Cat Hope PUBLICATIONS
Scholarly Books
*1.
Hope, C. (Ed.). (2013). Drawn From Sound. Perth: Tura New Music.
*2.
Hope, C. (Ed.). (2011). Decibel: Audible designs. Perth, WA: PICA Press.
3.
Hope, C. & Ryan, J. (Eds.) (contracted for completion in July 2013). Digital art: A practicing perspective.
London: MacMillan/Berg (as part of the Berg New Media Series).
Scholarly Book Chapters
4.
Hope, C. (2009). Cultural terrorism and anti music: Noise music and its impact on experimental music in
Australia. In G. Priest (Ed.), Experimental music: Audio explorations in contemporary Australia (pp. 56-74).
Sydney, NSW: UNSW Press.
Refereed Journal Articles
5.
Francis, M., & Hope, C., (2013). Site in Sound: a review of four musical works that integrate site into sound.
Sound Scripts – Proceedings of the Totally Huge New Music Festival (pp. 22-28), Vol 4. Sydney: AMC Press.
6.
Hope, C. & Tan, K. (2011) Spatialising Threads/Hallucinations: Closing the gap between installation and
performance. Sound Scripts – Proceedings of the Totally Huge New Music Festival (pp. 43-52), Vol 3. AMC
Press
*7.
Hope, C., & Vickery, L. (2011). The Aesthetics of the Screen Score. IM e-journal [e-journal of the National
Academy of Screen and Sound], Murdoch University.
8.
Hope. C. (2010). Vibrating performance: Experiencing music though vibration in the works of Abe Sada.
Australasian Drama Studies, 56, 170-182.
9.
Hope, C. (2009). Infrasonic music. Leonardo Music Journal, 19, 51-56.
10. Hope, C. (2009). The wonderment of the bleak: Sculpting the static. Art Monthly, 225, 45-47.
Refereed Conference Papers
*11. Wyatt, A., Hope, C. & Vickery, L. (2013 in press). Programming the Decibel Score Player. Proceedings of
the International Computer Music Conference, Perth, WA.
*12. Vickery, L., Hope, C. & James, S. (2012). Digital Adaptations of the Scores for Cage Variations I, II and III.
Proceedings of the International Computer Music Conference, Slovenia.
*13. Hope, C., James, S. & Vickery, L. (2012). New Digital Interactions with John Cage’s Variations IV, V and
VI. Proceedings of the Australasian Computer Music Conference, Griffith University, Brisbane.
14. Hope, C. (2012). Music to feel: Revising the listening experience with low frequency sound. Australasian
Musicological Society Conference 2010, Otago, New Zealand.
*15. Hope, C. (2011). The composer and the machine: organic processes and musicality in computer programming
for music. Proceedings of the Australasian Computer Music Conference, University of Auckland, New
Zealand. Pp55-60
*16. Hope, C. & Vickery, L. (2011). Screen scores: New media music manuscripts. International Computer Music
Conference, Huddersfield, UK.
*17. Hope, C., & James, S. (2011). Multidimensional data sets: Traversing synthesis, sound sculpture, and scored
composition. Australasian Computer Music Conference, Auckland, New Zealand.
*18. Hope, C. (2011). Reinterpreting technology and concert techniques for electronic instruments in chamber
music performance. XVII Colloquio di Informatica Musicale, Musicale Italiana, Torino, Italy.
19. Hope, C. (2010). The Western Australia New Music Archive 1970 – today: Accessing, remembering,
performing. AHA Biennial Conference 2010 ‘Reviewing History’, University of Western Australia, Perth, WA.
*20. Hope, C., James, S. Tan, K. (2010). When lines become bits: Engaging digital technology to perform works
by Alvin Lucier. Australasian Computer Music Conference (pp. 29-36), Canberra, ACT.
21. Hope, C. (2009). Earth pulse: Vibrational data as artistic inspiration. Re:Live Media Art histories 2009
Refereed Conference Proceedings (pp. 73-77), The University of Melbourne.
22. Hope, C., & Riddoch, M. (2009). The vanishing bass: Possible implications of internet centric delivery and
listening on bass perception (pp. 48-52). Createworld Conference Proceedings 2009, Queensland, Apple
Consortium Australia.
23. Hope, C., Riddoch, M., & James, S. (2009). Musical technology / technological music: Teaching electronic
music in the academy. Media Art Scoping Study Symposium Proceedings (pp. 80-89). VCA.
*24. Hope, C. (2009). The Nth art: The state of the sonic image. Sound Scripts – Proceedings of the Inaugural
Totally Huge New Music Festival (pp. 15-19), Vol 2. AMC Press.
25. Hope, C. (2008). The possibility of infrasonic music. 13th International Conference on Low Frequency Sound
and Vibration (pp. 67-79), Japan, October 2008.
26. Hope C. (2008). The bottom end of cinema: Low frequency effects in soundtrack composition. Sound Scripts
Proceedings of the Inaugural Totally Huge New Music Festival (pp.74-78), Vol. 2. AMC Press: Sydney.
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*36.
Hope, C. (2007). Silence as stillness? Sonic experiences in art using infrasonics. Stillness - Computers in Art
and Design Conference Proceedings (pp.118 – 122), Curtin University, 12-14 September 2007.
Hope, C. (2007). Making music as contemporary art. Hatched 07 Discussion Papers (pp 48 – 51), Hatched 07
Arts Research Symposium, 20 April 2007.
Hope, C. (2007). Composing music with low frequency sound. Crossing Continents Symposium, UWA.
Hope, C. (2006). Composing experimental music for film. VFx Conference, Bysteria Academy, Slovakia.
Hope, C. (2005). Sound art: Mobile art, Sound Scripts – Proceedings of the Inaugural Totally Huge New
Music Festival (pp. 41 – 47), Perth: ECU Press.
Hope, C. (2005). Body as a Screen, Body Modification Conference Mark II (pp. 58-59), Macquarie, NSW.
Hope, C., & Walton, A. (2004). A-[d]-dress.mov, ISEA 2004 – Proceedings of the 12th International
Symposium of Electronic Art, (p. 86), Tallin, Estonia.
Hope, C. (2003). A wardrobe of D.A.C.S.: The development of an interactive garment, Converging
Technologies: Australia Computer Music Conference (pp.105-109), Perth, Western Australian Academy of
Performing Arts.
Hope, C., & Walton, A. (2003). cAVity: Sound and video working together without the square screen,
Converging Technologies: Australian Computer Music Conference Proceedings (pp. 122 – 123), Perth,
Western Australian Academy of Performing Arts.
Hope, C. (2002). Fetish, Documents: ISEA 2002: 11th International Symposium of Electronic Art (pp. 36-37),
Nagoya, Japan (Orai).
Other
Reference (Music)
37. Hope, C. (2011). Anthony Pateras. Grove Music Online.
Non Refereed Conference Publications
*38. Hope, C. (2013). Drawing Music. Resonate Journal. Sydney, NSW: Australian Music Centre.
*39. Hope, C. & Wyatt, A. (2012). New Music on ipads. Createworld Conference, Brisbane.
40. Hope, C. (2007). Learning art with i-pods. Createworld Conference, Griffith University, Brisbane.
*41. Hope, C. (2007). Online environments for new music composition: The WAAPA Composers Server.
Createworld Conference, Brisbane.
42. Hope, C. (2006). Composing experimental music for film and video. VFx Conference, Bysteria Banksia Art
Academy, Slovakia.
43. Hope, C. (2005). Sound art using mobile devices. Electrofringe Forums, NSW.
44. Hope, C. (2004). An artist’s lot: Composition for performance in Australia. New Directions New Media
Festival, Singapore.
45. Hope, C. (2004). Sound and seeing. BEAP Sonic Difference Conference, WA.
46. Hope, C. (2002). New ways of thinking: Sound performance spaces for the new century. PIAF Celestial City
Program, presented at AGWA.
Editorial
47. Hope, C. & Stevens, K.J. (2013) Soundscripts, Proceedings of the Totally Huge New Music Conference, vol.
4. Sydney, NSW: Australian Music Centre.
48. Hope, C. (Ed.) (2011). Soundscripts, Proceedings of the Totally Huge New Music Conference, vol. 3. Sydney,
NSW: Australian Music Centre
49. Hope, C. (Ed.) (2008). Resonate – Journal of the Australian Music Centre, “New Sounds – Defying
Definitions”. Sydney, NSW: Australian Music Centre.
50. Hope, C. (Ed.) (2008). Soundscripts, Proceedings of the Totally Huge New Music Conference, vol. 2. Sydney,
NSW: Australian Music Centre.
51. Hope, C. (Ed.). (2005). Soundscripts, Proceedings of the Totally Huge New Music Conference, vol. 1. Perth,
WA: Edith Cowan University.
52. Hope, C., & Vickery, L. (Eds.). (2002-4). Earwax New Music Magazine, self published.
Review Articles in Non-Refereed Journals
53. Hope, C. (2008). I am the music I don’t notate. Editorial in Resonate Journal, 3. Sydney, NSW: Australian
Music Centre.
54. Hope, C., & Vickery, L. (2008). Freedom and structure take on instruments and hardware. Resonate Journal,
3. Sydney, NSW: Australian Music Centre.
55. Hope, C., & Pateras, A. (2008). Configuring music. Resonate Journal, 3. Sydney, NSW: Australian Music
Centre.
56. Hope, C. (2007). It’s addictive. Resonate Journal Blog, Sydney, NSW: Australian Music Centre.
<http://www.resonatemagazine.com.au/article.php?id=39>
57.
Hope, C. (2007). New music at Club Zho. Resonate Journal. Sydney, NSW: Australian Music Centre.
<http://www.resonatemagazine.com.au/article.php?id=29>
58. Hope, C. (2007). Perth: A noisey city. Grok Magazine, 58, Nov, 8–10.
59. Hope, C. (2006). Critical mass: Sound, story and music in David Cronenberg’s Crash. Ballardian,
http://www.ballardian.com/author/cat
60. Hope, C. (2006). Transit lounge and transmediale, Berlin. Filter, 63, 18-19.
Discography
*61. Hope, C., et al (2013). Luminosity: Musical Treasures from UWA. University of WA (AUS). CD.
*62. Hope, C., et al. (2012). Decibel, Stasis Ecstatic. Heartless Robot Productions, (AUS), LP.
51. Hope, C., & Vickery, L. (20111). Candied Limbs, Project 24, Tura Records, (AUS), CD.
*52. Hope, C., et al. (in print, accepted 22/2/2011). Decibel, Still and Moving Lines- The Music of Alvin Lucier,
Other Minds (USA).
* 53. Hope, C., & Smith, A. (2011). Lux Mammoth, New Gauge Sinner, Pre Feed label (Italy), CD.
* 54. Hope, C., et al. (2010). Decibel, Disintegration: Mutation. HellosQare Records (AUS).
* 55. Hope, C., & Subordanance. (2010), Abe Sada, Redux, Heartless Robot (Aus), LP.
* 56. Hope, C. (2009), as Abe Sada, The Low Chord, Kabutsuri Tape International, (Japan), CD.
* 57. Hope, C. (2008), as Abe Sada, Tatare Steppe, VLZ Produkt, (Japan), CD.
* 58. Hope, C. (2007), as Abe Sada, Subzilla, Bloodstar, (Aus), CD.
59. Hope, C. et al. (2006), as Gata Negra, Ruby, Bloodstar (Aus), LP.
60. Hope, C., et al. (2002), as ‘Gata Negra’, Saint Dymphnae, Bloodstar (Aus), CD.
* 61. Hope, C. (2001). Fetish, Bergerk! Sound Gallery Label (Aus), CD, Menschenfiend (USA), CD.
* 62. Hope, C. (2001). Live: Regret. Hair Police, (USA), CD.
63. Hope, C. (2000). Jackie Hush, Bloodstar (Aus) CDR.
* 64. Hope, C., & Smith, A. (2000). Lux Mammoth, Hertz Circus, Bloodstar label (Aus), CD.
Select Recent Composition Commissions
*65. Hope, C. (2013). New work. Commissioned by Sound Collectors (VIC).
*66. Hope, C. (2013). Black Disciples. For 3 low voices. Commissioned by Cathy Aggett (NSW)
*67. Hope, C. (2012). Platinum Fox. Sextet, commissioned by UWA Centenary. (WA)
*68. Hope, C. (2012). Black Emperor. String orchestra and 2 organs SpaceTimeConcerto Competition (NSW).
*69. Hope, C. (2012). Stella Degradation, quintet, commissioned by Soundstream Collectcive (SA).
*70. Hope, C. (2012). Juanita Neilsen, for 2 violas, 2 celli, elec guitar and piano, commissioned by Decibel (WA).
*71. Hope, C. (2012). Black Eels. Sextet, commissioned by Austin Buckett (ACT).
*72. Hope, C. (2012). Miss Fortune X for six players, commissioned by Decibel (WA).
*73. Hope, C. (2011). Cruel and Usual, String Quartet and electronics, commissioned by Atticus (VIC).
*74. Hope, C. (2011). Longing, for five players and electronics, commissioned by Decibel (WA).
*75. Hope, C. & Vickery, L. (2011). The Talking Board. Commissioned by Decibel. (WA).
*76. Hope, C. (2011). Liminum, any number of players, commissioned by Callum G’Froer (VIC).
*77. Hope, C. (2010). Empire, for Theremins, shoe throwers and electronics.
*78. Hope, C. (2010). Chunk, for 2 disclaviers in remote locations. Commissioned by Mark Gasser (WA).
*79. Hope, C. (2010). The Possible Stories of Harry Power, for three instruments, AM radio and computer
generated score commissioned by Australasian Computer Music Conference, (ACT).
*80. Hope, C. (2010). Kuklinski’s Dream, for 2 strings, clarinet and MaxMSP, commissioned by Golden Fur
(VIC).
*81. Hope, C. (2010). The Trail, music for the Kafka play, small ensemble. Commissioned by Micheal Jenn, UK.
*82. Hope, C. (2010). Wolf at Harp, for 4 drum kits. Commissioned by MONA FOMA (Tas).
*83. Hope, C. (2009). In the Cut, for 2 strings, bass clarinet, bass guitar and dub plate. Commissioned by Decibel.
*84. Hope, C. (2009). Kingdom Come, for 2 laptops. Commissioned by WAAPA (WA).
*85. Hope, C. as Abe Sada (2009). Abe Sada Songbook, for multiple bass instruments.
*86. Hope, C. (2008). Mountains Never Meet, for small ensemble. Commissioned by Martin Del Amo (NSW).
*87. Hope, C. (2004). Women in Transit, electronics. Commissioned by Rakini Devi (NSW).
Select Installation Commissions Received
88. Hope, C. (2013 in preparation). Sounds of Decay, ISEA, Sydney PowerHouse
89. McMillan, K., & Hope, C. (2010). Islands of Incarceration,low frequency soundscape for installation.
Cockatoo Island, Sydney Biennale, NSW.
90. McMillan, K., & Hope, C. (2010). Lost, soundscape for photomedia installation. PIAF, John Curtin Gallery,
WA.
91. Hope, C. (2005). Plug, Interactive Sound Installation at Totally Huge New Music Festival, Moores Gallery,
WA.
92.
Hope, C. (2005). Phonebox, Interactive Sound Installation. Liquid Architecture Festival of Sound Arts, RMIT
Melbounre, VIC.
93. Hope, C. (2005). Vouyeuages, Live A/V Installation. National Review of Live Art (NRLA) Midland, WA and
Theatreworks, Singapore in 2006.
94. Hope, C. (2005). Pickpocket, Sound Installation. Perth International Arts Festival (PIAF), John Curtin
Gallery, WA.
95. Hope, C. (2004). Homefear, A/V Installation. New Directions New Media Arts Festival, Singapore.
96. Hope, C., & Walton, A. (2004). In/e/gress, A/V Installation, International Symposium of Electronic Art
(ISEA), with Tallin, Estonia.
97. Hope, C., & Walton, A. (2003). Surface Paradise, A/V Installation, Geraldton Regional Art Gallery, WA.
98. Hope, C. (2002). Jackie Hush, sound installation. San Francisco Museum of Modern Art, USA.
Select Live Performance Highlights
*100. Hope. C. (2012). Everything, Always. ABC Live studio broadcast, flute and composition. Sydney.
*101. Decibel (2012). The Complete John Cage Variations. Brisbane, QLD; Perth, WA; Palermo & Venice, Italy.
*102. Decibel (2012). Concert season at PICA, WA Museum and State Theatre Centre.
*103. Decibel. (2011). Subscription series at Perth Institute for Contemporary Arts, 3 concerts.
*104. Decibel. (2010). Alvin Lucier program in Perth, Canberra, Melbourne, Sydney and Brisbane.
105. Hope, C. (2010). Bass in Electroacoustic Playground, with international artists. XVII XEM Experimental
Music Festival, Turin, Italy.
106. Hope, C. (2010). One of 6 members in Sonic Shuffle, Laptop Orchestra, world premiere of new work by
Domenico Scajiano. Electroacoustic Playground, Torino, Italy.
107. Hope, C. (2010). Abe Sada: Sada Abe 1936. Peacock Theatre, Hobart, Tasmania,MONA FOMA Festival.
108. Hope, C. (2009). Funeral for a deaf man. Liquid Architecture Festival of Sound Arts, The Performance
Space, Sydney.
Video/Film
109. Hope, C. (2013). Blood River. (8’23”) Commissioned by The Devil Rides Out.
110. Hope, C. (2004). FQS (4’30”) – commissioned by FQS.
111. Hope, C. (2003). Homefear (13’00”) – commissioned by Tura New Music.
112. Hope, C. (2002). Once Upon A Time (3’23”) music video (directed and music).
113. Hope, C. (2001). Close (4’03”) music video (directed and music).
114. Hope, C. (2000). Fetish (4’55”) music video (directed and music).
Artist Residencies
*115. 2006
Theatreworks, Singapore, Asialink Performing Arts Residency;
116. Feb 2006
Transit Lounge, Berlin, Germany.
117. Oct. 2004 Titanik, Turku, Finland.
118. Nov. 2004 La Salle College for the Arts, Singapore.
119. Nov. 2003 Geraldton, WA.
120. Oct. 2003 TIME_PLACE_SPACE, Wagga Wagga, NSW.
121. Sep. 2003 Katanning and Greenough, WA.
Select Tours
*122. Decibel (Dec2013 in planning). Tour to Europe performing works by Giacinto Scelisi. UK, France, Germany,
Italy.
*123. Decibel (Jan 2012). Tour to Europe for SWR German Radio, German and Italy, Belgium.
*124. Decibel (July 2011). Tour to Brisbane, QLD; Auckland, New Zealand, Sydney, NSW.
*125. Jun. 2010
Dunedin, New Zealand; Canberra, Sydney, Melbourne (with Decibel).
126. May 2009
Japan/ Eastern Europe (with Abe Sada).
127. Jul. 2007
Japan, Singapore and Australia (with Abe Sada).
128. Jul. 2004
Australia (4 dates – installation artist).
129. Oct. 2004
Scandinavia (4 dates - installation artist).
130. Jun. 2004
Australia (9 dates – solo music artist).
131. Oct-Dec. 2003 Europe and Japan (30 dates- solo music artist) (13 shows – with band Gata Negra).
132. Feb. 2003
Australia (5 shows – with band Gata Negra).
133. Mar. 2002
USA (23 shows – as part of Lux Mammoth).
134. Apr. 2001
USA (7 shows – solo artist).
Songwriting
135. 2004
Songwriter with Iain McIntyre, Slow burner, Choozy (Italy), CDR.
136. 1999–2006
Songwriter for Gata Negra, 3 piece independent band, 4 albums.
137. 1998
Songwriter with Guy Fleming, Minimal Chaos, Bloodstar Music (Aus), CD.