Foundation for Emerging Technologies and Arts

FETA Prize in Sound Art 2018 Call for Works

The FETA Prize in Sound Art was established in 2013 to promote a broad range of contemporary American sound and installation arts.  Artists working within the sonic arts such as sound installation, sound sculpture, sound poetry, soundscape, robotics, net art and similar may submit one work each for consideration. The prize is open to any individual of any age who is a permanent resident or citizen of any North, Central and South American country. All submissions must be anonymous. The prize will include $1,000 USD, feature spread on the FETA website and presentation of the wining work at the Emerson Dorsch Gallery in Miami, FL*.

Electronic application can be found here.

Submission fee: $10


November 15, 2018      Electronic submissions deadline

December 15, 2018                                 Prize Announcement

Judging Procedure:

A committee of three preliminary judges selects 5 finalists. The recommendations are forwarded to the main judge who selects a single winner. The finalists and winner are announced.


Past Winners:

2016 MICHAEL BOYD: Confessional

2015 BRYAN JACOBS Subwhistle
2014 NICOLAS BERNIER frequencies (synthetic variations)
2013 TED APEL Call & Resonance

*The work will be presented for 2 continuous weeks in 2019, given that such presentation is realistic. Exact dates will be decided in tandem with the gallery. The winner will be responsible for shipping the work to Miami and the gallery will ship the work back.

With the support of Foundation of Emerging Technologies and Arts, Emerson Dorsch Gallery, Harold Golen Gallery and the Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council, the Miami-Dade County Mayor and Board of County Commissioners.

For more information about the FETA prize in Sound Art, please contact Paula Matthusen at matthusen@fetafoundation.org


About Vertex:
“Vertex is an audio-robotic performance created in 2013-2015 by Jean Piché and Patrick Saint-Denis. The project is based on an electromechanical device consisting of a 16 robotic loudspeaker array based on the principle of the Leslie speaker. Each speaker has a drive system to move it up, down and rotate along a vertical axis of around 3 meters high. The device is manipulated live through an assembly of custom software components.
Both kinetic sculpture and music interface, this augmented acousmonium influences directly on the audio composition. The matrix aspect of the device favours mass movements, textures and highlights a set of symbolic resonances close to mass phenomena observed in nature. The movement of bird murmurations and fish schools, or the complex behavior of mechanical energy dissipating in various media such as surface tension for example, are among the evocations due to the device’s physical appearance.” JP & PSD

About Patrick Saint-Dennis:
Patrick Saint-Denis is a composer working mainly in sound art and interactive scenography. His works range from video installation to large scale robotized machinery. He performs regularly in Montreal and abroad either in concert, exhibition or dance format. He his course lecturer of audiovisual composition and physical computing at University of Montreal since 2010.

About Jean Piche:

Jean Piché is a composer, visual artist, software designer and professor from Montréal. His current practice meshes moving images and music in a hybrid form often dubbed video music. Beginning in the early 1970s, he was one of the first Canadians to explore emerging digital audio technologies. He has produced works in every genre of electroacoustics, from mixed-instrumental and acousmatic to live-electronics and sound installations. His work aims for poetic expression beyond any avowed formalism and has been described as confounding, colourful and virtuosic.

For additional information about Vertex, please visit: http://www.patricksaintdenis.com/past/vertex/




2016 prizewinner of the FETA Sound Art Prize selected by Master Judgess Annea Lockwood from 28blind submissions from 5 countries in the Americas. 

About Confessional:

Confessional is a user-driven installation that provides the opportunity for composers to briefly take pleasure in and then (symbolically) destroy one of their dubious creations.  This process is accomplished with a computer (running Max or Max Runtime) and a recording provided by the user that is processed live.  The audio processing unfolds in stages and mirrors the phases of animal decomposition: fresh, bloat, active decay, advanced decay, and dry remains.  Through this series of transformations, the user’s piece transitions from its original state to nearly imperceptible bits of noise.  Users may also log this activity into an official registration book, and they may create and take home a frameable certificate commemorating the destruction.  Any other way(s) that a user wishes to document the event are encouraged (“selfies,” social media announcements, etc.), and a Facebook page is provided to collect such documentation.  For score-based works, implements will be provided to facilitate the physical destruction of scores: paper shredder or scissors for indoor venues, a fire pit or barbecue grill for outdoor venues (if allowed).” MB

Artist's website: Michael Boyd


designed by PZRM 2016