Netaudio London News

Jerome Noetinger + Antoine Chessex at Kings Place on 11 Feb 2013

Mon, 11 Feb 2013 09:20:54 +0000

At Kings Place, we present the French sound artist, composer, improviser and director at Metamkine, Jérôme Noetinger. With his Revox B77 tape machine, he developed his signature style of electro-acoustic music where sound is captured and exposed it in it's barest form - 'a vibration of the air'.

He is accompanied by Swiss composer and musician Antoine Chessex on saxophone. Chessex’s sonic researches include compositions for ensembles, solo works, transdisciplinary collaborations and sound installations. The two will present their own solo sets, followed by a duet.

Monday, 11th February 2013, doors 8pm

Kings Place, 90 York Way, London N1 9AG

£12.50 / £9.50*

Box Office on 020 7520 1490 or online

*Online savers are subject to availability

Jerome Noetinger

Born the 25th of April 1966, Jérôme Noetinger took electroacoustic music courses under the direction of Xavier Garcia from 1986 to 1988 in Fontaine. He is one of the founding members (with the movie makers Christophe Augier and Xavier Quérel) of the ‘Cellule d’Interventio Metamkine’. He has also played with Nachtluft, Voice Crack, Tom Cora, Michel Doneda, Lê Quan Ninh, Martine Altenburger, Emmanuel Petit (within the Cellule) and (alone) with Marc Pichelin, Jean Pallandre, Dominique Répécaud, Peter Hollinger, Keith Rowe (MIMEO).

metamkine.com

Antoine Chessex

Antoine Chessex was born in 1980 in Vevey, Switzerland and has a background as a saxophone player and performer. His solo works feature dense layers of sustained pitches reacting with the architecture of the space or massive clouds of amplified sax resulting in intense live actions in total immersion in the sound. As an improviser, he has collaborated with musicians like Lasse Marhaug, Zbigniew Karkowski, Maja Ratkje, Chris Corsano, Ilios, Valerio Tricoli, C. Spencer Yeh, Axel Dörner, Hans Koch, Robin Hayward, Thomas Ankersmit, Lucio Capece, Burkhard Beins and is a founding member of Monno.

soundimplant.com

Robin Fox + Sally Golding + Tom James Scott at Cafe OTO on 16 Sep 2012

Tue, 31 Jul 2012 19:41:55 +0000

With Synaesthesia we present Robin Fox's laser-light and sound extravaganza alongside a film/sound performance from Sally Golding and Tom James Scott's reimagining of song through the lens of contemporary composition.

Sunday 16th November 2012, doors 8pm

Cafe OTO, 18-22 Ashwin St, London E8 3DL

£7 adv / £8 door - BUY TICKETS

ROBIN FOX

Robin Fox is an artist straddling the often artificial divide between audible and visible arts. As an audio-visual performance artist his work has featured in festivals worldwide. Recent appearances include a commissioned performance for the Henie Onstad Kunstcenter, Oslo (March 2010), Mois Multi Festival, Quebec City (Feb 2010), Steirischer Herbst Festival, Graz (Nov 2009), Musica Genera Festival, Warsaw (June 2009) and the Yokohama Triennale (September 2008). His audio visual films for the cathode ray oscilloscope are documented on the DVD release Backscatter (2004) with more recent works Volta and 5 Creation Myths being exhibited as video works at the RoslynOxley9 gallery in Sydney, The Asian Art Biennale in Taipei, the Miniartextil International exhibition in Como Italy and most recently at the Gesellschaft für Kunst und Gestaltung in Bonn as part of Geometric Form seen in Recent Sound. His groundbreaking work with Chunky Move has contributed to the recent piece Mortal Engine winning a Helpmann award for Best Visual Production and an Honorary mention at the illustrious Prix Ars Electronica. He also scored the critically acclaimed work Connected with Oren Ambarchi and has produced two works, RGB and Drift, with groundbreaking new choreographer Antony Hamilton.

robinfox.net

SALLY GOLDING

Golding is based in London and hails from Brisbane, Australia. Golding combines film projection with performance and installation creating live cine-sculptures and interactions. Golding deploys folly and foray into physiological cinematics, creating embodied beams and alchemical projection performance. Photographic compositions printed as optical soundtracks and decomposed uprooted vinyl library music neatly situate Golding’s work at the crossroads of science and superstition, philosophy and pulp. Deconstruction of cinematic materials and apparatus reveal slippage between materialist investigation, sculptural forms, and bodily intervention - redesigning the cinematic viewing experience, exposing the typically locked process of beam-audience-screen. Cracked cinema for darkroom compositions, light bleed, contorted projection sports, dismembered narrative, strained sonorousness, whimsical instructional and wanton optics. Using torchlight printed sound film, hacked sonic devices, motorised colour filter, stroboscopic light, refracting lenses and physical interference, Golding warps the output of the projector’s light and sound into a hypnotic and frantic field of colour, form and noise fuzz. Golding’s projects thread between expanded cinema and media art, curation and audiovisual archiving.

sallygolding.com

TOM JAMES SCOTT

Tom James Scott ( London via Barrow-in-Furness) is a composer and performer whose work explores melodic form and song structure. Scott’s first two releases - drawing influence from contemporary composition, traditional music and improvisation – both featured acoustic guitar as the primary voice. While maintaining similar melodic sensibilities and a feeling of hushed expanse, his latest LP sees a shift towards solo piano, with the title, ‘Drape’ (defined in literature documenting past and present dialect native to what is now Cumbria, as, ‘to speak slowly’) setting the pace across the four pieces presented. Previously employing solely acoustic instrumentation, Scott’s recorded work has developed to include a wider range of sound sources and processing techniques, including field recording, electric guitar, and keyboard, with this years ‘Crystal’ LP seeing the more repetitive, long-form compositional ideas prevalent throughout his work pushed to the forefront. Scott is currently also an active member of Liberez, and has released music both solo and collaboratively with the labels Alter, Carnivals, Bo’Weavil Recordings, and Night-People.

boweavilrecordings.com/Scott.html

Terre Thaemlitz at Cafe OTO on 27 Nov 2011

Wed, 02 Nov 2011 13:48:02 +0000

In partnership with Cafe OTO, we offer a rare opportunity to witness a presentation of the more 'serious' side of noted multi-media producer, writer, public speaker, educator, audio remixer, DJ and label owner Terre Thaemlitz.

Sunday 27th November, doors 8pm
Cafe OTO, 18-22 Ashwin St, London E8 3DL
£7 adv / £8 door - BUY TICKETS

For this rare performance - an amalgam of lecture, AV performance and audience Q&A - Terre will present the three completed sections of her still in-progress four part audio-visual project 'Soulnessless,' including part I 'Rosary Novena for Gender Transitioning,' part II 'Traffic with the Devil,' and a premiere of the recently completed part IV, 'Two Letters.'

If Thaemlitz' 2003 project "Lovebomb/Ai No Bakudan" can be synopsized as a deconstruction of the "love song," "Soulnessless" is an attempted deconstruction of "soul music." More precisely, a deconstruction of notions of "soul," "meditation," "spirituality" and "religiosity" as fundamental forms of mediation between consumers and audio marketplaces.

Terre's work combines a critical look at identity politics - including gender, sexuality, class, linguistics, ethnicity and race - with an ongoing analysis of the socio-economics of commercial media production. He has released over 15 solo albums, as well as numerous 12-inch singles and video works. Her writings on music and culture have been published internationally in a number of books, academic journals and magazines. As a speaker and educator on issues of non-essentialist Transgenderism and Queerness, Thaemlitz has lectured and participated in panel discussions throughout Europe and Japan. He currently resides in Kawasaki, Japan.

"Transgendered performer, legendary House DJ, artistic intellectual and creator of a number of celebrated classic releases, Thaemlitz is easily amongst the most interesting and bravest of contemporary musicians and for that reason an asset to any artistic movement." Halcyonline - Albert Freeman, on Terre Thaemlitz's performance of "Soulnessless" at Issue Project Room in June 2011.

"We love Terre. In fact, we love Terre so much, that he was the first choice for the ssgs' upcoming party in Tokyo. But aside from his wonderful productions and eclectic DJ sets, we also love Terre for her great mind. In a world where too many producers embody the philosophy that house music is controllable desire you can (and should) own... there is also Terre Thaemlitz." - mnml ssgs

Festival impressions and closing credits

Fri, 27 May 2011 11:55:59 +0000

A big and heartfelt thank you to all who contributed to Netaudio London 2011! Over the weekend of 13-15th May, we had the pleasure of working with over 80 artists, and welcomed over 1500 visitors through the doors, many of whom fed back with tweets, blogs, and comments online - cheers for this!

Check the media page for impressions from the festival. It includes a handful of reviews, the recorded radio shows from the broadcast, the commissioned pieces and plenty of images. Please feel free to contribute with your own material: upload your images to flickr and tag with NAL11, and for other media, send it to us directly.

The festival was made possible with the generous support of various institutions which are listed just below. The programme was co-curated in partnership with Martin Bircelj Baraga (MoTA), Ed Baxter (Resonance104.4fm), Call & Response, Jeremy Gilbert (UEL), Tony Nwachukwu and with kind advice from many more. The festival itself was made possible only with the tireless efforts of over 30 volunteers. Again, big thanks to all for your support!

More soon... & see you around!

Jeremy Gilbert

Wed, 18 May 2011 18:13:22 +0000

Jeremy Gilbert provides a brief introduction to Sonic Militancy ahead of his talk with Mark Fisher on the Politics, protest and sound panel.

View all posts via the NAL11-conf tag, have your say and engage with the speakers via the NAL11 Linkedin group.

Sonic Militancy

What is it that allows or enables sound to convey or express transformative political sentiment? We can identify at least two clear traditions with quite different approaches to this question. On the one hand, it is often assumed that the political content of a piece of music can only be a function of its association with a set of more clearly legible modes of communication: some lyrics, some text, a title, an image. In particular, the assumption that the politics of music reside in its lyrics remains rather widespread, although the apogee of this assumption probably belongs to the moment of political pop in the 1980s, when intellectual artists like Green Gartside and Pat Kane would produce sweet blue-eyed synth-soul with supposedly socialist lyrics. The evidence that this ever actually had a radicalising effect on anyone remains minimal, and it’s surely significant that today few apart from specialist cultural historians remember their music as anything but Thatcherite pop.

It’s perhaps no surprise then, that they were followed in the 1990s by a generation - which would include myself and Mark - who were mainly motivated by music which didn’t have any lyrics at all, and whose claims to radicalism could often only derive from its formal musical properties, and the ways in which they overturned the very convention of popular music. The unapologetic minimalism of acid house, the raw complexity of jungle, the avant-garde populism of UK garage: although one could occasionally appeal to the social make-up of their crowds (black, gay, or radically mixed) or to the very fact that they mobilised crowds at all (arguably a political gesture in itself, in the era of post-Thatcherite individualism), the only convincing explanation as to why they felt and sounded so dangerous, so cutting-edge, was their sheer level of formal innovation. That said, what united them all, apart from the very darkest elements of jungle, was a certain euphoric utopianism, a sense - carried on from disco, which got it from soul, which got it from gospel - that bringing dancing bodies together in a moment of ecstatic collectivity might at least serve as a reminder of the benign possibilities inherent in social life as such.

In recent years, it’s this utopian openness to the possibilities of the future which has markedly disappeared: instead, Grime and dubstep in their different ways deploy aesthetic strategies which express and intensify the sense of alienation and repetitive futility which advanced neoliberalism can so easily engender in the young. Commentators like Dan Hancox have argued that in the macho rage of tracks like ‘Pow’ can be heard an implicit assertion of collective agency and the potency of rage: especially in their retooling and redeployment in the police kettles of last winter’s student demonstrations. Are these arguments convincing? That’s something for us to talk about.

Liliane Lijn

Wed, 18 May 2011 18:12:34 +0000

Liliane Lijn offers some thoughts on the origins of Power Game ahead of her keynote on the Digial futures and analogue survivals strand of our conference.

View all posts via the NAL11-conf tag, have your say and engage with the speakers via the NAL11 Linkedin group.

Power Game Online

“Time that crippled conception of our rectangular mind.”
Leonard D. Marshall from Liliane Lijn, Crossing Map, Thames & Hudson Ltd.

Power Game was born from my interest in the energy inherent in words, not sentences, just single words. The game started as a performance, a cartoon portrait of democracy and an exploration of the meaning of power. I used gambling and the casino as a metaphor for a society in which everyone
supposedly has an equal chance to succeed. Power Game allowed its players to examine a number of interconnected issues: language and thought, identity, layers of privilege and attitudes to power. It also made manifest the way people from varied backgrounds interpret meaning and the collective nature of language.

“Language is collective. Most of our basic assumptions come from our society,including all our assumptions about how our society works, about what sort of person we are supposed to be, and about our relationships, institutions, and so on. Therefore we need to pay attention to thought both individually and collectively.”
David Bohm On Dialogue Routledge

When commissioned by Resonance FM to create a work for the Netaudio Festival, I thought it would be interesting to take Power Game online. The decision to use Twitter as a platform emerged because it is, not only based on words, more importantly, tweeted messages must be brief. However, changing medium always transforms an idea. It may be that the search for a solution is what interests me in using a new medium or perhaps it’s more like discovering the subtle connections between the original idea and the new medium. And with Power Game on Twitter it was essential to simplify. We couldn’t use the gambling metaphor online and deleting that invalidated the original rules of the game. At our first meeting to discuss how to adapt Power Game so as to be able to play it online, it was suggested to allow all the players to choose and defend their words. I realised that by doing that and opening up the vote to the general tweeting public, the game would be condensed to its pure essence: a public debate on the meaning of power.

Cecilia Wee

Wed, 11 May 2011 15:44:02 +0000

Cecilia Wee, London-based artist writer, broadcaster and curator, will be speaking on our Digital futures and analogue survivals panel this Sunday. Here she has compiled some thoughts and quotations from others that explore the issues of our third conference strand.

View all posts via the NAL11-conf tag, have your say and engage with the speakers via the NAL11 Linkedin group.

“Chaotically speaking, is not such hybrid reality the condition of an impossibility of setting up boundaries, perimeters and limits, presuming that everything crossbreeds, entangles, merges and penetrates everything else? This is the digital world in which we play our games, for what is the digital if not a powerful technique of hybridization, contamination and dissemination.”

Data Art & Interactive Landscapes, in Swan Quake – a User’s Manual, Johannes Birringer

“Anything that is approached in depth acquires as much interest as the greatest matters. Because ‘depth’ means ‘in interrelation’, not in isolation. Depth means insight, not point of view; and insight is a kind of mental involvement in process that makes the content of the item seem quite secondary. Consciousness itself is an inclusive process not at all dependent on content.”

Understanding Media, Marshall McLuhan

“The very notion of immersion suggests a spiritual realm, an amniotic ocean, where one might be washed in symbols and reborn again. Virtual landscapes can also figure as liminal realms of transformation, outside the world of social limits and constraints, like the cave or the sweat lodge, if only by reason of their virtuality.”
Virtualities: Television, Media Art, and Cyberculture, Margaret Morse

“A relationship with a computer can influence people’s conception of themselves, their jobs, their relationships with other people, and with their ways of thinking about social processes. It can be the basis for new aesthetic values, new rituals, new philosophy, new cultural forms.”
The Second Self, Sherry Turkle

“If the artist is making a platform for participation, then it is not necessarily the fabric of physical platform that is important, but the knowledge of how the immaterial systems of participation operate: ‘I’m not a machine. I’m not a mechanical thing. I’m not a hardware, I’m a software’ (Rirkrit Tiravanija).”
Rethinking Curating – Art After New Media, Beryl Graham and Sarah Cook.

http://ceciliawee.com/

Michel Bauwens

Wed, 11 May 2011 15:44:31 +0000

The second in our series of blog posts from participating speakers is from Michel Bauwens, founder of the Foundation for Peer-to-Peer Alternatives.

View all posts via the NAL11-conf tag, have your say and engage with the speakers via the NAL11 Linkedin group.

Peer production introduces a human subjectivity that merges creativity, production, and politics. Not that everyone will participate in everything, but everyone surely has a unique equipotential contribution that makes a difference in a networked environment.

Peer production does not make everyone a good artist, but it forces everyone to build his expression, to co-produce 'something' of value, and to be involved in dialogue in a community, which is inevitable political. We can say that creative expression is no longer a mediated expression that can lead to something else down the line, but it is immediately productive in the network, becomes part of generalized process of common value creation.

This blurring of boundaries cannot fail to have effects on the newly emergent peer to peer culture, thereby making the patterns of a 'future civilisation' already visible today if we are able toimagine the integration of these different patterns. This is the effort to which the P2P Foundation collaborative is dedicated, and which our Open Everything findings reflect.

http://p2pfoundation.net/

Anthony Iles

Wed, 11 May 2011 15:44:54 +0000

In the lead up to the NAL11 Conference this Sunday we present a series of thought provoking blog posts from the participating speakers. First in the series is by Antony Iles from Mute, an excerpt from the Noise and Capitalism book that he co-edited.

View all posts via the NAL11-conf tag, have your say and engage with the speakers via the NAL11 Linkedin group.

"Rather than overcoming mediation, free improvisation and noise are in tension with it – something to which these many attempts to theorise music and its relations to politics attest. The stance of anti-mediation binds the practitioners of these musical interests to a modernist aesthetics in which successive institutional and formal frameworks for making and presenting music and art are transgressed and transcended. Yet there is also an important split – in the modernist academy this could be interpreted as refining a critique internal to the work, while improvisation and noise arguably turn outwards to the field of social relations. A good example of this is when the home-made electronics and improvisation trio Morphogenesis used to bring the outside of a gig into it by means of amplifying and filtering a microphone slung out the window of the venue they were playing in. Through these means they would bring the outside in and the sound of social relations and the location of the venue itself into play. Here, however is a key contradiction for our times. Turning the usual question on its head, Mathieu Saladin asks: what does improvisation have in common with capitalism? Finding the values celebrated in writing and statements about free improvisation to be one and the same with the values celebrated in the new capitalism that developed during the 1970s and 1980s. If this turn towards social relations has been the for some time a weapon of insurgent and outcast music, the harnessing of these relations is now a key strategy in capitalism's current push to reproduce itself anew.

Music is prophecy. Its styles and economic organisation are ahead of the rest of society because it explores, much faster than material reality can, the entire range of possibilities in a given code. It makes audible the new world that will gradually become visible, that will impose itself and regulate the order of things.1

By going further into the details we can move away from the idee recu that improv is political music, a liberatory musical praxis. It is urgent to closely examine its conditions, to challenge improvised music's implicit freedom as a given – as Eddie Prevost insists:

Certain material conditions have to be met before any music can be made.

Music can neither escape commodification, nor can noise musicians escape the immediate material demands that capital makes of them (to sell their labour power). Existing conditions structure what music can be made and by whom, yet also music is one of a number of cultural forms by which people react against existing conditions and try to overcome them. As Matthew Hyland puts it,

improvisation (as Derek Bailey intends it) resists commodification almost successfully.'Almost' remains an upper limit as long as capital goes on being strengthened by what hasn't killed it yet.

Unlike any other form of music, improvised and noise music, nonetheless exists in capitalism. Since we cannot accept that noise or improvisation is by default anti-capitalist music, then we need to look more closely at those resistances and tensions this music carries within itself – where it provides potential tools for capitalism and where it supplies means for getting out of it."

1 Jacques Attali, Noise, Theory and History of Literature, Vol 16, Minneapolis:University of Minnesota Press, 2006.

Excerpt from the book Noise and Capitalism, San Sebastian: Arteleku, 2009.

www.arteleku.net/audiolab/noise_capitalism.pdf

Workshops announcement

Sat, 23 Apr 2011 12:06:26 +0000

There's many ways you can participate in NAL11, one of which is to attend our series of FREE workshops, hosted in The Roundhouse computer labs between 12:00 and 17:00 on 15th May.

Check the conference strand for full event details and information about how to attend. It's first come first served and places are limited so get in touch asap!

Open Platform announcement

Mon, 25 Apr 2011 18:40:03 +0000

It gives us great pleasure to announce the winners of one of our festival strands - the Open Platform. Partially programmed by the wider community who voted on submissions received through the call for entries, facilitated via a customised SoundCloud service.

The stage will run from 1 - 6pm at The Roundhouse on Sun 15th May, hosted by Tony Nwachukwu, former member of Attica Blues and producer of the long running CDR club night at Plastic People. Here are the lucky artists chosen from the top voted submissions:

C...bucket

Jan Liberbarek

Jo Thomas

Preslav Literary School

Regolith

Tidy Kid

Thanks to all those the submitted entries and voted!

Programme & Website

Sat, 16 Apr 2011 07:26:36 +0000

Netaudio London has a new website! You can now browse the various festival strands to explore the participants.

We’ve announced the 3 broadcast commissions: Liliane Ljin, Stefan Blomeier and VHS HEAD co-curated by Ed Baxter of Resonance104.4fm. Check the sound art strand to view the artists selected from the call for entries. It also includes an 8 channel programme with our friends at Call & Response.

Don´t forget that our headline show features the legendary Nurse With Wound and an exclusively commissioned live collaboration between Mika Vainio (ex-Pan-Sonic) & Bruce Gilbert (ex-Wire). The Vienna based trio Radian will be opening the show.

Tickets available now, get in quick before they go. These events will sell out.

Listen to and vote for the submissions

Wed, 06 Apr 2011 10:41:21 +0000

The call for entries is now closed.

Thanks to everyone who has taken the time to contribute!

Up until Sunday 20th March you will still be able to listen to and vote for the submissions in the Open Platform strand.

http://bit.ly/NAL11-vote

NOTE: voting has closed, but you can still listen ot the entries - there are some great tunes in there!

Accepted entries will be published beginning of April 2011.

NAL11 Internship

Mon, 25 Apr 2011 18:41:09 +0000

Know someone that wants to develop a career in music event production and arts management? Then maybe they should check http://bit.ly/NAL11-internship, we are recruiting a Netaudio festival intern for a ten week stay starting 18 March.

Beside involving the lucky soul in all aspects of festival marketing and production, we do our best to share whatever knowledge we’ve picked up and help them towards a stellar career in the arts. The Deadline for applications is 6 March.

Nurse With Wound, Radian, Mika Vainio & Bruce Gilbert

Wed, 06 Apr 2011 10:06:55 +0000

15 May 2011, doors 7pm
Early Bird Tickets at £18+bf (until 20 March, limited availability, £22+bf adv thereafter)

Netaudio London is thrilled to present Nurse With Wound, Radian and a new live collaboration between Bruce Gilbert (ex-Wire) and Mika Vainio (ex Pan-Sonic) as the culmination of the 2011 Netaudio London festival.

The night is headlined by avant garde, surrealist Steve Stapleton’s Nurse With Wound project. A 30+ year career under the curatorial guide of post-industrial pioneer Steve Stapleton has seen Nurse With Wound collaborate with highly respected free thinkers including David Tibet (Current 93), William Bennett (Whitehouse) and Andrew McKenzie (Hafler Trio). NWW will perform a wide variety of improvised, outsider music in a genre defying experience, consistently returning to the touchstone of musique concrète. This rare occasion is not to be missed.

On the same bill, Netaudio presents an exclusively commissioned live collaboration by Mika Vainio (ex-Pan-Sonic) & Bruce Gilbert (ex-WIRE). Using a plethora of table top analog and digital equipment, this performance draws upon the creativity of two unique musical talents.

Mika Vainio’s solo work is known for its analog warmth and electronic harshness, finding a home on labels including Touch, Raster Noton and Mego. Bruce Gilbert is a founder member of punk/post-punk stalwarts Wire and the Mute Records outfit Dome. Wire’s minimal approach and unorthodox structures are revered as one of the most influential groups of the 70s & 80s.

Support is given by the Austrian based trio Radian, who have released two critically acclaimed albums on Thrill Jockey. Re-purposing and re-recording sound sources, they use a wide array of technology to create an arresting live performance. The resulting sonic palette has an acute attention to detail with texture and intensity that is unforgettable.

… and if words are not enough for you …

Netaudio London is thrilled to present Nurse With Wound, Radian and a new live collaboration between Bruce Gilbert (ex-Wire) and Mika Vainio (ex Pan-Sonic) as the culmination of the 2011 Netaudio London festival.

CLOSED Call for Entries - NAL11

Wed, 06 Apr 2011 10:05:43 +0000

The Netaudio London festival promotes the work of artists who use digital and network technologies to explore new boundaries in music and sonic art.
It is spread across two venues in Camden: the Roundhouse by day, and KOKO by night.

The packed and varied day time programme inspires participation in all forms: interactive sound art installations, conferences, workshops, collaborative online broadcasting and live showcases.

The evening programme presents performances by Nurse With Wound, Mika Vanio (ex-Pan-Sonic) & Bruce Gilbert (ex-WIRE), and Radian.

This call for entries encourages you to submit work for inclusion in different strands of the festival.

Strands

We welcome submissions for 3 distinct areas of the programme:

Sonic Maze – sound art exhibition
Open Platform – new talent music stage
Netaudio Online – broadcasting

All scheduled to take place between 1pm – 6pm at the Roundhouse on Sunday 15th of May 2011. All strands will run simultaneously with the conference.

The call for entries is open from 14th February to 11th March 2011.

Sonic Maze

The Sonic Maze is a sound art exhibition located in the Roundhouse Studios, where Netaudio will present a selection of interactive audio-visual installations for visitors to explore. The Sonic Maze is programmed via this open call along with the curatorial input from Martin Bricelj Baraga, Director of MoTA – Museum of Transitory Art and Slovenia’s leading sound & transitory art festival Sonica.

The layout of the maze is a long corridor with a number of small studio spaces off to either side. Each studio space is approx 2.5m by 3.5m and soundproofed and without windows. It can be equipped with speakers, screens, computers, mixing desk or anything you can think of.

Although we will consider any audio or visual based work, we will favour work that engages with collaborative practice, encourages user interaction and/or explores the issue of emerging/reapproriated technologies.

Both remote submissions as works which require your presence to set up/man/operate, will be accepted.

Open Platform

The Netaudio Open Platform will take place in Torquil’s Bar, located in the upstairs foyer of the Roundhouse, featuring emerging musicians throughout the afternoon. The stage is hosted by Tony Nwachukwu former member of Attica Blues and producer of the long running CDR club night at Plastic People. The Open Platform will be programmed by the Netaudio community which will vote on submissions received through this call, the voting is facilitated via a customised SoundCloud service.

We are happy to consider music of any genre for this stage, as long as it’s yours!

As part of this call we also offer an extensive artist mentor programme to 4 acts. This includes professional advice on your music, on how you can find audiences and how to make the best with available digital tools. Please indicated in the submission form if you would like to be consider for this.

Netaudio Online

Netaudio Online is an interactive, live broadcast from the Roundhouse Studios. Using the format of a live webzine, we will explore the future of broadcasting with a series of TV and radio features in partnership with Resonance104.4fm. Netaudio Online also offers live cuts of the conference and features webinars and dedicated interactive workshops for our online audience.

We will consider pre-recorded or generative sonic/radio art pieces and self contained digital audio visual art that can be broadcast via the Roundhouse Radio (A/V streaming platform) and partner websites to accompany the live webzine. Maximum lenght for all material is 10mins.

As part of this call we also commission 2 pieces of new work. Please fill in the relevant box in the provided form if you would like to submit towards a new commission as well as existing works.

Note: for this strand we accept remote submissions only. We won’t support travel and accommodation costs, but you are welcome to join us at the venues.

Submission Procedure

THIS CALL HAS CLOSED. We will published accepted entries beginning of April 2011.

~~Successful entries to all strands must carefully complete the form located at~~

~~http://netaudiolondon-cfe.heroku.com/2011~~

~~We expect entries to be submitted with as much contextual and factual information as possible to enable us to accuratly assess the work. Good luck.~~

Conditions Of Entry

All submitted works are to be fully realised – no demo versions please!
You must hold full permission to perform / broadcast the works
Artists must be available over the weekend 14th/15th May 2011 to install/perform their work (Not applicable for remote submission Sonic Maze and Online)
We will announce selected entries via http://netaudiolondon.org on 31st March 2011. We won’t be able to give individual feedback to non selected entries.

Jury / Advisors

Andi Studer (Cenatus CIC / Netaudio London)
Matt Spendlove (Cenatus CIC / Netaudio London)
Ed Baxter (Resonance104.4fm)
Martin Bricelj (MoTA / Sonica Ljubljana)
Tony Nwachukwu (CDR / burntprogress)
Dave Gaydon (Roundhouse)
Alexandra Albert (Netaudio London)
Chris Box (Netaudio London / Runsounds)
Tim Cowie (Netaudio London / Light Surgeons)
Alexandre Didierjean (Netaudio London)
Hanna Box-Inberg (Netaudio London / Runsounds)
Nina Kehagia (Netaudio London / Nomad)
Sarah Ladkani (Netaudio London)
Dimitris Mylonas (Netaudio London / Seratonin)

Not all members mentioned will provide input to each strand

Fees

Successful applicants are being awarded with a small fee

£100 per Sonic Maze installation
£50 (solo) £100 (bands) per Open Platform performance
£50 per Online Broadcast, and £500 for new commissions

In addition, we will cover transport and accommodation cost as required and provide technical infrastructure needed to show your work.

Further information

please contact us via info@netaudiolondon.org
Note: We will not advise you on the content of your submission, but are happy to assist you with questions about the submission process.

Netaudio London 2011 unveiled

Wed, 06 Apr 2011 10:45:52 +0000

Hello there folks! It’s been a while. But, we’re back.. Some things have morphed a little but there’s still the same core. The only constant is change right?

Building on our whirlwind of a 4 day festival at Shunt in 2008, it’s with great pleasure that we can announce Netaudio London 2011. This packed all-dayer on Sunday 15th May 2011 is the first in what will now grow into an annual event. Well worth the wait we think.

Netaudio London 2011 is a one day festival to promote the work of artists who use digital and network technologies to explore new boundaries in music and sonic art. With a central focus on technology and the live experience, the packed and varied lineup encourages participation in all forms: interactive sound art installations, conferences, workshops, collaborative online broadcasting and music showcases.

The programme is in two sections: our daytime sessions at The Roundhouse contains most of the activities listed above, leading up to an exciting schedule of evening performances at KOKO showcasing Nurse With Wound and others. Early bird tickets for this show are on sale now. For details on the daytime programme, you will have to wait a little longer: expect regular news from us over the next weeks.

For now, there are many opportunities for you to get involved: We’re looking for a variety of artists to participate in different ways during the day – please see the Call For Entries for detailed information on this.

And ‘updates’ we hear you cry? Choose you preference: this blog has an RSS feed or jump on a social networking bandwagon. We have a shiny new Facebook page which we’re in the process of migrating over to from the old group. There’s also Twitter. These are both new so please like, follow, love away..

Save the date: Netaudio London 15th May 2011, The Roundhouse and KOKO in Camden.

Hello there folks! It’s been a while. But, we’re back.. Some things have morphed a little but there’s still the same core. The only constant is change right?

Building on our whirlwind of a 4 day festival at Shunt in 2008, it’s with great pleasure that we can announce Netaudio London 2011. This packed all-dayer on Sunday 15th May 2011 is the first in what will now grow into an annual event. Well worth the wait we think.

Netaudio 2011

Tue, 05 Apr 2011 11:27:07 +0000

So you found your way here? You’re quick.. too quick.

Full details about the event will be announced shortly. Hold tight.
Suffice to say, we’ve got a day long schedule of immersive and interactive activities planned, topped of with a night of performances at a top London venue..

Oh yes.

Keep up to date on our shiny new Facebook Page or Twitter feeds. They’re new, so we need some love.

So you found your way here? You’re quick.. too quick.

Video Interviews: Perspectives on Digital Music

Mon, 09 May 2011 12:09:57 +0000

Netaudio London and Sound and Music present a collection of 12 interviews with leading practitioners operating in the field of new music, digital media and sonic art.

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Over the course of Spring 2010, the two organisations ran extensive research into how digital technologies change the way users create and appreciate music. Starting with an online survey in February, and culminating in a public debate held a FutureEverything in Manchester, May 2010.

The collection features 12 very personal approaches within new music and digital media, but the collection as a whole represents a holistic form of documentation for the whole research project.

The interviewees and their topics are:

Alexander Ljung, founder and CEO of SoundCloud
on sharing as driver for creating music

Alex McLean, musician, LePlacard & Dorkbot London
on networked live music performances

Bryan McDade, technologist and System Administrator at Minus
on engaging audiences with new technologies

Colin Newman, musician (Wire, Githead), producer and label owner
on DIY culture in music and the Internet

Conor Roche, Head of Broadcast and New Media at Roundhouse
on venues in physical and online spaces

John Kieffer, Creative Director at Sound and Music
on creativity and technology in beta version

John Matthias, musician and lecturer Plymouth University, PRSF New Music Award winner with the Fragmented Orchestra
on artificial neurons and music

Marc Garrett, Co-Director at Furtherfield.org
on online arts communities and activism

Rachel Baker, Internet radio pioneer and Digital Opportunities Programme Manager at Arts Council England
on creative and social interaction before web 2.0

Sean Adams, columnist and Founder of Drowned in Sound
online communities and music distribution

Simon Emmerson, Professor of Music, Technology and Innovation at De Montfort University
on the future of live computer music

Thorsten Sideb0ard, label owner (Highpoint Lowlife), Data Engineer at Last.fm
on how the internet has affected independent labels

Comments and feedback via Youtube are very welcome.

Produced by Cenatus CIC and Sound and Music. Supported by the National Lottery through Arts Council England. Music excerpt from ‘Amid The Blaze of Noon’ by The Village Orchestra. Graphics by Patricia Nimo.

Netaudio London and Sound and Music present a collection of 12 interviews with leading practitioners operating in the field of new music, digital media and sonic art.

Report: FutureEverything panel on the Future of Music

Wed, 06 Apr 2011 10:32:57 +0000

When thinking of ‘the future of music’, many people consider the economic aspects only, imagining scrapped business models and a revolutionized system of distribution. The conference hosted by Netaudio London at Future Everything in Manchester has just shown that there is much more to it, involving unexpected sides of science – for example, the behaviour of neurons! – new forms of collaboration between artists, and innovative ways to share information and relate to content, just made possible by the digital era.

As David Rogerson of Sound and Music says in his brief introduction, while going over the work behind this conference – work that involved an on-line survey, video interviews, and today’s panel discussion – ‘the research explored what was going on with music now, and what effect digital media, particularly the Internet, had on it’ and one of the most striking aspects was that no one of the people interviewed for this project mentioned ‘piracy and how this is killing music’.

Therefore, it was clear from the outset that the panel would have focused on new opportunities rather than on fear of change, which has dominated the debate over the destiny of all the media industries – particularly music – over the last few years, also overcoming the too frequent problem of ‘futurology’ – in other words, foreseeing the unforeseeable – which could have been the threat posed by such a broad title.

John Matthias introduces us to his research about rhythm patterns and the behavior of neurons. Particularly, ‘undetermined’ systems of rhythm as opposed to ‘random’. One such system of things that have that behavior are neurons, and John’s exploration is concerning the rhythm of the nervous system. It is therefore surprising to find out that a jazz masterpiece such as John Coltrane’s ‘A Love Supreme’ can turn into a pulsing rhythm based on the reaction of our neurons.

Caroline Heron focuses on the importance of the relationship between arts and technology under a ‘collaborative’ side: the project she’s involved in with OpenMute can be defined as a ‘social network for arts’ in which art RFO’s (Regularly Funded Organizations) get together to share artistic contents and resource materials with each other and the audiences.

Alex McLean provides an ‘anthropological’ perspective and explains us how the future will give us the missing ring of a chain starting with movement and going through imagery, videographics, phonetics, abstraction and computation. Networks, in his view, represent said link which connects computation to movement again.

It is finally Thorsten Sideboard who brings in the topic of digital distribution and how things changed because of it – providing quite a confident and optimistic view about it and underlining the importance of being the ‘first mover’ with his Highpoint Lowlife label first, and then with his experience as a content manager at Last.fm.

It is also very important, he says, that blogs dedicated to the discovery of new music are becoming labels on their own, often launching and supporting their new products and artists. It is not a ‘top-down’ process any more, artists are much more in touch with their fans than before and people are more open and independent in the way they approach music consumption.

A passionate and attentive audience comes up with questions, many of them regarding issues related to what will happen over the next few years. ‘There’s so many open avenues’, says Sideboard; one thing’s for sure: ‘physical sales have gone down, and when you look for new business models you have to think about the way you discover new music yourself’. It might be difficult to find the right way to make money out of it, but there are many positive signs and the Internet is definitely an amazing technology which makes it easier for everyone to make and discover music.

‘There are new languages and new ways of making music’, adds Alex McLean – ‘not replacing the old ones but complementing them and interacting with them’. Lots of new languages stepping back from the mechanics of the actual movement of music and describing it instead, using computer language. A lot more can actually be done under this standpoint, because computer languages are not good at describing music and can really be improved. ‘I see a lot of movement in how to describe music in order to generate it and to look for new ways of controlling rhythmic form and melody’. John Matthias goes further and paints a fascinating picture made of instruments that learn from performers and players.

‘New technologies are very stimulating’, concludes Andi Studer – ‘having an impact on my creative life as a practitioner, consumer, and as a professional working alongside creative people’. ‘They also cause a lot of fragmentation, because everyone is actually stimulated by different things’.

Overall, a diverse panel offering different perspectives, some of them often overlooked and unexplored, but with a common point, which has emerged pretty clearly: ‘Have no fear, we are your friends’, say the digital technologies to those in the music sector at all levels. Be it for business models, or for production and collaboration among artists, networks bring music to another level, marking a new era which doesn’t necessarily coincide with all the concerns over piracy and intellectual property theft raised by the major players in the market for too long now – maybe since the advent of the Compact Cassette .

Luca Schiavoni, 24 May 2010

Luca Schiavoni wrote a detailed report of the ‘Future of Music’ panel that we presented at FutureEverything on 13 May 2013.