Archives for category: Sound 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.

photo 3

ora is a monthly series of one-hour long debates and voyages into listening and writing by Daniela Cascella and Salomé Voegelin, broadcasted on Resonance 104.4 FM at 8 pm GMT on the 4th Thursday of each month. Every episode will host a debate and enact a voyage with guests, words, and sounds, compositions, recordings, voices and silences, to encounter a number of issues in today’s discourse on listening.

In the third episode of ora (Sept. 26, 2013), Cascella and Voegelin ask questions around listening, sound and ethics: between a radio broadcast from Buchenwald and the ambiguities of a tale of eavesdropping, on the slippery edge between recording and document, between assumptions of truth and practices of listening and non-listening. Special attention was paid to my co-authored book Music and Ethics (Ashgate 2012).

You can listen and get more information here

Vinyl trailer

How can one represent a city on film using an inter-disciplinary approach based on sounds? Andrew Standen-Raz’s movie Vinyl deals with the topic how to “view” a city through its sounds, mediated sounds created by musicians as well as mediated and free sounds created by speech, transportation, random sounds, and other forms of communication. Vinyl explicitly explores the creative methods and cultural influences of musicians and how their own relationship to the city of Vienna affected their music and their sense of self. Many of them are part of the klingt.org community of sound artists, experimenting with anything and everything to communicate through sounds.

Afbeelding

International course for composition and sound art 

For the fourteenth time Musica organizes a composition course for young people and adults with a passion for composing and creating. During five days and in an inspiring environment, they challenge the boundaries of their own musical imagination. At the end of this week, the participants show their creations.

From this year on, the perspective is widened with a brand new course for sound art, in collaboration with ChampdAction. With the unique collection of artworks in Klankenbos as a source of inspiration, a selected group of young artists will work with sound, music and the environment.

SoundMine is led by international top teachers Wim Henderickx (www.wimhenderickx.com) and Volker Staub (www.volkerstaub.de). 

Practical information: see http://www.musica.be/en/soundmine