadcast audio. It will feature talks from leading figures on the subject as well as a host of demonstrations of state-of-the-art technology. Confirmed speakers so far include wildlife recordist Chris Watson, composer and sound artist Nick Ryan, musician and inventor Tim Exile and dubbing mixer Martyn Harries. We are currently seeking proposals for contributions to the technology fair which will form a significant part of the event. Please see the following website for more details and to sign up for email updates.


Sound recordist Chris Watson

A Week of Spatial Sound on 4DSOUND at Amsterdam Dance Event; Open Hack Lab Call

During this year’s Amsterdam Dance Event, 4DSOUND will take over the Compagnietheater with five days of live shows, sonic installations and masterclasses on the 4DSOUND system.

At ADE Sound Academy, 4DSOUND is working with its partners Ableton and Liine to present the state-of-the-art in sound design and sound production. The Sound Academy will focus on bespoke production methods of renowned artists, give insights into the creative process and expose new ways of integrating technologies to compose, and control the sound environment.

4DSOUND is an instrument that produces sound in an unlimited spatial continuum; sounds move around, above, beneath and in-between the listeners. Led by your ears, you are seduced into exploring the space. One can move between blocks of sound, touch lines of sound and walk through walls of sound. With extensive technical and creative facilities to fully control the spatial sound environment, artists can invent and discover new relationships between sound, the space and the listeners. 

AS/P/SA Arquivo Sonoro/Pernes/Sound Archive

Through the use of Phonographic and Field Recordings of sound - oral, musical and environmental – as documentation tools, together with their contextualization, Pernes Sound Archive presents a record of Pernes rural area, in Portugal’s central region.

Showing them as social and cultural constructs, as process, interpretation and naming; as genealogical, economical, political and historical products; as collective and ideological memory; as a differentiating feature of their own identity – as actual/acting elements.

This Bioacoustical and Anthropological point of view is registered and filed and is used to conserve his transitive sound and visual memory (Flickr/You Tube).

​Pernes town hall belongs to Santarém Municipality and is a rural area surrounded by the Alviela River, the Centeio River and the National Natural Reserves of Serra de Aire e Candeeiros and Paúl do Boquilobo. Pernes is 14.500Km2 and has a population of 1689, and encompasses the villages of Chã de Baixo, Outeiro de Fora, Moita and Póvoa das Mós.


FETA Prize in Sound Art 2014 Awarded to Nicolas Bernier

With 35 blind submissions from 8 countries in the Americas, Nicolas Bernier is selected as the 2014 winner of the FETA Prize in Sound Art for his work frequencies (synthetic variations).

The FETA Prize in Sound Art was established last year to promote a broad range of contemporary American sound and installation arts. In the second edition, we received 35 submissions from artists residing in Argentina, Brazil, Canada, Chile, Colombia, Mexico, Peru and the US. Through a two-stage blindfold evaluation process, the judges Seth Cluett, Ron Kuivila and Douglas Repetto selected a small pool of finalists: Matthew Ostrowski’s Negative Differential Resistance, Mark Hirsch’s All Yellow, and the town we live in, Sara Dittrich’s Going/Staying and Nicolas Bernier’s frequencies (synthetic variations). Our honorable master judge Maggi Payne selected the winning work frequencies (synthetic variations) by Nicolas Bernier. In addition to a 1,000 USD monetary prize, the writer Michelle Aldredge will profile Nicolas Bernier and his work in the Gwarlingo online magazine. Furthermore, frequencies (synthetic variations) will be presented in a gallery space in Miami, FL.

About frequencies (synthetic variations):
“This second installment of the «frequencies» series is an audiovisual composition purely based on synthetic sound and synthetic physical matter. Tightly composed together, sound and light are bursting within acrylic structures, bringing a sense of extreme precision where one can either hear the light or see the sound. The is built out of short audiovisual sequences organized and processed in real time, designed to be listened to at random and then offering a new duration and dynamics with every hearing.” NB

About Nicolas Bernier:
Nicolas Bernier creates musique concrete, live electronics, post-rock, noise improv sound performances, installations and video art pieces, in addition to dance, theatre, moving image and interdisciplinary projects. In the midst of this eclecticism, his artistic concerns remain constant through the balance between the cerebral and the sensual, and between organic sound sources and digital processing. Awardee of the prestigious Prix Ars Electronica’s Golden Nica (Austria) in 2013, his work also caught the interest of SONAR (Spain), Mutek (Canada), DotMov Festival (Japan) and Transmediale (Germany) and have been published on labels like Crónica (Portugal), LINE (US), leerraum (Switzerland) and Entr’acte (UK). He holds a PhD in sonic arts from the University of Huddersfield (UK). He his a member of Perte de signal, a media arts research and development center based in Montreal. He his teaching in the Digital Music program of the Université de Montréal.

For images, video, and additional information about frequencies (synthetic variations), please visit: http://www.vimeo.com/nicolasbernier/frequencies-sv http://nicolasbernier.com/page/works.htm

Read the Gwarlingo article about our last year winner Ted Apel here:


For more information about the FETA prize in Sound Art, please visit our website: http://fetafoundation.org/Feta_Prize-Winner-2014.html

or contact Spencer Topel at topel@fetafoundation.org

With the support of Foundation of Emerging Technologies and Arts, Harold Golen Gallery, Gwarlingo and the Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council, the Miami-Dade County Mayor and Board of County Commissioners.

CfP - Tuning Speculation

Tuning Speculation II: Auralneirics and imaginary networked futures

7-9 November, Toronto (Canada)

Organized by The Occulture (David Cecchetto, Marc Couroux, and eldritch Priest)

Plenary Speakers: Frances Dyson, Nandita Biswas Mellamphy, and Dan Mellamphy

In the context of ubiquitous media not only is the sheer volume of data notable, but so too are the ways in which we encounter, interact with and articulate its abstract mass. This is particularly significant where contemporary social experiences are increasingly interpellated by a technical apparatus in a way that makes the former available only through the invention and deployment of extra-sensory algorithms. The implication of technology in human activity (while always present) in this instance raises new challenges, for the algorithmically negotiated data-bloom of digital networks intensifies the problem of agency by distributing its expression across material and virtual domains that belong to both organic and inorganic systems, as well as actual and fictional entities.

Building on last year’s meeting, this three-day workshop seeks to examine how aurally inflected mediations might address the complexities of agency and its relation to the counterfactual when one’s actions, feelings, thoughts, competences, desires, failures, and daydreams are implicated in the self-adjusting operation of nonlinear networks. For instance, we are interested in the ways that aurality conjures alternative sensitivities to data flows and rhythms of change that allow for both increased agency in existing networked settings but also for the envisaging and summoning of new vectors of agency itself. While several approaches can catalyze such speculations, we propose to concentrate on sounding art—broadly understood—in order to leverage the fated semiotic parasitism, differential production, relational expression, and perceived multiplicity that informs such practices. However, alongside such concentrating we also welcome various reflections on sono-distractions, phonochaosmosis, rhythmanalysis, harmelodic-prescience, audio pragmètics, chronoportation, h/Hypermusic and other invocations of impossible and/or imaginary networked aural futures.

Please send an abstract (maximum 250 words) and bio tounsound@yorku.ca no later than 21 July 2014.