Goldsmiths Thursday Club (Goldsmiths, University of London)

GOLDSMITHS THURSDAY CLUB

OPEN CALL FOR PROJECTS & PROPOSALS

2009 - 2010 SEASON

DEADLINE: 29 JULY 2009

The Thursday Club is an open forum discussion group for anyone interested in the theories and practices of cross-disciplinarity, interactivity, technologies and philosophies of the state-of-the-art in today’s (and tomorrow’s) cultural landscape(s). The Club is supported by the Goldsmiths Digital Studios (GDS) and the Goldsmiths Graduate School.

Originally set up in October 2005 by GDS as a more informal setting for research discussions, it has grown to include over 200 members: artists, technologists, scientists – in fact, a growing diversity of people from different communities worldwide, that are connected via a mailing list and online forum.

Most importantly, there are regular meetings in ‘real’ space at the Ben Pimlott site of Goldsmiths, University of London. Anyone can attend these events. By keeping these meetings free, informal and open to all, we provide a platform for diverse and open ended discourse, for people who perhaps would not have the opportunity to discuss ideas outside of their chosen discipline.

The Thursday Club brings together people from diverse fields and degrees of expertise, aiming to initiate discussion and debates among postgraduate students, researchers, academics, artists, theorists, and other cultural practitioners.

Since it focuses on interdisciplinary practices, the Club is interested to experiment with innovative formats of presentation that are appropriate to the nature of the subject. We particularly welcome the proposal of round table discussions, panels, screenings, ‘hearings’, live gigs and performance lectures. We are also interested to platform experimental work-in-progress of both practical and theoretical nature.

Submission Materials

1. A Title and 300 word abstract of your proposal

2. A 1,000 word proposal that will substantiate your abstract as well as include information regarding issues of methodologies and format of presentation; also, this should explain why you think that the Thursday Club is an appropriate forum for the presentation of your work.

2. A 200 word biog

3. Your contact details: name, address, email, telephone number

4. Any relevant links to your work

5. A jpg of your work (if relevant)

Please send any submissions by email to Prof. Janis Jefferies

(j.jefferies@gold.ac.uk) and Patrick Tresset (ma701pt@gold.ac.uk) writing

‘Thursday Club Submission’ as a Subject.

The deadline for the 1st submission of proposals is 10AM, 29th July 2009.

The submissions will be reviewed by the Thursday Club Board and you will hear by the end of August 09.

THURSDAY CLUB BOARD

Dr. Tim Blackwell

Lecturer in Computing, Goldsmiths; co-Head, Live Algorithms for Music Network.

Maria Chatzichristodoulou [aka Maria X]

Lecturer in Theatre and Performance - School of Arts and New Media - University of Hull @ Scarborough; Cultural Practitioner.

Kelli Dipple

Webcasting Curator, Tate.

Prof. Janis Jefferies, Thursday Club Convener

Professor of Visual Arts, Department of Computing, Goldsmiths; Co-director

Goldsmiths Digital Studios; Director Constance Howard Resource and

Research Centre in Textiles; Curator; Artist.

Alex McLean

PhD Candidate Goldsmiths Digital Studios; Sound artist.

Myrto Karanika

MFA Goldsmiths Digital Studios.

Dr. Sarah Kember

Reader in New Technologies of Communication, Department of Media and Communications, Goldsmiths; Writer.

Nanda Khaorapapong

MFA Goldsmiths Digital Studios.

Prof. Carrie Paechter

Professor of Educational Studies, Goldsmiths; Dean of Goldsmiths Graduate School.

Stanza

Artist

Patrick Tresset

PhD Candidate Goldsmiths Digital Studios; Artist.

Prof. John Wood

Professor in Design, Goldsmiths.

Matthew Fuller

Reader, Centre for Cultural Studies, Goldsmiths; Writer.

McCann Research Fellowship (Royal Academy of Music)

MCCANN RESEARCH FELLOWSHIP

ROYAL ACADEMY OF MUSIC, LONDON

£5000 P.A. ONE YEAR RESEARCH GRANT

The Royal Academy of Music in partnership with the Lucille Graham Trust is inviting applications for the following award, commencing Oct 2009 and tenable for one year. The Fellow will have the opportunity to base their research on material located in the McCann Collection at the Academy.

The McCann Collection at the Royal Academy of Music consists of letters and documents, photographic materials, ephemera, recordings, playbills and programmes from the 19th and 20th centuries. Particular strengths are material relating to British concert life and the availability of rare biographical and iconographical material from Eastern Europe. The collection is currently being catalogued. For more details and digitised images, see APOLLO (Academy Collections Online) www.ram.ac.uk/apollo .

The McCann Fellow will be expected to disseminate his or her research by publishing their findings via the Academy’s website and in an academic journal if possible, culminating in the presentation of a research event.

The applicant should be educated to music graduate or music research student standard. Experience of performance research and knowledge of foreign languages will be an advantage. All candidates are required to submit a short research proposal (1000-2000 words) with a covering letter for consideration. If you wish to view or discuss the collection before submitting your application then please make an appointment with Janet Snowman, Collections Registrar (j.snowman@ram.ac.uk). Further details regarding the McCann Fellowship at the Academy can be found on our website www.ram.ac.uk. Please direct all applications and any further queries to Fiona Hymns, Museum and Collections Administrator via email or post (f.hymns@ram.ac.uk , Royal Academy of Music, Marylebone Road, London, NW1 5HT)

Closing date: Friday 24th July 2009.

Zombomodernism: the Ends of Practice-as-research (CSSD, London)

ZOMBOMODERNISM: THE ENDS OF PRACTICE-AS-RESEARCH

CENTRAL SCHOOL OF SPEECH AND DRAMA, UNIVERSITY OF LONDON

26 SEPTEMBER 2009

CALL FOR PAPERS

DEADLINE EXTENDED: 6 JULY 2009

The figure of the zombie is the uncanny split par excellence: neither living nor dead, both familiar and unfamiliar. The zombie presents a unmeasurable proximal distance between the known and unknown. The zombie’s movements are human in resemblance (as is its physical form), and yet, in its single-minded determination, its constant pace, and its inability to manoeuvre around obstacles in its path, it is clearly inhuman.

Is not the condition of the zombie also the condition of the modern practice-as-research academic? That is, current PAR can be described as existing within a state of ‘Zombomodernity,’ that post-postmodern state in which the ideas are not dead, but nor are they truly alive. Practice-as-research features a similar uncanny split: is it research or is it art? And the spectacle of the modern practice-as-research academic is analogous to that of the zombie in many ways: we’re single-minded, move slowly and bang our heads against the wall over and over again.

Central School of Speech and Drama’s Research Degree students are pleased to announce a one-day interdisciplinary colloquium exploring practice-as-research from the perspective of its relationship to both professional practice and the institution, aimed at finding the antidote and liberating it from Zombomodernism or cutting its head off and putting it to rest forever. As an institution, CSSD is uniquely placed to explore these issues, being itself an uncanny hybrid of conservatoire and research institution, and this colloquium is part of the Festival of Emergent Art, a high-profile two week festival of new practice-as-research performances and presentations from PhD students, MA Performance Practices and Research students, staff and visiting artists.

We invite 20-minute papers and proposals for workshops that might interrogate the value of PAR and its contribution to new knowledge and professional practice.

What is the relationship between PaR and professional practice?

What is the relationship between PaR and the university?

Does PaR create new knowledge?

Is the university the best place to make experimental practice?

Can we imagine new ways of documenting experimental practice?

Can we imagine new ways of writing about practice?

Can we stop asking ourselves if it’s ok and just get on with it?

Submissions are invited from all researchers and postgraduate students working in theatre, drama, dance, film, puppetry and object-theatre, circus, installation, live art and visual culture. Interdisciplinary work is especially welcome, as well as submissions of experimental writing and documentation.

Please send a 250 word abstract (for papers) or proposal (for workshops)along with a brief biographical statement to colloquium organiser Broderick Chow at dick.chow@cssd.ac.uk by Monday, 6 July 2009. Please send large attachments tozombomodernism@googlemail.com Decisions will be made within three weeks. Any questions can also be directed to the colloquium organiser.

CFP: Taking Pleasure Seriously: Theorising Pleasure and Music -British Forum for Ethnomusicology (King's College, London)

TAKING PLEASURE SERIOUSLY: THEORISING PLEASURE AND MUSIC
BRITISH FORUM FOR ETHNOMUSICOLOGY - ONE DAY CONFERENCE
KING'S COLLEGE LONDON
7 NOVEMBER 2009
CALL FOR PAPERS
http://bfe2009.net/4.html

Taking pleasure in music is a cross-cultural phenomenon; indeed, it has a proven neurological basis. But these pleasures have also, in many cultures, long been subject to aesthetic discourses about the nature of music and its peculiar powers for good and for ill. They are often multiple: in the sociability of dance; in the seduction of love song; in ecstatic union with the Divine beloved. Pleasures are there too in analysing what makes music meaningful to people; in burying oneself in the notes; in finding an uncut diamond in the dust of the archive. Even the most extreme grindcore or the most taxing avant-garde composition affords its aficionados highly cultivated aesthetic, intellectual and social pleasures. Beneath and beyond music’s ritual functions, its significations, and its connections with wider society, the most fundamental reason we listen to and think about music is because it gives us pleasure..

And yet, many music scholars still seem uncomfortable about taking music’s pleasures seriously – about examining this most important of music’s affordances in its own right. There are, of course, illuminating exceptions. But music’s pleasures seem too often to be reduced to the erotic, or invoked as an ethnographic deity, or hedged around, or altogether absent. We seem to be hamstrung by two problems with the word pleasure itself: its post-Enlightenment associations with the trivial and optional, with “non-essential” leisure as opposed to “essential” work; and on the other hand, its recently intensified erotic connotations – after Sontag, Barthes, Lacan and Foucault, pleasure in the arts has ever more insistently been folded into the erotic, to the exclusion of other kinds of pleasures, and the continued severance of the realm of pleasure from the realm of so-called “serious” concerns.

Yet other cultures, at other times, have treated the domain of pleasure not as a pendant to the domain of work, but as its indispensable antithesis, essential to the functioning of good government: of the self, of social relations and of the state. A starting position for this conference might be the proposition that our understanding of any of the world’s musics, past or present, is weakened if we do not take all of music’s pleasures seriously, and consider their capacity to undertake serious work in human affairs. To do so, however, means thinking our way beyond the current dualism of work vs. leisure, transcendence vs. triviality; and beyond the honey-trap of music’s erotic pleasures, however important. Ideas for papers might include:

Examining current problems in theorising pleasure and music, e.g.:

• Have ethnomusicologists, faced with the West’s association of the “exotic” with sexuality, had to occlude music’s pleasures in favour of social function in order for non-Western musics to be taken seriously?
• Has musicology had to insist on the “seriousness” of art music to earn respect as a scholarly discipline?
• Do recent examinations of pleasure in popular music offer new paradigms for studying other kinds of music? Or are they still dependent upon a dualism that insists on the inconsequentiality of pleasure?
• Do studies in the area of music cognition offer ways forward?
• What might be the implications for music studies of foregrounding the pleasures of music?

Conceptualising alternative theoretical approaches to pleasure and music, e.g.:

• How do we begin to dismantle the trivial–transcendent dualism in music?
• What alternative frames do other cultures employ in thinking about and practicing pleasure in music?
• How do we move beyond the erotic without diminishing its importance in music? How do we conceptualise other pleasures in music, and the significant role they may have to play in human affairs?
• How can we begin to think and write about music’s pleasures in and of themselves? Or is it still necessary to read them as fundamentally connected to other human domains, e.g. politics, economics, society?
• What other discourses can we draw on to illuminate the relationships between music and its pleasures?
• What vital work do music’s pleasures perform in human societies?

If you have been thinking seriously about the relationship between pleasure and any of the world’s musics, we would welcome a proposal for a 20-minute paper from you.

Please send abstracts of 300 words, including AV requirements, by Monday 31 August to Dr Katherine Butler Brown, Department of Music, King’s College London, Strand, WC2R 2LS; email katherine.r.brown@kcl.ac.uk.

CFP: London International Conference on Education

LONDON INTERNATIONAL CONFERENCE ON EDUATION - LICE 2009
LONDON
9 - 12 NOVEMBER 2009
CALL FOR PAPERS
(www.liceducation.org)

The London International Conference on Education (LICE) is an international refereed conference dedicated to the advancement of the theory and practices in education. The LICE promotes collaborative excellence between academicians and professionals from Education.

The aim of LICE is to provide an opportunity for academicians and professionals from various educational fields with cross-disciplinary interests to bridge the knowledge gap, promote research esteem and the evolution of pedagogy. The LICE-2009 invites research papers that encompass conceptual analysis, design implementation and performance evaluation. All the accepted papers will appear in the proceedings and modified version of selected papers will be published in special issues peer reviewed journals.

The topics in LICE-2009 include but are not confined to the following areas:

*Academic Advising and Counselling
*Art Education
*Adult Education
*Business Education
*Counsellor Education
*Curriculum, Research and Development
*Distance Education
*Early Childhood Education
*Educational Administration
*Educational Foundations
*Educational Psychology
*Educational Technology
*Education Policy and Leadership
*Elementary Education
*E-Learning
*ESL/TESL
*Health Education
*Higher Education
*History
*Human Resource Development
*Indigenous Education
*ICT Education
*Kinesiology & Leisure Science
*K12
*Language Education
*Mathematics Education
*Music Education
*Pedagogy
*Physical Education
*Research Assessment Exercise (RAE)
*Reading Education
*Rural Education
*Science Education
*Secondary Education
*Second life Educators
*Social Studies Education
*Special Education
*Student Affairs
*Teacher Education
*Cross-disciplinary areas of Education
*E-Society
*Other Areas of Education

IMPORTANT DATES:

Extended Abstract Submission Date:June 30, 2009
Paper Submission Date: July 15, 2009
Proposal for Workshops: May 15, 2009
Notification of Workshop Acceptance: May 31, 2009
Proposal for Academic Presentation: April 30, 2009
Notification of Extended Abstract Acceptance/Rejection:July 31, 2009
Notification of Academic Presentation Acceptance: May 15, 2009
Notification of Paper Acceptance/Rejection: August 15, 2009
Camera Ready Paper Due: September 01, 2009
Author Registration: September 15, 2009
Early Bird Attendee registration: October 01, 2009
Conference Dates: November 09-12, 2009

For further information please visit LICE-2009 at www.liceducation.org

CFP: Correspondances: Exchanges and Tensions Between Art, Theatre and Opera in France (London)

CORRESPONDANCES: EXCHANGES AND TENSIONS BETWEEN ART, THEATRE AND OPERA IN FRANCE, C.1750-1850

NATIONAL GALLERY, LONDON (IN COLLABORATION WITH THE UNIVERSITY OF NOTTINGHAM)

26 - 27 MARCH 2010

CALL FOR PAPERS

This conference will explore a rich field of interdisciplinary research, that of the relation between art, theatre and opera in France from the later 18C to the mid 19C. As key elements in Parisian cultural life, art, theatre and opera all underwent extensive changes during this period, adapting and responding to profound socio-political disruption and transformation from the Revolution to the Second Republic.

We aim:

* to map interchanges between stage(s) and canvas, and the role of imagery in stage productions;

* to identify intermediaries in transmitting design to and from the stage and painting;

* to analyse attitudes and assumptions regarding interplay between media in theoretical and critical writing;

* to assess the recoverability of the visual components of theatre and opera.

Major themes which unite the two art forms include:

* the representation of history

* the nature of spectacle and illusion

* narrative and temporality

* the role of criticism

Invited speakers include:

* Prof Stephen Bann, University of Bristol (also a curator of the exhibition)

* Prof Beth Wright, University of Texas at Arlington

* Prof Tom Grey, Stanford University

* Prof David Charlton, Royal Holloway, University of London

We welcome proposals for papers (30 mins). Abstracts of c.250 words should be sent to both conference organisers, and by **1 September 2009**.

Programme and full conference details will be available at:

www.nottingham.ac.uk/moss and www.nottingham.ac.uk/nirv

King's College London Summer School

KING'S COLLEGE LONDON SUMMER SCHOOL

KING'S COLLEGE, LONDON

6 - 24 JULY 2009 AND 27 JULY - 14 AUGUST 2009

We invite students and others who want to learn from all over the world to join King's for our university summer school. This year our programme of study includes two university-level courses in music with outstanding, research-based teaching and the added experience of world-class cultural institutions in London.

The courses offer a high quality intensive learning experience. Visits to London's concert and opera venues, libraries and archives, and interviews with leading artistic directors and management (subject to course) are integrated into the study programme.

July, 6th - 24th: royals and royalties: MUSIC AND SPECTACLE IN LONDON

http://www.blogger.com/www.kcl.ac.uk/schools/summerschool/arts/prospectus/session1/musicroyals.html

July, 27th – Aug, 14th: BBC PROMENADE CONCERTS: MUSIC, MEDIA AND CULTURAL IDENTITY

http://www.blogger.com/www.kcl.ac.uk/schools/summerschool/arts/prospectus/session2/proms.html

Course Leader: Dr. Wiebke Thormählen PhD (Cornell University), MMus (KCL)

Courses will be available for credit, subject to the agreement of your home university.

For general enquiries or to see a syllabus, please contact: summerschool at kcl.ac.uk

Job Posting: Director of Institute of Musical Research (SAS)

JOB POSTING
DIRECTOR, INSTITUTE OF MUSICAL RESEARCH
SCHOOL OF ADVANCED STUDY, UNIVERSITY OF LONDON
DEADLINE: 12 noon Monday, 2 MARCH 2009

The School of Advanced Study (SAS) invites applications for the post of Director of its Institute of Musical Research. The Institute, in operation since 2006, is a national centre for the promotion and facilitation of research in Music. Based in Senate House, University of London, it serves a wide-ranging research community via a lively programme of collaborative events, online resources, facilities for hosting research groups and visiting scholars, research support and
training, and the Senate House Library Music collection.

The School seeks a person of high academic standing and proven administrative ability, with the strategic vision to lead an important national resource, and the willingness and aptitude both to promote the full range of musical research in the UK and to represent the Institute within the UK and abroad.

The post is full-time on the professorial scale and will be available, either as a self-standing appointment or by agreement as an academic secondment, from 1st August 2009.

For further information about the role, including details of method of application, please see
http://music.sas.ac.uk/about/appointment-of-a-director.html#c1422 where you can download the Further Particulars. To apply, please complete the Personal details/Equal Opportunities form, send your CV and a covering letter which details your interest in and suitability for the post to Ulrecruit@lon.ac.uk quoting reference 008/09-WI.

The closing date for receipt of completed applications is 12 noon on Monday, 2nd March 2009. Interviews are scheduled to take place on Wednesday, 8th April 2009.

The University offers a final salary pension scheme. Pursuing equal opportunities and excellence in education. www.london.ac.uk.

Prof. Katharine Ellis' secondment comes to an end on 31 July 2009, and the procedure has been put in place to appoint her successor. The advertisement below will go out on www.jobs.ac.uk imminently. Please do circulate to anyone whom you think might be interested in applying. As
stated in the last IMR newsletter, Katharine will not take part in the selection process, but will be very pleased to talk to anyone who wishes to know more about the job. If you would like to contact her then please do so via katharine.ellis@sas.ac.uk

CFP: Making the British Sound (London/Edinburgh)

MAKING THE BRITISH SOUND
Conference on Instrumental Music and British Traditions
LONDON - EDINBURH
7 - 11 JULY 2009
CALL FOR PAPERS

The Galpin Society and the Historic Brass Society joint meeting will include a conference in which members of both societies will present the results of their recent research, together with visits to important collections of musical instruments, concerts, and social events. This event will celebrate the 150th anniversary of the opening of the Reid Concert Hall Museum of Instruments. Details of the provisional programme can be viewed at: www.galpinsociety.org/gxh and this web page will be updated as further arrangements are confirmed. The conference is being organised by the Horniman Museum, London, and the Edinburgh University Collection of Historic Musical Instruments

CALL FOR CONTRIBUTIONS

The Papers Sessions are provisionally scheduled to take place in Edinburgh on Thursday July 9 and Friday July 10. Depending on the response, a further papers session may be held on Saturday morning July 11. The organizers invite papers, workshop symposia, round-table
discussions, and concert presentations that represent as wide a perspective on the conference theme as possible. Topics concerning developments within Britain as well as those in Europe and the USA that influenced British wind and other instrumental music, wind instrument design, use and performance practice will be sought. The following areas of discipline will be considered but others not listed might be viewed favourably as well:
--Organology
--Instrument making
--Historical musicology
--Musical acoustics
--Economic and Social history
--Biography
--Performance Practice
--Iconography
--Musical Archeology
--Music theory
--Metallurgy
--Military history
Intending participants are invited to offer papers based on original research and discoveries, and may be on any topic concerning or illuminating the history of orchestral, band and chamber musical instruments and instrumental performance in Britain, in particular aspects which were characteristically British.

It will not be necessary to submit the full text of papers, but suitable contributions may qualify for publication in the Galpin Society Journal or the Journal of the Historic Brass Society at the discretion of the respective editors and subject to the normal acceptance procedures (both are fully refereed journals). The language of the abstracts and presentations will be English. Papers should be delivered in person at the Conference by one of the named authors. It is intended that there will be no parallel sessions. There will be a small fee for participation in the Conference.

Abstracts of papers (400 words maximum) and a biography (no more than 75 words) together with a list of audio-visual equipment and time requirements should be sent to Arnold Myers by e-mail, preferably as plain text in the body of a message, to: A.Myers@ed.ac.uk by 15 January 2009. Submissions will be considered by the Programme Committee, which includes representatives of both societies. Acceptance of submissions will be notified by 15 February 2009. Accepted abstracts will be placed on the Galpin Society's website. For further information, please contact Arnold Myers by e-mail or post at: Reid Concert Hall, Bristo Square, Edinburgh EH8 9AG.

Women in Music Conference (upcoming) (London)

WOMEN IN MUSIC CONFERENCE
SATURDAY 8 NOVEMBER 2008
2.00 - 6.00 PM
The Regent Hall, 275 Oxford Street, London W1C 2DJ

Women in Music UK is celebrating its 21st Birthday by collaborating with the 11th London New Wind Festival. As well as the conference, there will be a talk by composer and inspirational speaker Errollyn Wallen, MBE, followed by a panel discussion on the education of composers. The evening concert includes many exciting works by women composers.

Timetable
1- 1.40pm Women in Music AGM.
2- 4pm Conference
4.30pm Guest speaker, Errollyn Wallen, MBE - Composer
5- 6pm Panel discussion; The Education of Composers
7- 9.30 pm Concert, New London Wind Festival

Conference "100 years of the women in music movement in the UK"
Chaired by Dr Margaret Lucy Wilkins. 2-4pm

Research Papers:

Laura Seddon.PhD student, City University, London.
Breaking Insuperable Barriers: The Women and the Ideology of the Society of Women Musicians.

Jennifer Kelly. Asst. professor of Music, Lafayette College, Easton, PA, USA.
Hilary Tann: Welsh composer living in America.

Rev. Professor June Boyce Tillman, MBE, Professor of Applied Music, University of Winchester
Women in Liturgical Music

4.30pm. Guest Speaker

Errollyn Wallen, MBE, Visiting Composer-in-Residence, Birmingham Conservatoire.
"Educating Composers"

5-6pm
Panel discussion
The Panel will discuss various models for educating composers.

Panel Members
Prof Rhian Samuel., City University/ Composer/ Editor, Grove Dictionary of Women in Music (1995)
Dr. Mary Bellamy, University of Huddersfield/ Composer
Dr. Margaret Lucy Wilkins, Composer/ University of Huddersfield (retired)/ Creative Music Composition: the Young Composer's Voice (Routledge, London & New York, 2006)

11th London New Wind Festival Concert

7pm
Catherine Pluygers Oboe Solo
Ruth Gipps - The Piper of Dreams Op 12(B)
Jane Serter - End Games
Orie Sato - Hotaru for Solo Oboe

7.30
Nancy Ruffer Flutes
Sadie E Harrison - Three Expositions (solo flute)
Betsy Jolas - Episode 1
Shulamit Ran - East Wind
Sally Beamish - Max's Pibroch (piccolo)
Ruth Duckworth - Blue Sky Thinking (piccolo) (World Premier)

8.00
Henryk Sienkiewicz Horn and Stephen Beville Piano
Thea Musgrave - Music for Horn and Piano
Tansie Davies - Spindle

8.30
Christopher Bush (USA) Clarinets and Carol Minor (USA) Piano
Joan Tower - Fantasy....."Those Harbor Lights"
Yumi Hara Cawkwell - Six Flowers UK PREMIER

9.00
Psallite Choir - Director Nancy Hadden Spells
Music (Three Spells) by Judith Cloud (especially written for the Psallite Choir)
Poetry by Kathleen Rayne
1 Spell against Sorrow
2 Love Spell
3 Spell of Creation

For further information see http://www.londonnewwindfestival.org/

Combined tickets for the conference and concert will be available on the door, from 12.50pm. £20, £15 concessions. (WiM members are welcome to attend the AGM for free)