Call for entries
Deadline: 7 October 2012

CALL for interactive sound compositions for a door installation at the ZKM, Karlsruhe

We invite musicians, sound artists and engineers to program sound compositions for the interactive installation “Sounding Door,” an electronic installation designed to turn a door into a musical instrument and a stage at once. Selected sound pieces will be included in the playlist of the door “concerts” taking place at the entrance of the Center for Art and Media Karlsruhe (ZKM), and will become a part of the museum’s permanent collection.

DEADLINE 7 October 2012


Composition should be programmed to interact with one or all of the motional features of a door, that is, its position, direction, speed and acceleration. Preferable format is MAX patch. Mono audio output.

“Sounding Door” uses a special sensor for monitoring the door motional parameters and feeds the data to a custom programmed MAX/MSP environment. For more information on the latter and the technical setup of the installation, please check the project’s website or contact us.

Please email your compositions accompanied (optionally) with your brief bio or/and artistic statement (max 250 words) to


Julijonas Urbonas (LT/UK), TBA


Julijonas Urbonas:, Tel.: +447500142885 (UK), +37061945384 (LT)


About the “Sounding Door”

“Sounding Door” is an interactive sound art installation designed to turn any door into a unique musical instrument and a stage at once. Equipped with custom-designed electronics and software, the installation plays and composes sounds according to the door’s movements.

The installation was created in 2009 in Vilnius, Lithuania, as a part of the larger project, “Talking Doors,” which was supported by the national program “Vilnius European Cultural Capital 2009.” The project won a number of awards, one of which was Distinction in the Interactive Art category of Prix Ars Electronica 2010. Most recently, the “Sounding Door” was acquired by the ZKM for its permanent collection.

The installation’s author, Julijonas Urbonas, remarks that sound designers create the sounds of mobile phones, crispy corn flakes and even hairdryers, while apparently leaving such essential element of daily experience as the door without due attention. He also notices that sound design and architectural acoustics have become disciplines in their own right, and the sound of architecture itself is still rarely discussed. Inspired by these observations, he invited composers, musicians, sound designers and sound artists to contribute sound pieces that would consider the following question: “Why are we confined to choosing a door for our home space based only on the visual characteristics of the former and not, for instance, the specific sound of its hinges?”