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On November 29 and 30 the International Conference The Role and Position of Sound and Sounding Art in Public Urban Environments will take place at Leiden University, The Netherlands. Guest speakers (among many others): Salome Voegelin, Michael Bull, Gascia Ouzounian, Jean-Paul Thibaud, Edwin van der Heide, and Raviv Ganchrow.

Here’s the full program:

TUESDAY NOVEMBER 29

Opening

09:30 – 10:00: Registration

10:00 – 10:20: Falk Hübner/Maarten Zaagman: “I Will Carry You Over Hard Times”

10:20 – 10:30: Welcome (Marcel Cobussen)

 

Theme 1: Sound and Urban (Atmo)Spheres (Chair: Vincent Meelberg)

10:30 – 10:50: Miguelangel Clerc: “NS Den Haag-Groningen”

10:50 – 11:10: Jean-Paul Thibaud: “Atmospheric Impregnation”

 

11:10 – 11:30: Coffee Break + Cathy van Eck: “Für Kopfhörende”

 

11:30 – 11:50: Rene van Egmond: “Soundscapes in Human Product Interactions”

11:50 – 12:15: Gabriel Paiuk: “Technological conditions and engagement”

12:15 – 12:45: Discussion

 

Theme 2: Sound Art in Public Spaces (Chair: Jan Nieuwenhuis)

14:30 – 14:50: Salomé Voegelin: “Sound Art as Public Art”

14:50 – 15:10: Raviv Ganchrow: “Latent Aurality of Anechoic Chambers”

15:10 – 15:30: Irene van Kamp: “Understanding perceived soundscapes”

15:30 – 16:00: Discussion

 

Theme 3: Contemporary Urban Acoustic Experiences (Chair: Sharon Stewart)

16:30 – 16:50: Falk Hübner/Juan Parra: “Jukebox”

16:50 – 17:10: Gascia Ouzounian: “Acoustic Urbanism”

17:10 – 17:30: Tjeerd Andringa: “Experiencing Sound Annoyance”

17:30 – 18:00: Discussion

 

WEDNESDAY NOVEMBER 30

Opening

09:30 – 10:00: Registration

10:00 – 10:20: Justin Bennett: “Hyper-Forum: listening to the social”

10:20 – 10:25: Marcel Cobussen

 

Theme 4: Towards an Auditory Epistemology (Chair: Marcel Cobussen)

10:25 – 10:45: Edwin van der Heide: “Son-O-House, Spectral Diffractions, and Schwingungen – Schwebungen”

10:45 – 11:05: Michael Bull: “Sirens: From Sonic Myth to Sonic Materiality?”

 

11:05 – 11:35: Coffee Break + Cathy van Eck: “Für Kopfhörende”

 

11:35 – 11:55: Paul Craenen: “On sound art and listening time”

11:55 – 12:15: Christopher Williams: “Opening Ears and Selling MorrowSound”

12:15 – 12:25: Michiel Huijsman: “Is place confinement a form of deafness?”

12:25 – 13:00: Discussion

 

13:00 – 13:25: Cilia Erens: “Moving the Masses” (Soundwalk)

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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.

deleuze

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

2014-09-30 09.56.19

In October 2014 I gave a lecture at the University of Sao Paolo (Brazil) about research in and through the arts, with an emphasis on its methodological aspects. Here you can find an integral registration of this talk.

End of September, beginning of October I will be doing several “things” in Brazil, first at the Universidade Federal de Goiás (UFG) and then at the Universidade de São Paulo (USP). At the UFG I will give a keynote lecture on Artistic Research, conduct a 3-day course on improvisation, and participate in a round table discussion on the role, position, and function of music in contemporary society. At the USP I will chair a seminar on improvisation, complexity and singularity and a seminar on methodologies of Artistic Research. Besides I will join the Orquestra Errante both as a pianist and as a conductor.

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.