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An annual festival of contemporary music, multimedia art, experimental film, installation, sound art, and related areas, which takes place in Prague each May. It was started in 2011 by Dan Senn, an American composer and the organizer and co-founder of Roulette Intermedium.

The first four editions took place in the post-industrial Trafačka Aréna; in 2014, the festival moved to the much more cosmopolitan Paralelní Polis. The festival aims to disrupt the usual division of artists into cliques, and to provoke interaction between artists from different backgrounds. The organizers’ outsider position allows them to do so non-institutionally, without an established position on the scene, but still employing collaborations with various other institutions: the Center for Audiovisual Studies at FAMU (the Film and TV School of Academy of Performing Arts in Prague), the Agosto Foundation, the 4+4 Days in Motion Festival, and others.

The programming is a mixture of Czech and international performers. International guests have included Jaap Blonk, Phill Niblock and Katherine Liberovskaya, Bob Ostertag, Yves Degoyan, and Joanna Hoffman. Over the years, the festival has gradually mapped several art scenes in the Czech Republic: contemporary composed music (Lucie Vítková, Michal Rataj, David Danel, and the Fama Quartet); sound art (Marek Hlaváč and Michal Cáb); contemporary art (Michal Cimala and Martin Janíček); and experimental video (Martin Blažíček and Michal Kindernay). In addition, the festival organizes open calls for fixed-media and live works from aspiring artists....

[Elektronmusikstudion] (Swed.: ‘electronic music studio’)

The Swedish national centre for electronic music and sound art, in Stockholm. It was preceded by a smaller studio run by the Worker’s Society of Education from 1960. EMS was established by Swedish Radio in 1964 under music director and composer Karl Birger Blomdahl (1916–68), who hired the composer and performer Knut Wiggen (b 1927) to take charge of creating the studios. In 1965 an old radio theatre studio called the klangverstan (‘sound workshop’) opened for composers. Construction of a new facility was begun, but after Blomdahl’s death EMS became independent, funded only in small part by Swedish Radio, and otherwise by Fylkingen (a society for experimental music and arts) and the Swedish Royal Academy of Music.

Wiggen envisioned EMS as both a place to produce electro-acoustic music and a research institution that would give the composer ‘the possibility of describing sounds in psychological terms’. The studio was equipped accordingly. The sound sculpture ...

Many encoding formats exist today to represent music, such as DARMS, NIFF, and MusicXML for score typing and publishing, Csound, MIDI, and SASL/SAOL for computer-generated performances, and AAC, MP3, and MPEG for audio and video recordings. These formats capture specific aspects of music but are unable to encode all of these aspects together.

First proposed in 2001, the IEEE Standard 1599 has been developed to allow interaction with music, such as notes and sounds in video applications, and in ad hoc interactive devices by providing a technological framework that makes prerecorded music and related media content navigable and interactive. This is achieved by the use of layers that combine encodings of music with structural and logical representations to allow alternative versions and random access within the piece. These layers are logically organized and synchronized by XML files consisting of symbols that represent an event, referring and pointing to different instances of the same event in the various layers....

A biannual festival of new and experimental music held in Ostrava, Czech Republic, since 2001, founded by petr kotík and Renata Spisarová.

The performers include guest ensembles and soloists, as well as a core of both international and Czech soloists specializing in contemporary music, who coalesce into the resident ensemble, Ostravská banda. Since its conception, the festival has established strong relations with other local arts organizations, including Bludný Kámen, the National Moravian-Silesian Theater, the Janáček Philharmonic, the Canticum Ostrava choir, and, more recently, the PLATO art gallery and the multi-arts space Provoz Hlubina. The festival also features dance and opera, as well as performance, multimedia, and installation work.

The 9-day festival at the end of August is the finale of a three-week-long ‘Institute’ for aspiring composers from around the world. Some ten established composers are invited as instructors for master classes, lectures, workshops, and one-to-one lessons at the Institute. The festival then features music by the invited composers, as well as one piece by each of the 35 composer-students....

Concert venue and gallery, focusing at first on visual art, but soon becoming one of the key locations in the Czech Republic for contemporary and improvised music, sound art, and intermedia work.

Housed in the courtyard of an 1888 neo-Renaissance building in the centre of Prague, the former galvanizing workshop was reconstructed in 1999 by the Linhart Foundation and opened to the public in 2000.

The gallery has offered a regular programme of two monthly concerts, always featuring a local act opening for a foreign guest. Performers have included Thomas Lehn, Franz Hautzinger, Dieb13, and Jim Denley, as well as most musicians on the Czech improvised music scene, and many composer-performers, including Peter Graham, Lucie Vítková, and Miro Tóth[1]. Artists working with sound at the gallery in an installation context have included Jacob Kirkegaard, Phill Niblock, Peter Cusack, and John Grzinich.

Apart from regular exhibitions and concerts, the gallery has also organized long-term residencies for artists, artistic workshops, and discussions. Since ...