Archives for category: Sound Art

sounding art companion

I just received an email from Routledge that that The Routledge Companion to Sounding Art has now officially published! The book presents an overview of the issues, methods, and approaches crucial for the study of sound in artistic practice. Thirty-six essays cover a variety of interdisciplinary approaches to studying sounding art from the fields of musicology, cultural studies, sound design, auditory culture, art history, and philosophy. The companion website hosts sound examples and links to further resources.

The collection is organized around six main themes:

  • Sounding Art: The notion of sounding art, its relation to sound studies, and its evolution and possibilities.
  • Acoustic Knowledge and Communication: How we approach, study, and analyze sound and the challenges of writing about sound.
  • Listening and Memory: Listening from different perspectives, from the psychology of listening to embodied and technologically mediated listening.
  • Acoustic Spaces, Identities and Communities: How humans arrange their sonic environments, how this relates to sonic identity, how music contributes to our environment, and the ethical and political implications of sound.
  • Sonic Histories: How studying sounding art can contribute methodologically and epistemologically to historiography.
  • Sound Technologies and Media: The impact of sonic technologies on contemporary culture, electroacoustic innovation, and how the way we make and access music has changed.

With contributions from leading scholars and cutting-edge researchers, The Routledge Companion to Sounding Art is an essential resource for anyone studying the intersection of sound and art.

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I’m working hard on my contribution to The Oxford Handbook of Sound & Imagination. The editors want to put less emphasis on the visual connotation of the word “imagination” and are primarily interested in what they call “sonic imagination”. I’ve decided that my article will concentrate on the role of imagination while listening to sounding art (by which I mean both music and sound art, actually all art in which sound plays a substantial role). The question that keeps me busy at this moment is if it is possible that we do NOT use our imagination while listening to music. Any thoughts from your side?

Soon the Routledge Companion to Sounding Art, edited by Barry Truax, Vincent Meelberg and myself will be available. The Companion presents an overview of the issues, methods, and approaches crucial for the study of sound in artistic practice. Thirty-six essays cover a variety of interdisciplinary approaches to studying sounding art from the fields of musicology, cultural studies, sound design, auditory culture, art history, and philosophy. The companion website hosts sound examples, links to further resources, and a blog for further discussion.

The collection is organized around six main themes:
– Sounding Art: The notion of sounding art, its relation to sound studies, and its evolution and possibilities.
– Acoustic Knowledge and Communication: How we approach, study, and analyze sound and the challenges of writing about sound.
– Listening and Memory: Listening from different perspectives, from the psychology of listening to embodied and technologically mediated listening.
– Acoustic Spaces, Identities and Communities: How humans arrange their sonic environments, how this relates to sonic identity, how music contributes to our environment, and the ethical and political implications of sound.
– Sonic Histories: How studying sounding art can contribute methodologically and epistemologically to historiography- Sound Technologies and Media: The impact of sonic technologies on contemporary culture, electroacoustic innovation, and how the way we make and access music has changed.

With contributions from leading scholars and cutting-edge researchers, The Routledge Companion to Sounding Art is an essential resource for anyone studying the intersection of sound and art.

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.

orgelpark

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

glasgow

SUBMISSION DEADLINE: 31 MARCH 2015

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)

car sounds

Perhaps not with the most well-known artists, but certainly one of the nicest sound art festivals in The Netherlands, at a beautiful spot and in an interesting building: the PNEM Sound Art Festival in Uden.

soundwalks

Special references: great improv performance by the French cello player, Soizic Lebrat; the presence of the grand old man of Dutch sound art, Willem de Ridder, and the accessible “In-formed Music” by Alan Courtis for 15 players and piles of newspapers.

in-formed music 2 alan courtis (arg)soizic lebrat (f)

philae-568x319

We all saw the historical landing of Rosetta’s Philae on comet 67P/Churyumov-Gerasimenko; we saw the pictures. But how does he sound? Here you can listen to him.

The European Space Agency (ESA) was surprised by the comet’s sound, inaudible for human ears as it has a frequency of 40 to 50 milihertz. What you can hear are vibrations from the magnetic field of the comet, here amplified by factor 10,000. The sound is probably caused by neutrons (particles without electric charge) coming from the comet which acquires negative or positive charge in space (a process called ionization).

bogota

Composer Nic Collins just released his Pea Soup To Go, an open access version of his venerable feedback composition, Pea Soup. Pea Soup To Go is a free streaming audio web application that generates an ever-changing domestic sound art installation on any computer.

Premiered in 1974, Pea Soup creates a self-stabilizing feedback network of microphones and speakers that tunes itself to the architectural acoustics of the space and responds to events—instrumental performances, ambient sounds, human movement, even air currents—with swooping flights of sound. Pea Soup To Go mines decades of performances, including contributions by numerous guest musicians, from around the globe to produce a similarly dreamy soundscape that slowly shifts from key to key as the app shuffles and cross-fades from one recorded space to another.

Pea Soup To Go is being launched on October 24, 2014 — the 40th anniversary of the first performance of Pea Soup.

Point your browser to http://www.nicolascollins.com/peasouptogo/.  Auto-shuffle plays endless variations unattended, or click the arrows to jump to the next track.  Click “Info” for performance details.

image

“Sound Studies: Mapping the Field” will be the title of the second international ESSA conference. It will take place at the University of Copenhagen, June 27-29, 2014. Among the themes are: Case studies that testify to the recent changes within sound studies, theoretical reflections on sound studies’ futures, methodological papers testing the inter- or trans-disciplinary approaches of sound studies, historical papers that may help understand and contextualize the current developments, papers addressing how the sound industries take part in the recent developments, sound design futures, and presentations of contemporary artworks that incorporate sounds.

Proposals for panels: February 1

Individual papers: March 15

Keynote speakers are Georgina Born (Oxford University, UK), Norie Neumark (La Trobe University, Australia), Carolyn Birdsall (Amsterdam University, Holland)

Download the call for papers.

NEWNEWNEW: Call for panel papers

Panel no. 1: Methodologies of Sound Studies

M.Cobussen & H.Schulze

Sounding and hearing are not simple entities to be researched on. The specific corporeal as well as situative character and the historically and culturally relative nature of the sonic demand further developments of existing methods: how can we manage to integrate this rich corpus of everyday and in situ sounds into research? How can we avoid simply objectifying and reifying such processual and situative entities? What heuristics and methods are already in use and prove to result in insightful and inspiring research publications? Are there forgotten or overseen references in the history of epistemologies which we could take up and elaborate for sound studies? Are there research institutes or environments which are maybe overseen by current research and need to be reviewed? How can sound practices – be it in traditional sonification techniques or in daring and advanced forms of sounding art – themselves be used as experiential sites through which (sonic) events are investigated? This panel explores the diversity of approaches, methods and heuristics applicable to research into as well as through sound.