*Sonic Screens – environmental music listening sessions*

*Live mixing and spatialization by U.S.O. Project (Matteo Milani & Federico
Placidi)*

*
*

*Call for multichannel works*

*U.S.O. Project* is pleased to invite submissions of fixed media sound works
for the second edition of “Sonic Screens”, a journey among different
electroacoustic Soundscape compositions.

*Sonic Screens* is an annual event that will take place during two
acousmatic evenings in Milan during Fall 2011.

*Sonic Screens* aims to render the endless possibilities of life and its
surroundings experienceable in our conscious activity, trying to deal with
the possible infinites of the listening experience, both in their objective
and manufactured dimensions.

*“Listening to the environment, contextualizing it objectively and
creatively has always been a priority of the work of U.S.O. Project.
Free from any pseudo-environmental or socio-political implication, the
continuous work on sampling, processing and transfiguration of found sound
and carefully preserved in memory of a digital recorder, has always played a
central role in our compositional practices.
U.S.O. defines Soundscape as the expressive and narrative richness that
comes from the reciprocal and continuous interaction of multiple sound
sources from the real world, and other phenomena which are perceptible and
measurable only through proper and adequate transduction (electromagnetic
signals, for example).
A Soundscape is also an opportunity for reflection and imagination that has
little to share with the real world.
A Soundscape can be a place of the mind, a reminiscence of a future
experienced in dreams, lands far away in space and time.” – Matteo Milani &
Federico Placidi<http://www.soundesign.info/reviews/movement-of-acoustic-images-a-workshop-in-italy-on-field-recording>
*

*
*

Composers and sound artists are invited to submit multichannel works, up to
8 channels. The assignment of channels to speakers must be clearly indicated
in the submission. Works of any duration will be considered although pieces
of under 16 minutes will be given preference.

The performance will take advantage of Ambisonics sound diffusion practice,
creating an immersive and uninterrupted sound flow between different works
from selected international artists.

The material will be transcoded in real time to *2nd Order B-Format* (via *
ICST* Ambisonics Externals for
MaxMSP<http://www.icst.net/research/downloads/ambisonics-externals-for-maxmsp/>
).

The recordings of the concerts will be available for streaming and released
in binaural format for headphone use. The ownership of the tracks remains to
the authors.

*Submissions need to include:*

1. a stereo version of the piece
2. individual mono files for each channel
3. channel configuration
4. sample rate
5. program notes
6. brief biography

While the composers of the selected works are encouraged to attend the
event, attendance is not required for a work to be presented.

There is no registration fee.

The deadline for submission of works is October 31st, 2011.

*Material Submissions*

Please send download links to your work using one of the many file delivery
services (yousendit.com, sendspace.com, gigasize.com, wetransfer.com, etc)
in .zip or .rar format. Please do not email file attachments.

Electronic submissions should be sent to:

*[submissions at synesthesiarecordings dot com]*

For more information, email contact:

*[info at usoproject dot com]*

*Terms and Conditions*

Each participant may submit up to two works.

[Date and Venue To Be Announced]

[SchermiSonori2011-CallForWorks.pdf<http://www.synesthesiarecordings.com/docs/SchermiSonori2011-CallForWorks.pdf>
]

*“The essential difference between an electroacoustic composition that uses
pre-recorded environmental sound as its source material, and a work that can
be called a soundscape composition, is that in the former, the sound loses
all or most of its environmental context. In fact, even its original
identity is frequently lost through the extensive manipulation it has
undergone, and the listener may not recognise the source unless so informed
by the composer. In the soundscape composition, on the other hand, it is
precisely the environmental context that is preserved, enhanced and
exploited by the composer.” – Barry Truax*

[Non-text portions of this message have been removed]