DARE 2015
9 – 11 November 2015
Orpheus Institute | Ghent | Belgium

DARE 2015, The Dark Precursor, is the first international conference entirely dedicated to the relation between artistic research and French philosopher Gilles Deleuze and/or Félix Guattari. The three-day will feature both artistic presentations and scholarly papers that investigate this relation.
The Deleuze/Guattari’s philosophy acts as a key reference for many artist-researchers, who engage with knowledge across academic and non-academic fields of practice. The extent and depth of their influence on artistic research is largely uncharted, nor has their philosophy ever before been evaluated from the perspective of artists.


From June 11 till 13 Performa ’15 will take place at the University of Aveiro in Portugal. On June 11 I will open the conference with a keynote lecture entitled “Musical Performances are (not) Artistic Research”. Of course I will pay attention to my favorite topic, the relation between artistic research and knowledge; however, the major part of my presentation will consist of particular musical performances and their relation (or not) to artistic research.

Afbeeldingsresultaat voor sublime in music image

30-31st October 2015: The University of Aberdeen and the SOUND festival, Aberdeen, Scotland.

Theodor Adorno noted the difficulty of creating new art that can be beautiful in a truthful way, eschewing any response to musical modernity that would allow its easy assimilation in terms of the traditionally beautiful. For Jean-François Lyotard, the arts for the last century have no longer been concerned primarily with the beautiful but rather with a renewed concept of the sublime. This dissociation of the beautiful from the modern in Adorno and Lyotard contrasts strikingly with Helmut Lachenmann’s revalorisation of the beautiful and his distinction of ‘humanity’s legitimate and profoundly rooted demand for art as the experience of Beauty, and its false satisfaction and alienation in the form of art “fodder” manufactured by the bourgeoisie and preserved in a society of repressed contradictions’ (Lachenmann 1980, 20). Out of this polarity of the modern as the moment of the sublime (Lyotard) and the possibility of a ‘rescued’ concept of the beautiful (Lachenmann), participants are invited to offer twenty minute papers on any aspect of musical modernity in relation to the beautiful and/or the sublime. The sublime has become a rich source of reflection in critical theory, with alternative conceptualisations from Lyotard, Derrida, Lacan, Zizek, Marion and others, and following Simon Morley’s categorisation, the contemporary sublime has been related to the unpresentable, transcendence, nature, technology, terror, the uncanny and altered states. While the sublime has not enjoyed attention in music studies comparable with what it has stimulated elsewhere in the humanities, this conference will provide a forum for musicological, theoretical and philosophical reflection in conjunction with a series of musical performances.

Proposals considering any of the following are welcomed:
• Musicological papers considering any aspect of contemporary music in relation to the sublime and/or the beautiful.
• Philosophical/Critical theory papers developing thinking on the beautiful and/or the sublime in relation to music.
• Papers considering musical modernity, politics and the sublime.
• Papers considering the extent to which music concerns the sublime or a reconstituted notion of beauty.

Abstracts should be c. 400 words and should also contain first and last name of presenter, title of proposed presentation, institutional affiliation, mailing address, telephone number and email address.
Proposals must be received no later than 20th April 2015 and should be posted toe.campbell@abdn.ac.uk.

Confirmed performers include: Ensemble Alternance (Paris, France) and Ian Pace (piano)

In collaboration with Studium Generale of Leiden University and several others, I am organizing 6 meetings between Dutch artists and scholars to talk about the role, function, and position of both the arts and the sciences in our contemporary society.

April 14: Ramsey Nasr (poet/writer/actor/director) and Hans Clevers (geneticist/physician/Professor of Immunology)
April 28: Hans van Houwelingen (painter/visual artist) and Maarten Janssen (Professor of Archaeology)
May 12: Barbara Visser (photographer/visual artist) and Frans-Willem Korsten (Professor of Literature and Society)
May 26: Johan Simons (theater director) and Carel Stolker (lawyer and Rector of Leiden University)
June 9: Francine Houben (architect) and Marileen Dogterom (bionanoscientist)
June 23: Colin Benders aka Kyteman (musician) and Bas Haring (philosopher/writer)
Live music by Juan Parra and Henry Vega. Panel chairman Andrea van Pol. Location: Het Paard in The Hague. Official language: Dutch. More info at:

Jazz Utopia conference logo

The fourth Rhythm Changes conference: Jazz Utopia will take place at Birmingham City University in the United Kingdom from 14 to 17 April 2016.

Keynote Speakers
Professor Ingrid Monson (Harvard University)
Professor Raymond MacDonald (University of Edinburgh)

We invite paper submissions for Jazz Utopia, a four-day multi-disciplinary conference that brings together leading researchers across the arts and humanities. The event will feature academic papers, panels and poster sessions alongside an exciting programme of concerts delivered in partnership with the Birmingham Conservatoire and Jazzlines.

Jazz has long been a subject for utopian longing and hopes for a better future; it has also been the focus of deeply engrained cultural fears, visions of suffering and dystopian fantasies. In its urgency and presence jazz is now here. As improvisational and transitory, jazz is nowhere. Utopia is nowhere and now here. Jazz is utopia. Or: jazz is utopian desire. Jazz Utopia seeks to critically explore how the idea of utopia has shaped, and continues to shape, debates about jazz. We welcome papers that address the conference theme from multiple perspectives, including cultural studies, musicology, cultural theory, music analysis, jazz history, media studies, and practice-based research. Within the general theme of Jazz Utopia, we have identified three sub-themes. Please clearly identify which theme you are speaking to in your proposal.

•  Jazz Identities
Claims have always been made for jazz as a certain utopian practice, in which jazz has made possible a musical-social space where different, usually marginal, identities are expressed and confirmed. At the multiracial club, bandstand, or dance-floor race and ethnicity are acknowledged, difference is championed or erased. Musicians have used jazz to step out of their class. The dialogic qualities and queer sounds alike of jazz offer opportunity for the expression of gender and sexuality. New thinking around disability and music reads jazz as a crip-space. Equally, consider the way in which freedom in improvisation has been understood as a liberating utopian practice. Even in its diasporic invention jazz comes from a kind of no-place (ou-topia = no place). In utopia, jazz is the effort to sound another world into being, the only condition of which is that it must be better. Has jazz really been that good?

•  Inside / Outside: jazz and its others
What does jazz mean to its community of insiders and those that approach it from outside? For those who are deeply involved with jazz, whether musicians, critics, scholars, or fans, the genre often provides a utopian space for creative encounters. By definition, the articulation of this space through performance, writing, research and consumption also creates a community of outsiders who may seek ways to engage with the jazz community or observe it from afar. This strand invites papers that address the relationships between jazz and its ‘others’, defined in relation to music making, criticism, scholarship or reception, whether these interactions are antagonistic or collaborative in tone.

•  Heritage and archiving
This strand focuses on the different ways in which heritage practices and archival work contribute to the reconfiguration of jazz as a utopian space. Through its commitment to alternative ways of living and being, jazz offers imaginative variations on themes of history and preservation. It creates communities of collectors and music lovers, who refigure jazz as nostalgia and escape, as well as renewal and return. We welcome papers that explore all aspects of archiving practice and cultural heritage and the opportunities and tensions that present themselves for scholars, institutions and practitioners in these fields.

Proposals are invited for:
•  Individual papers (20 minutes) – up to 350 words.
•  Themed paper sessions of three individual (20 minute) papers – 350 words per paper plus 350 words outlining the rationale for the session.
•  Seventy-five minute sessions in innovative formats – up to 1000 words outlining the form and content of the sessions.

Please submit proposals (including a short biography and institutional affiliation) by email in a word document attachment to: jazzutopia@bcu.ac.uk

The deadline for proposals is 1st September 2015; outcomes will be communicated to authors by 1st October 2015. All paper submissions will be considered by the conference committee: Christa Bruckner-Haring, Nicholas Gebhardt, George McKay, Loes Rusch, Catherine Tackley, Walter van de Leur and Tony Whyton.

The conference builds on the legacy of the Rhythm Changes research project. Rhythm Changes: Jazz Cultures and European Identities was funded as part of the Humanities in the European Research Area (HERA) Joint Research Programme, which ran from 2010-2013. The project team continues to develop networking opportunities and champion collaborative research into transnational jazz studies.

Updates on the conference and information about travel and accommodation will be available at: http://www.rhythmchanges.net

Rhythm Changes

For more than 20 years, the Utrecht Early Music Festival (FOMU) has worked together with STIMU in organizing workshops, conferences and masterclasses relating to historically inspired performance pratice. This year’s STIMU Symposium is entitled The past is a foreign country, it takes place from 28 to 30 August 2015, and it thematizes the cultural position and attitudes of the researcher in the study and performance practice of early music. Curators are Jed Wentz and Barbara Titus.

The STIMU Symposium curators encourage young scholars and researching performers to use the STIMU Symposium as a forum for intellectual growth, networking and career development. Therefore, the Festival and STIMU have decided to continue to award the STIMU Young Scholars Award on a yearly basis. Apply for 2015 The STIMU Symposium invites proposals for

– Individual papers: 20 minutes, with 10 minutes for questions at the end.

– Lecture recitals: 30 minutes, with 10 minutes for questions at the end.

Young scholars currently enrolled in a master programme (either at conservatory or university level), or who have recently graduated from one, may apply to speak in the Festival Symposium using the following form. Young scholars whose work is accepted will receive travel expenses and accommodation in Utrecht during the course of the Symposium.

Topics could concern, but are not limited to:

– Interaction between music traditions within and outside Europe

– The musical articulation and perception of English identity

– The dissemination of European musics over the world (through colonial infrastructures)

– Early Music movements in the 20th and 21st centuries

– Historical research as a modern and postmodern endeavor

– The researcher’s encounter with sources from the past

– The human body as a musical archive

Applications should consist of a proposal of a maximum of 250 words and a short biographical sketch, and can be sent to j.wentz@oudemuziek.nl by 15 May 2015 at the latest.


The Dark Precursor

Orpheus Institute, Ghent, Belgium, 9 – 11 November 2015

Submissions are now open to DARE 2015, the first international conference explicitly addressing possibilities, uses and appropriations of Gilles Deleuze and Félix Guattari’s philosophies in the field of Artistic Research.

The conference is hosted by the Orpheus Institute, the European leading center for artistic research in music, and the MusicExperiment21 research program, funded by the European Research Council.

Confirmed presentations are by Éric Alliez, Ian Buchanan, Marcel Cobussen, Erin Manning, Taina Riikonen, Anne Sauvagnargues, Peter Stamer and Mick Wilson.

Submissions are welcome from all scholars of Deleuze and/or Guattari with a specific interest in artistic research, as well as from all artist and artist researchers specifically interested in Deleuze and Guattari’s philosophy. This year’s theme is Deleuze’s concept of dark precursor and suggested areas of presentations include, but are not limited to:

  • Film, music, painting, writing, etc. (Practices of creating and researching)
  • Abstract machine, assemblage, diagram, dark precursor, etc. (Ontology)
  • Dramatization, experimentation, rhizomatics, schizoanalysis, etc. (Epistemology and Methodology)
  • Imaginary, figure, rhythm, sensation, etc. (Aesthetics)
  • Code, form, sign, utterance, etc. (Logic)
  • Becoming-x, habit, life, nomadism, etc. (Ethics and Politics)

Artists, artist researchers, and scholars are encouraged to experiment with all modes presentation (performative, participatory, collaborative, interactive, etc.) and within or across all art forms (performing, visual, aural, tactile, new media, design, literary, etc.). Please submit your outline of presentation in English or French using the DARE 2015 abstract submission system: http://dare2015.exordo.com/

The closing date for submission is Monday, 1 June 2015.

Conference website: darkprecursor.org

Conference coordinator: Paolo Giudici conference@darkprecursor.com


Bending Baroque: Organs as Artistic, Musical, and Sonic Technologies

The Orgelpark, Amsterdam, June 4-6 2015

Amongst musical instruments, the pipe organ has the longest history of innovation. Since the ancient Greeks the design and function of the pipe organ has routinely changed, leading many to examine how these instruments both influence and are influenced by changing musical cultures. Added to this, organs are also technical artifacts and contain within them centuries of building practices and the tacit knowledge of organ builders. As such, organs can be interpreted as aesthetic and technological mirrors of their time.

The aim of this symposium is to situate organs as objects that are simultaneously musical and technical, producing music/sound as well as knowledge. As such, they combine artistic and epistemic practices in relation to performance, listening, and design. To better explore these topics, we invite contributions that draw upon Science & Technology Studies (including the Philosophy and History of Science), Sound Studies, and Artistic Research.

The context of this symposium is the building of a ‘New Baroque Organ’ at the Orgelpark, a privately funded concert venue in Amsterdam that aims to integrate the organ into contemporary musical cultures by presenting it in new ways. The New Baroque Organ will combine 18th and 21st century technologies. Its purpose is to facilitate historically informed performances of Johann Sebastian Bach’s organ music and to make the sound resources needed for that accessible in innovative ways that can inspire new music. As such, the New Baroque Organ represents a next step in the development of radically innovative organs that the American organist and organ scholar Randall Harlow has called ‘hyper organs’.

The process of designing this organ has opened up a number of questions that we wish to explore during this symposium, including:

  • How can insights and themes from studies of technological innovation be applied to the construction of the New Baroque Organ?
  • What connections are there between musical instruments and the creation of new knowledge about these instruments and musical culture? Can we consider musical instruments as we do scientific instruments that produce particular epistemic practices.
  • How are, and how can, historically informed practices of performance, composition, and listening taken into account in the design of the organ?
  • How can we think of the organ as an artistic technology?

We invite papers and art works that examine these questions and others like them.

Please, submit your abstract of no more than 300 words no later than 1 April 2015 to hansfidom@orgelpark.nl or p.peters@maastrichtuniversity.nl



The Ninth Biennial International Conference on Music Since 1900 will take place at the University of Glasgow, School of Culture and Creative Arts, from Monday 7th September to Wednesday 9th September, 2015. We invite proposals for papers on any topic relating to 20th- and 21st-century music conceived in the broadest possible terms, including sound studies and inter-media arts. We welcome all methodological approaches, and particularly encourage submissions that question disciplinary boundaries and/or propose interdisciplinary perspectives.

Proposals in the following categories will be considered:

  • Papers: 20 minutes maximum, with 10 minutes for discussion. Please submit a 250-word (maximum) abstract.
  • Paper sessions: 3 or 4 papers, each of 20 minutes maximum, with 10 minutes for discussion. Please submit a 250-word (maximum) summary of the session, plus a 250-word (maximum) abstract for each session participant.
  • Lecture-recitals, including lectures illustrated by sound diffusions or audio-visual screenings. Please submit a 250-word (maximum) summary, plus participant CVs and recordings/scores/other details of works to be included in the event.

Proposals (as a Word attachment) can be sent to arts-icmsn@glasgow.ac.uk, indicating whether you need any AV equipment or a piano. Successful applicants will be informed by 1 May 2015.

Program committee: Dr Eva Moreda Rodriguez (University of Glasgow, Chair), Dr David Code (University of Glasgow), Dr Laura Hamer (Liverpool Hope University), Dr Philippa Lovatt (University of Stirling), Dr Christopher Mark (University of Surrey), Dr Mark Percival (Queen Margaret University)

whisper opera

The setting:  Four stages separated by semi-translucent lace curtains. Each stage contains one instrument besides a hanging big drum and a cymbal. The audience (max. 48) is divided in 8 x 6 people and seated in between the four stages so that each group of people can only see one stage.

The beginning: four musicians on the four different stages start playing the cymbals by, for example, turning them around and around; the sound is barely audible. After a while, they start whispering short textual fragments in a polyphonic style.

The middle: a beautiful musical conversation between flute and clarinet. It is almost impossible to distinguish which sound is coming from which instrument. They interact as a kind of echoing.

The end: the loudest part of the piece, though still really soft – an affecting aria (the first and only time the female vocalist really sings), accompanied by cello, clarinet, flute, and keyboard. The ending is quite abrupt.

David Lang’s Whispering Opera. Fantastic!


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