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Call for Found Sound Compositions

The following is a call for recordings of found sound compositions
that was sent to another list I'm on. I know that a number of you work
often with found sound and thought you might have something to submit.
I have no affilliation with any of thi, just passing along something I
thought you guys and gals might find worthwhile. Good luck to all who


Jon Southwood

--begin call for compositions--

Curated By Lloyd Barrett // Lawrence English

For most of us, our every moment (awake and unconscious) is enveloped
by sound. From the obnoxious alarm

tone that raises us from slumber to the microscopic sounds of natural
nocturnal transmissions; there is

always sound.

As a society we have increasingly sought to augment and indeed control
the environments around us. All manner of tools have been utilised in
this ongoing war against the unfamiliar, the unexpected and the
`undesirable'. Along with a variety of

visuals cues, sound is progressively used to colour our surroundings
with aural hues.

The Twentieth Century brought with it an unparalleled use of
artificial sound in the form of George

Squier's Muzak  a creation designed to enhance (and perhaps
determine) amongst other things our

`shopping' experience. For decades, no mall or place of substantial
commerce was complete without the

dulcet tones of Muzak. To many it would seem that there is a world of
difference between the
bleating high frequency sounds of an Indian marketplace and multiple
channels of mid-tempo instrumental music filling our shopping malls;
however the ability for sound to

draw and focus our attention is universal and well documented.

But what of the remaining sounds? The incidental sounds that Muzak
tries (and often fails) to mask: a dropped plate in the kitchen; a
leaky tap; the creaking sounds of heated aluminium roofing and the
ever-present air conditioner.

Incidental Amplifications reclaims the consumer soundscape by
dispersing pieces made from incidental

sounds into a variety of public
spaces including the Fortitude Valley and Chinatown mall multi-speaker
sound-systems in Brisbane,


Selected submissions will be sequenced and dispersed late nights
as part of Liquid Architecture 6, Valley Fiesta and the Queensland
Music Festival 2005.

Artists from Queensland, Australia and the rest of the world are
invited to contribute an audio work that addresses the ideas of
reclaiming and utilising these subsidiary soundtracks to our everyday
shopping/urban/rural experiences.

The pieces selected for the exhibition can be of variable length.
Guidelines for submission are as follows:
1) Submitted pieces must address incidental sounds either directly
(field recordings etc) or indirectly (reconfigured sound or
synthesised incidentals);
2) All pieces must be suitable for use in a public space with a
general audience;
3) All submission should be sent as a data and audio CD;
4) Submissions are now due by Friday 24th Jun 2005.
Please send all submissions to ROOM40 C/O:
This project is supported by Liquid Architecture, Queensland Music
Festival, Valley Fiesta, Room40 and Small Black Box.