New book review online
Podcasting: The Audio Media Revolution - Martin Spinelli and Lance Dann. New York: Bloomsbury, 2019
Book review by Jeremy Wade Morris
Free E-book | Negotiating Noise: Across places, spaces and disciplines
Negotiating Noise Across Places, Spaces and Disciplinesbrings together writing by 20 researchers from across Europe and South-East Asia on the slippery but fascinating topic of noise. What is noise, where can it be heard, and what should we do with it? These questions are answered in very different ways in this book from the perspectives of research in architecture, anthropology, cultural history and theory, ethno- and historical musicology, digital culture, linguistics, medicine, musical composition, sociology, sound design, sound art, and urban planning. Drawing on transdisciplinary conversations at two workshops – one at Lund University and one at the University of Nottingham, Malaysia Campus – the book bridges professional as well as cultural divides. It sets out current research trajectories in the different disciplines involved in researching noise through a series of Position Papers. It also brings these perspectives together through a series of jointly authored Manifestos for the future.
The book can be downloaded via this link:
Sonic Aggregator project by Tuned City and Soundtrackcity
Sonic Aggregator is a collaborative project of Tuned City and Soundtrackcity about ‘sonic placemaking’ hosted by ABA Air Berlin Alexanderplatz at Haus der Statistik in Berlin. With Peter Cusack, Vanessà Heer, Michiel Huijsman, Udo Noll. Sonic Aggregator has been long in the making and postponed several times due to covid measures, but finally this project is about to happen! The official opening is on 17 September. In the week thereafter presentations, workshops, soundwalks and a salon are open to the public. Have a look at the programme make reservations!
opening Sonic Aggregator: Friday 17. September 17:00
AIR Berlin Alexanderplatz, Haus der Statistik
Berlin, 10178 Germany
The opening of Sonic Aggregator is part of ABA Air Berlin Alexanderplatz programme on Berlin Art Week 2021.
Sonic Aggregator is financially supported by Creative Industries Fund NL and the Embassy of the Kingdom of the Netherlands.
Who has the right to decide how our urban environment should sound?
This question is at the heart of the Sonic Aggregator project, in which everyone is invited to research the sound environment of HAUS DER STATISTIK from 17 to 27 September and speculate on the sounds of the future city. How does it sound now? How should it sound? Who or what determines that?
To enable this research and speculation we will install the listening art object Sonic Aggregator on site. The object - a modular, sculptural installation - invites people to linger, listen and interact, transporting and conveying the idea of urban sound, like a kind of Trojan horse, directly in the urban environment. While sitting in the object's acoustically perfected semi-open sound space, visitors can virtually navigate through a defined part of the city via touchscreen and immerse themselves in the respective sound worlds.
Free online course in sound and audio this fall offered by Barry Truax
Following a very successful summer version of this course, I am offering to mentor another group of participants in a 12 week online course in sound and audio, starting around Sept. 9 and going to Nov. 25.
We will be systematically going through the Tutorial associated with the Handbook for Acoustic Ecology located on the WSP Database, and covering two modules most weeks, one in acoustics, the other in electroacoustics. We’ll meet once a week on Zoom for 2-1/2 hours to discuss these topics.
This course will be useful as professional development to those wanting to teach sound and audio, as well as graduate students and others who would like to broaden their knowledge across multiple disciplines. If anyone wants to take the course for academic credit, they need to set this up at their own institution.
The particular strengths (and challenges) of the Tutorial are the parallel modules in acoustics and electroacoustics that emphasize their often ignored links. I would expect participants to be more experienced in one or the other areas, but this course should allow for imbalances in knowledge to be addressed.
The Tutorial and Handbook files will be downloaded by each individual for ease of access. The preferred browsers are Safari and Firefox (those with the Catalina OS and Chrome are likely to encounter problems). Additional software for experimentation will be made available.
A meeting time will be arranged to suit the participants, but it will likely be Thursday morning at 10:30 Pacific time, for North and South Americans, which will be the evening for those in Europe. Unfortunately, it’s doubtful that participants from other parts of the world would be able to participate as easily given the time differences; however, a Pacific Rim version with Susan Frykberg is also being planned.
Those interested who have the time (I estimate you will need a minimum of 8 hours a week for study, apart from whatever time would be spent with the personal listening and studio experiments), please contact me at email@example.com, also if you have any questions or would like to view the Tutorial in advance.
Here’s some of the feedback from the summer version of the course:
[The course] was an invaluable experience for me, and I really am grateful for the opportunity
… there's *a lot* to (re)learn and review from the Handbook and the Tutorials
The course completely changed my understanding of sound and my relation to it.
It was a great experience and it refreshed knowledge and brought new one, and I enjoyed the huge and important research you have put together.
It really allowed a lot of concepts that I vaguely understood to solidify and gain clarity, and it also revealed many ideas and phenomena that I was really clueless about. The information on the electroacoustic side of things really helped me understand things that I aurally understood, but never technically really grasped. It's given me a lot more confidence to tackle processing and effects.
Simon Fraser University
HOME AND COVID-19: Dwelling and belonging in pandemic times - CALL FOR PAPERS AND CREATIVE RESPONSES
A two-day symposium, 24 - 25 November 2021
The Museum of the Home, London, and online
How has home changed during the COVID-19 pandemic?
How have people experienced home in different and unequal ways?
How could home change for the better in a post-pandemic future?
Researchers, artists, curators, community workers, faith leaders and others are invited to submit proposals for 20-minute papers on, and creative responses to, Home and COVID-19 for a two-day symposium at the Museum of the Home, London.
We welcome proposals that consider home in different places and contexts, and in a multiplicity of ways, including: domestic spaces and practices; home and belonging in relation to the neighbourhood, city, nation and/or diaspora; home, dwelling and (im)mobility; home as embodied, sensory, emotional and material; and home as a site of inclusion, exclusion and inequality.
The symposium is convened by the Stay Home Stories project (@stayhomestories), funded by the AHRC as part of the UKRI rapid response to COVID-19. The event will include the opportunity to view artist Alaa Alsaraji’s room installation on Home and COVID-19 and material collected as part of the Museum’s Stay Home rapid response collecting project.
Proposals are invited on any aspect of Home and COVID-19. We welcome paper proposals and creative responses in a variety of forms. Some sessions will focus on key themes addressed by the Stay Home Stories project, including:
- The politics of home
- Home, migration and ethnicity
- Home, religion and interfaith work
- Home, children and young people
- Creative and curatorial practice
- Home, connection and disconnection
Please submit proposals of up to 200 words and biographies of up to 100 words by 17 September 2021 to Dr Miri Lawrence (firstname.lastname@example.org). The programme will be confirmed in early October.
Nameless: 20 Years of Sound Edition - Pauline Oliveros is Live
Explore the archive of Nameless Sound through never-before-released audio, video performances, and other ephemera from the 20-year vault. We are very proud to present our fourth edition, which focuses on Houston’s own composer, accordionist, humanitarian and the creator of Deep Listening ®, Pauline Oliveros.
Pauline Oliveros came to know future Nameless Sound Founding Director David Dove through her mother Edith Gutierrez, who worked with Dove as a telemarketer at The Houston Ballet. Over several years, an informal mentorship developed. Eventually, Oliveros invited Dove to start a branch of her Deep Listening Institute (originally named the Pauline Oliveros Foundation) in Houston. In 2001, The Pauline Oliveros Foundation Houston began operations. In 2006, we decided to branch off and form the independent non-profit organization, Nameless Sound.
The Pauline Oliveros edition explores the relationship between Oliveros and the Houston organization she encouraged, mentored and inspired. Ten never-before-released audio and video recordings feature performances of Oliveros’ scores as well as concerts by Oliveros with Susie Ibarra, Susan Alcorn, Maria Chavez, Tom Bickley, David Dove, Sandy Ewen, Chris Cogburn, and Ricardo Arias, among others. Written essays on Oliveros and Nameless Sound by Ione, Maria Chavez, Ricardo Arias and David Dove. To the history of the future.
Keep listening and explore our archive with editions featuring Joe McPhee, Maggie Nicols, and Alvin Fielder, at Nameless: 20 Years of Sound.
The Listening Biennial July 15 – August 1, 2021
Errant Sound, Rungestrasse 20 10179 Berlin, plus participating institutions, venues, and collectives
Within today’s intensely polarized environment, in which political and social debate often tend toward conflict or impasse, might listening enact an intervention? While focus is often placed on making statements, capturing history, and the importance of free speech, listening is radically key to facilitating dialogue, understanding, and social transformation. To listen is to extend the boundaries of the familiar, the recognized, and the known. In addition, listening affords more egalitarian, decolonized, and ecologically-attuned relations, staggering exclusionary systems and human exceptionalism by way of empathetic, attentional, and morethan-human orientations: to hear beyond the often fixed schema of self and other. Listening is a power, it may open and hold, it may support and attend, and it may afford escape and deep friendship. And yet listening is greatly undervalued and neglected across society.
The Listening Biennial draws attention to listening as a relational capacity, a philosophical and political proposition, a creative practice, and research framework. From radical empathy to weak ontology, poetic refusal to diasporic resistance, eavesdropping to intimate envelopment, listening wields a creative and critical force that may contribute to maintaining the diversity of our social adventure.
The Listening Biennial brings together an international group of participating artists, musicians, and researchers, as well as institutions and collectives across the globe, to foster questions and experiences of listening. The Listening Biennial is conceived as a global project and aims at a curatorial construct of shared resonances and polyvocal manifestations. This includes the exhibition of audio works, experimental performances, and discursive events presented across a constellation of collaborating institutions and venues, where listening and locality are accentuated, and cultural specificities contribute to a greater ecology of attention. From critical storytelling, experimental noise, and musical rapture to acoustic care, interspecies contact, and environments of sounded matter, the Biennial aims at fostering a listening world.
Octavio Aguilar & Diego Martínez Guillén (Mexico), Khyam Allami (Iraq/UK), Jasmina AlQaisi (Romania/Germany), Carlos Amorales (Mexico), Wah-yan Au (Hong Kong), Tania Candiani & Bárbara Lázara (Mexico), Antoine Chessex & Mélia Roger (Switzerland/France), Michele Chu (Hong Kong), Bidisha Das (India), Yannick Dauby (France/Taiwan), Emcsi (Hungary), Yolande Harris (UK/US), Jeph Jerman (US), Khaled Kaddal (Egypt), Orsolya Kaincz (Hungary), Nandita Kumar & Joseph Kamaru (India/Kenya), Isuru Kumarasinghe & Sara Mikolai (Sri Lanka), Sharon Lee (Hong Kong), Sandra Monterroso & Manuel Estrella Chí (Guatemala/Mexico), Ziad Moukarzel (Lebanon), Alecia Neo (Singapore), Angel Nevarez & Valerie Tevere (US), Daniela Medina Poch (Colombia/Germany), Surabhi Saraf (India/US), Mene Savasta (Argentina), Wantanee Siripattananuntakul (Thailand), Ish Sherawat (India), Fernando Vigueras (Mexico), Raheleh (Minoosh) Zoromodinia (Iran/US).
Participating organizations, venues, and collectives:
Errant Sound, Berlin / Ayer, Guadalajara / National Arts Festival, Makhanda / Aerial, Bergen / Space21, Kurdistan / École d’art Université Laval, Quebec City / Liquid Architecture, Melbourne / AMEE, Madrid / Klank.ist, Istanbul / Culture Monks, Kolkata / TAFMA, Nagaland / Investigaciones del Futuro, Buenos Aires / Generator Projects, Dundee / Noise N’ Roses, Budapest / 1983, Hong Kong / The Cube Project Space, Taipei
A related performance and discourse program is presented at Errant Sound, Berlin, on July 21st, 24th, 26st, and 31st, featuring local and international artists and scholars working through a range of approaches and topics, including Mladen Dolar and Salomé Voegelin. This includes the launch of The Listening Academy, an intensive research workshop on listening, sonic practices, and sound studies, occurring simultaneously in Berlin and London, and led by Budhaditya Chattopadhyay, Lucia Farinati, Brandon LaBelle, and Carla J. Maier with Rayya Badran and Luz Maria Sanchez.
The Listening Biennial Founding initiator: Brandon LaBelle Curators: Budhaditya Chattopadhyay, Brandon LaBelle, Israel Martínez, Yang Yeung Collaborative partners: Florencia Curci, Hardi Kurda, Gentian Meikleham, Alexandre StOnge, Lucia Udvardyova, James Webb Design: fliegende Teilchen, Berlin; Kristin Rosch
Support from: Oficina de Autonomia; Norwegian Artistic Research Programme / The Art Academy, Bergen; Errant Sound, Berlin; Errant Bodies Press, Berlin.
Call for Papers - Echoes of a Distance: Music, Protest and Community in Confined Times
How can sound and music participate in protest without access to the streets and spaces of collective music creation? How does a collective sound when there is no actual gathering possible? Alternatively, when social movements take to the streets or occupy a territory despite public health regulations – as has happened on many occasions around the globe since the beginning of the pandemic (Black Lives Matter, Wet’suwet’en resistance, Belarus, Poland, Chile, Myanmar, The Netherlands, to mention only few) – what has changed on a sonic level? How can sound and music testify to the ways our current isolation has affected our capacity to collectively organize? And in this context, what can sound-based practices grounded in improvisation bring to the ongoing social and political struggles?
In order to understand the political impact of the potentialities opened up by music creation in times of curfews and restrictions on the assembly of physical bodies, the International Institute of Critical Studies in Improvisation (IICSI) at McGill University invites researchers and creators to contribute to two days of study November 19-20, 2021.
There is a growing interest in the relations between music, sound and social resistance in varied artistic, academic and activist milieus (Fischlin & Heble 2020, Gendron-Blais 2020, Labelle 2018, Rector & Ernest 2017, Born, Lewis & Straw 2017, DeLaurenti 2016). But the eruption of the pandemic has shaken many of the assumptions underlying these relations. This international online event aims to address how our new global situation is affecting how sound and social resistance relate.
We conceive of music, protest and community very widely, and accordingly think of this event as a meeting point for artists, activists and academics to reflect and share perspectives on these issues. Potential topics of research may include, but are not limited to:
• Social impacts of the strategies of collective music creation during lockdown;
• Sonic dimension of demonstrations in the COVID-era;
• Music creation inspired by/related to social movements in times of confinement;
• Political significance of soundscapes emptied of their human presences;
• Telematic performances motivated by social and political struggles;
• Affective dimensions of imposed distancing, on a sonic and political level;
• The transformation of the perceptual modalities of sound in relation to the pandemic;
Following the interdisciplinary mission of IICSI, the event welcomes conventional textbased communications, research-creation projects, performances and artworks of various forms, and various hybrid propositions between these poles. Proposals (in English or in French) should include a short bio (250 words max.) and an abstract and/or a presentation of the artistic project (500 words max). Any project that does not only include text-based presentations should also provide links giving access to excerpts of the work to be presented (or, if the proposed work have not been presented yet, to previous work in a similar media). Please include the proposed duration of your contribution, recognizing that there will be limited time for the whole event, and that we hope to minimize “Zoom burnout” on the part of participants and attendees.
Deadline for proposal: May 28
Proposals should be sent by email to Eric Lewis (email@example.com) and Hubert Gendron-Blais (firstname.lastname@example.org), with the mention “Echoes of a Distance” in the title.
Note: If public health guidelines and related logistical concerns allow, there may be the possibility of having some live presentations.
Call for Papers: 2nd International Conference on Sonorities Research – CIPS
We invite researchers from all areas to submit proposals for the 2nd International Conference on Sonorities Research – CIPSto be held online between June 9 and 11, 2021. Just as its first edition, the second CIPS encourages the integration of different fields of knowledge related to sound and its practices.
The theme of this edition is “Borderline Sonorities,” which emphasizes the different relations between both musical and sound practices assimilated and crystallized in different social, political and historical contexts, as well as practices that, by many reasons, are either excluded or considered secondary within the current globalized model of mediatic production and circulation.
The six working groups (WG/GT) aim at comprising different perspectives: the relation between sounds and spaces; the different uses of technology; decolonial, feminist, non humanist perspectives etc.
This edition, exceptionally, will be held online due to the current worldwide health conditions.
Each WG is proposed and organized by researchers of different institutions from Brazil, Portugal and Canada.
A specific call for artistic works/presentations will be soon announced, just as in the first edition, but this time adapted for the online format.
ABSTRACT SUBMISSION Abstracts must be submitted by March 31 to the email email@example.com in .doc (or .docx) formats, stating in the subject of the email “II CIPS”, followed by the intended WG (the indication of the WG in the “subject” field is mandatory).
The abstract must be formatted in Times New Roman font, Body 12, spacing 1.5. The file must contain, in this order:
● Proposal title;
● Authors and their respective e-mails and institutional affiliation (or main activity);
● Summary of up to 500 words;
● Three to five keywords;
● Intended WG.
Abstracts can be sent in Portuguese, Spanish or English. Some WG will conduct moderation in only two of these languages, but this is indicated in the group's description.
Visit the website www.sonoridades.net or follow our next circulars for more information.
New Book review online
The Political Possibility of Sound: Fragments of Listening - Salomé Voegelin. New York: Bloomsbury Academic, 2019
Reviewed by Sharon Stewart
Nameless Sound, Houston-based presenter of experimental music and community arts programs celebrates its 20-year history through an exclusive release of their online archive project, Nameless: 20 Years of Sound
Starting on January 25, in commemoration of its 20th anniversary, Nameless Sound will embark on the yearlong project Nameless: 20 Years of Sound. Through monthly editions, the online exploration of Nameless Sound’s history will offer a wealth of new writing and archival materials. On the 4th Monday of every month, a new edition will feature a particular theme or an artist who has left a sonic and social imprint on the networks of Nameless Sound audiences, musicians, and youth. Editions will be posted to Nameless Sound’s website at www.namelesssound.org. Many music fans are likely to be drawn to this project for its abundance of rare audio and never-before-seen video featuring some of the most important names in experimental music including Pauline Oliveros, Joe McPhee, Roscoe Mitchell, Wadada Leo Smith, Maggie Nicols, Susie Ibarra, Susan Alcorn, and Loren Connors among others. Nameless: 20 Years of Sound will also provide rare glimpses into Creative Music Communities, Nameless Sound’s pioneering workshop program that engages youth through music improvisation in Houston public schools, homeless shelters, refugee programs and community centers. The mission of Nameless Sound is to present the best of international contemporary music and to support the exploration of new methods in arts education.
On January 25, we commence the project with a spotlight on Joe McPhee. The saxophonist and trumpet player is one of the most beloved voices in creative music. Known for his expressive and ecstatic sound that extends directly from the human voice, McPhee is also known for a generous and open mind that is not afraid to experiment outside of idiom or convention. McPhee has inspired Houston listeners since his first performance in the city with Arthur Doyle in 1998 (the first ever concert presented by Nameless Sound Founding Director David Dove). In 2005, McPhee was the inaugural recipient of Nameless Sound’s Resounding Vision Award. In 2010, he and John Butcher were the first musicians Nameless Sound presented at The Hill of James Magee, the enigmatic art installation constructed in a remote area of the West Texas desert. In 2017, he performed for the memorial and birthday concert for composer and Nameless Sound mentor Pauline Oliveros. In between all of that, he blew through town for a range performances and projects, including engagements with the youth in Nameless Sound’s community programs. On January 25, we invite you to journey with us through the reflections and resonances of Joe McPhee’s Houston encounters.
Nameless Sound Founding Director David Dove, “Since our founding, Nameless Sound has been focused on a unique program of creative and experimental listening and sounding experiences for a range of communities as diverse as Houston itself. Though Nameless Sound is one of the only consistent regional presenters of this music and is distinct nationally for its community programs, we have flown under the radar of wider attention from international fans and press. I hope that this project will not only provide a treasure trove of archival media for fans who love the music. But I also hope that it can help to share the story of a generation of listeners and soundmakers from the US’s most diverse city, and the visiting artists who have left their mark on those listeners and helped to cultivate those soundmakers.”
About Nameless Sound
Nameless Sound began in 2001 in Houston as a branch of the Pauline Oliveros Foundation (now Deep Listening Institute), then formed its own independent non-profit organization in 2006. A concert presenter of experimental music, improvisation, jazz, and sound art, Nameless Sound is unique for the community-based projects that make up the foundation of the organization. In addition to introducing Houston audiences to many of the most influential international names in experimental music, Nameless Sound has designed and implemented a far-reaching workshop program that employs a pedagogy of music improvisation to serve youth in a wide range of Houston sites. Nameless Sound’s open youth workshop at MECA (an after-school arts program) has helped to cultivate a generation of Houston experimental musicians such as abstract turntablist and sound artist Maria Chavez, rapper and member of The Young Mothers, Jawwaad Taylor, guitar experimentalist Sandy Ewen, and many more. Nameless Sound has been the recipient of awards from the National Endowment for the Arts, The Brown Foundation, The Simmons Foundation, The Joan Hohlt and Roger Wich Foundation, Texas Commission for the Arts, Houston Arts Alliance, Houston Endowment, and the BMI Foundation.
For more on Nameless Sound’s history, go to https://www.namelesssound.org/about/history.
Journal of Sonic Studies 20 online
JSS 20 is delighted to offer you eight exhibitions, a small cross-section of current research taking place in sound studies. In this issue, the reader can explore the sound worlds of the Baschet brothers’ Odontophones or follow an (embodied) investigation of the textured sound fields of Éliane Radigue’s sonic works.
Take the sharply hooked turns to the Source Bleue in Tiznit, Morocco, and experience the sonic thresholds that gently mark or guide your experience. Ponder the tragic disruptions of Birdstrike through an audio documentary by Jacob Smith or be confronted with the use of noise and silence as powerful tools of disruption or coercion in the sound sculptures of Adam Basanta.
Take a guess at what lies within Marcel Duchamp’s With Hidden Noise (1916) or observe the physiological effects of durational listening to the sounds of Arctic winter winds featured on YouTube.
Finally, and perhaps most pertinent to our current situation, our readers can also consider the suggestions of Braxton Boren on how we might reduce low frequency noise transmission to our neighbours in adjacent apartment units. Perhaps with a few modifications, we can ease the sonic disturbances within this strange version of “living together apart” and improve the overall sonic liveability for all those living and working at home in close quarters.
Table of Contents and contributors to JSS20:
Online Tutorial for sound terminology, theory and practice, across multiple disciplines by Barry Truax
Below is a message from Barry Truax:
I am delighted to announce completion of my comprehensive online Tutorial for sound terminology, theory and practice, across multiple disciplines, that I hope will be of interest to those of you contemplating online teaching this coming academic year.
The Tutorial is designed to function in parallel with the Handbook for Acoustic Ecology, for which I’ve been editor since the 1970s. It is organized into 20 self-contained (but heavily cross-referenced) modules, half in the area of acoustic sound (focusing on acoustics, psychoacoustics, environmental acoustics, speech acoustics, audiology, noise measurement and soundscape studies), the other half in electroacoustics including studio based composition and sound design (and convolution, microsound, voice-based and soundscape composition). In the past, I have spread this material over two courses, but I believe that students in each area need to know at least some of the material in the other.
I have been teaching this material for over 45 years and have accumulated a large resource base that I would like to share with the community. Each module includes graphics, sound examples, video demonstrations, links to the Handbook, a review quiz in multiple choice, true/false format, some intriguing sidebars, and many personal listening and studio experiments for students to try.
The statistics are: 20 teaching modules, 3 indexes, over 550 .wav soundfiles, over 700 graphics including many spectrograms, 20 videos, 50 demo’s, exercises and experiments, 15 sidebars with some rather unique material, and 16 quizzes (with 740 answers). Along with the Handbook folder, the size of the Tutorial is now at 4.5 Gb.
The target audience is 3rd and 4th year undergraduates, as well as any graduates or others who have not had a solid foundation in the area.
The Tutorial is created with HTML5 Audio and is designed for Safari or Firefox as a browser given the formats being used. There is now a link to the Tutorial on the index page of the WSP Database that you can access using this url (contact me if you don’t have the guest password):
For individual use, it will stay in this location, but for use in classes, I’m planning on making it a download directly to the Instructor. Of course everything is negotiable, but it would probably make the most sense to have a licensing arrangement with your school for its use. The SFU server is not ideal for group access as it’s not on a secure site here.
Feel free to send queries or comments.
All the best
Barry Truax (firstname.lastname@example.org)
OPEN CALL: Artist Residency Programme at the Spatial Sound Institute
There are less than two weeks left to submit applications for the Artist Residency Programme 2021 at the Spatial Sound Institute.
This year’s focus is on the development of new pedagogical approaches that make use of spatial sound technologies and listening-based practices, thus proposals addressing these topics will be given priority in the evaluation process.
The programme is open to participants from various disciplines and at various stages of their artistic or scientific career.
- Read more about the call for proposals and how to apply here.
- Read the preamble to this year’s programme here.
- Apply online or request an offline package here.
Closing date for applications: 31 August 2020.
Open Call for (Audio) Moves: SONOHR
Movement is visible, palpable, a full-body experience. Movement is political, artistic, social. We look to movement to relax and we get uneasy when our world of movement is restricted. Where does the power to move come from? And what about the power to stand still? How do we feel when our freedom of movement is indefinitely restricted? Or when we have to move, even if we don’t want to? Audio is a disembodied medium that leads us through imaginary spaces. Our festival aims to demonstrate the varied ways movement can be translated into sound in terms of content, tone, format and imagery. The question we’re asking is: how does audio move (us)? The SONOHR Radio & Podcast Festival from 26 to 28 February 2021 is looking for program ideas that usher movement into our theatre or that put people in motion in public spaces.
- Audio pieces up to 20 minutes max.
- Live formats such as performances, interactive session, live podcasts up to 60 minutes max.
- Innovative formats, audio- and soundwalks, audio games or similar layouts that can either be experienced regardless of location or are flexible enough to be adapted to Bern
The festival offers remuneration for your performance and compensation for the playback of chosen audio pieces and program sessions. Generally speaking, productions cannot be co-financed in their entirety, but small production contributions, such as for the adaptation of an existing audiowalk, is possible.
WHO IS THE OPEN CALL AIMED AT?
At producers and authors of audio pieces, radio features, podcasts or audio art, at sound researchers, trainers or inventors of rich, new sound formats. This year the festival is particularly addressing those submitting from Switzerland and other European countries where their national languages are spoken (e.g. Belgium, Germany, France, Italy, Luxembourg, Austria). Entries in languages other than German, French, Italian and English can only be submitted with an English or German script. The correspondence language is English.
ENTRY DEADLINE: AUGUST 3, 2020
In addition to this open call, in June 2020, SONOHR will announce the yearly competition for contemporary Swiss radio plays from freelance authors and private radio stations. The festival will take place from 26 to 28 February 2021 in the REX cinema in Bern.
JSS Call for Papers: Sound Studies, Soundscapes, and Sound Art of the Balkans
City sounds and sounds of nature; sounds of progress and nostalgic sounds; sounds of revolution and change, and sounds of restauration; sounds deliberately produced or emerging unintentionally, serving a disciplinary function or expressing forms of freedom; musical as well as non-musical (functional) sounds; sounds of war and sounds of friendship.
How do the Balkans sound? How can their sonic ambiances be characterized? What can be heard there? How should we listen to them, experience them, affect and be affected by them? What is their political, social, religious, ethical, economic, aesthetic influence or meaning? How do Balkan sound artists respond to these influences and meanings? How are sound studies developing in South-Eastern Europe?
The Journal of Sonic Studies is searching for scholarly and artistic contributions that deal with the connections and relationships between the history, culture, society, and politics of the Balkan countries and the production, distribution, and reception of sounds, noises, and silence. The broader aim of this special issue is to establish “sound” as an analytical category that provides us with challenging perspectives on and a new understanding of this part of Europe. Therefore, our call does not focus on a particular historical period or research methodology, but seeks to bring together scholars and artist-researchers who share an interest in Balkan sound studies, soundscapes, and/or sound art.
Themes for submission may include but are not limited to:
- The sonic identity of any Balkan space
- Differences between various Balkan soundscapes or differences with West-European soundscapes
- Balkan (contemporary) sound art
- The role, position, and function of music in contemporary South-East European societies
- Sonic histories of the Balkans
- Listening cultures of Balkan countries
- Politics of sounds or the sounds of politics in the Balkans
- The role of silence in Balkan societies and/or discourses
- The role of sounds in Balkan religious practices
- Rural “versus” urban soundscapes in Balkan countries
The Croatian musicologist Diana Grguric will act as guest editor of this special issue.
Potential contributors are invited to submit completed essays by January 10, 2021.
For more information, or to submit an “exposition”, please contact Marcel Cobussen (MA.Cobussen@hum.leidenuniv.nl) and/or Diana Grguric (email@example.com)
New book review online
Gallery Sound - Caleb Kelly. New York: Bloomsbury, 2017
Reviewed by Zeynep Bulut
New book review online
Voicetracks: Attuning to Voice in Media and the Arts - Norie Neumark. Cambridge, MA: MIT Press 2017.
Reviewed by Vincent Meelberg