New book review online
Sonic Agency: Sound and Emergent Forms of Resistance - Brandon LaBelle. London: Goldsmiths Press, 2018.
Reviewed by Johnny Herbert
Call for papers: Un/Sounding the Relational City
“Un/Sounding the Relational City” is the Spring 2020 conference organized by the Music Department of New York University’s Graduate School of Arts & Science. The conference invites participants to ask how the sonic politics of urban space and the rhetoric of soundness provide a critical vantage into the role of sound and music, real or imagined, in organizing or disorganizing urban life. The conference will feature programming in the form of traditional academic paper presentations as well as live performances and audiovisual work.
Please check http://as.nyu.edu/music/events/2019-2020-events/un-sounding-the-relational-city.htmlfor more information on the conference.
Conference dates: February 28-29, 2020
For more information contact: email@example.com
Conference committee: Brian Fairley, Sofy Yuditskaya, Charlie Kozey, D Baron, David Catchpole, Samuel Chan, Annie Garlid, Nir Cohen, Heather Woodson-Gammon, Michael Seltenreich, Zeke Levine, Merche Blasco
Faculty Advisor: Brigid Cohen
Call for Presentations
Journal of Sonic Studies - New issue online: Materials of Sound II (guest editor: Caleb Kelly)
This is the second issue of the Journal of Sonic Studies focused on the Materials of Sound. In the first issue (see issue no. 16) the papers were focused on creative sonic production that engaged materials. In this issue, material sounds are found within cultures, cities, religions, movement, environmental catastrophe, and the murmurs of the crowd. The authors hear these sounds that, for the most part, are already in the world. These sonic occurrences form the basis of a developing understanding of the materials involved.
By thinking about sound as more than its physical properties, more than a series of waves, we can begin to learn about complex material realities. The essays in both journal issues depart from the question: what can sound tell us about materials?
Editorial: Materials of Sound II - Caleb Kelly
The Failed Assemblage of Batroun Concrète: A Biopsychosocial Approach to Post-acousmatic Composition - Seth Ayyaz
Eroding Together: Mattering Processes of Sound - Samuel Thulin
Animas: Disaster, Data, and the Resonance of a River - Brian House
Beyond the Azhan: Abu Dhabi’s Cacophonous Soundscape - Diana Chester
The Murmur of the Crowd - Andrew Brooks
ISSTA 2019: PERFORM! Irish Sound, Science and Technology Association Annual Conference and Festival – Call for papers
CIT Cork School of Music, Union Quay, Cork, Ireland
October 31 and November 1, 2019.
Keynote lecture and performance: Robert Henke
Keynote workshop/performance: Ellen King
Performance haunts our electronic music and sonic arts.
The technologies which facilitate our sonic creations transmit, but also sometimes obscure, the gestures of our sound production. Speakers, microphones and interfaces could be said to displace as they transmit or transduce. How much of the electronic music we hear is actually performed? How have our technologies changed our ideas of performance?
In the post-digital age, we often see an intermingling of technologies, terminologies and approaches, encompassing electroacoustic/computer/electronic music and sound-art. The terminology and descriptors are now becoming irrevocably entangled as a surge of new performers rise amidst the deluge of new hardware and software tools. As this cross–pollination occurs, the so-called cultural underground that originally supported this music appears to be very much ‘overground’ and alive, peddling its wares (equipment as well as music) with increasing prolificacy and achieving ever–increasing globalised acceptance. Should a new language be invented to define and discuss this music, or should the existing one be augmented? Or should we simply stop, listen, and enjoy the performance?
In 2019, ISSTA returns to Cork, to be hosted by the CIT Cork School of Music in association with Cork Sound Fair. The small city centre is teeming with live music performances, from gigs in small venues and pubs to regular festivals that welcome thousands of visitors to the city. Its musical history is rich in diversity. The Arcadia Ballroom, the Cork Orchestral Society, the Jazz Festival, the Opera House among others all brought national and international performers to audiences in the city. In the 21st century the City has experienced a musical Renaissance and today Cork has a wide array of active promoters and venues. We look forward to welcoming artists, technologists, theorists and other researchers to discuss the issues above at ISSTA 2019 in Cork.
Submission deadline is June 7, 2019; (midnight Irish and UK time).
Submission is via the Easychair system. Submitters should set up an Easychair account.
There are instructions for authors here:
Further details are available on the Cork School of Music website.
The call is open to all practitioners and researchers regardless of nationality. Participants are responsible for their own travel and accommodation.
Registration for ISSTA 2019 is required for participation.
We aim to provide review notification by August 6th.
New book review online
Singed: Muted Voice-Transmissions, After the Fire - Daniela Cascella. London: Equus Press, 2017
Reviewed by Adam Potts
Symposium - Transformations of the Audible, May 16–18, 2019, The Hague
Sonorous phenomena are always on the verge of becoming something else. As it unfolds, sound constitutes spaces, mediates presence, articulates time. Furthermore, it may prompt emotions, generate awareness, organise patterns of behaviour or trigger a sense of belonging. As sound becomes audible, sound is constantly being articulated within a series of adjacent circumstances.
Although these adjacencies have traversed the history of music, the past two decades have seen an unprecedented interest in sound from a range of artistic fields outside of music, as well as from a variety of academic disciplines. While Sound Art as an autonomous field reaches back to at least the late sixties, the last decades have seen the role of sound proliferate into a ubiquitous presence in museums and galleries across the globe. At the same time, the young field of Sound Studies has raised awareness of the role of the acoustic in defining ways of knowing, sensing and engaging with our surroundings.
Composer Peter Ablinger stated in 2005 that he is “not interested in sounds, but in audibility”. Coming from an artist using sound as its main material, such a statement is significant: it appeals to a practice that instead of taking sound as a given deals with the mutable nature of hearing. Ablinger poses a challenge which is not that of working merely on organising sound, but in setting up conditions for the exploration of the way audibility is constituted.
Transformations of the Audible aims to interrogate the factors and conditions that inform the way audibilities are constituted. For this purpose it will gather artists, scholars, students and artist researchers from three domains – that of music, the arts and the scholarly field of sound studies – to address how artistic practices dealing with sound are traversed by and simultaneously operate on the ways in which listening takes place.
Transformations of the Audibleis initiated by the Institute of Sonology - University of the Arts The Hague, on the occasion of composer Peter Ablinger's visiting professorship, in partnership with Leiden University Academy of Creative and Performing Arts and arts organisation WEST Den Haag. The event will gather international experts in the field together with scholars, active researchers and practitioners from the local scene. It will comprise lectures, panel discussions and artistic presentations, taking place at WEST Den Haag, the Royal Academy of Art and the Royal Conservatoire.
Presenters and panel members include:
Heloisa Amaral, Peter Ablinger, Joanna Bailie, Douglas R. Barrett, Richard Barrett, Giuliano Bracci, François Bonnet, Marcel Cobussen, Elizabeth Dobbin, Melissa van Drie, Ricarda Franzen, Raviv Ganchrow, Penelope Gouk, Eleni Kamma, Brian Kane, Julia Kursell, Yannis Kyriakides, Cat Lamb, Sander van Maas, Matteo Marangoni, Martina Raponi, Tao G. Vrhovec Sambolec, Linnea Semmerling, Suzan Tunca, Dafne Vicente Sandoval, Jed Wentz.
As part the symposium works by Peter Ablinger, Joanna Bailie, Catherine Lamb, Jakob Ullman and Simon Steen-Andersen will be performed, by Heloisa Amaral, Dafne-Vicente Sandoval, Ensemble Modelo62 and Andreas Borregaard.
Transformations of the Audible is curated and chaired by Gabriel Paiuk
Registration opens on April 8th - for more information on how to register follow this link:
Tenth International Conference on Music and Sonic Art: Practices and Theories (MuSA 2019) – Call for Papers
We are pleased to announce the Tenth International Conference on Music and Sonic Art: Practices and Theories (MuSA 2019), an interdisciplinary event to be held in Karlsruhe, Germany at the Institute for Music Informatics and Musicology, University of Music Karlsruhe (http://hfm.eu/imwi/)
Conference dates: 31 May – 2 June 2019
Professor Jane Ginsborg (Royal Northern College of Music, UK)
Deadline for abstract submission: Friday, 29 March 2019
Proposals for sessions and individual papers for the Tenth International Conference on Music and Sonic Art: Practices and Theories are invited from academics, independent researchers, practitioners and post-graduate students. Presentation formats include academic research papers (20 minutes + 10 minutes for discussion); reports on practice-based/artistic research or educational programmes (20 minutes + 10 minutes for discussion); and workshops, panel sessions, lecture-demonstrations (30 minutes + 15 minutes for discussion). The Conference committee encourages presentations in which practice forms an integral part of the research. All proposals will be ‘blind’ peer-reviewed. The conference language will be English.
THEME AND TOPICS:
The theme of MuSA 2019 is Collaborative Creativity / Creative Collaboration. The twenty-first century has witnessed some profound transformations in the institutional ethos of arts and humanities research, one of these being the sharp decline of the romantic image of the lone researcher and artist, breaking through the frontiers of knowledge or creating works of genius independently, and the simultaneous rise of a culture of collaboration. While much has already been written about the value of collaborative artistic and scholarly work, particularly in relation to the creative synergies it generates, much remains to be explored with regard to the notion of collaborative creativity or creative collaboration. MuSA2019 aims to explore the psychological, social, institutional-political, artistic and philosophical issues surrounding this notion. We invite submissions on the following, and other relevant topics, in relation to collaborative creativity and creative collaboration in Music and Sonic Art:
- Creative collaboration and authorship
- Creative collaboration in historical context
- Psychological mechanisms of collaborative creativity
- Creative collaboration and copyright
- Collaborative creativity and technology
- Pedagogies of creative collaboration
- Expertise and creative collaboration
- Creative collaboration and material cultures
- Social contexts of collaboration
- Artistic identities and creative collaboration
- Embodied, embedded, enacted and extended approaches to creative collaboration
Other topics that are in line with the conference’s broad aim of promoting interdisciplinary research within and across Music and Sonic Art will also be considered.
As in previous MuSA conferences MuSA 2019 will continue to include the popular, one-day event devoted to ‘Re-thinking the Musical Instrument’, focusing on the origination, making and playing of musical instruments.
Some of the topics that will be explored during this one-day event include:
• The acoustical, musical, cultural, symbolic, and ritualistic qualities of musical instruments and the relationships between these (theoretically) distinct kinds of qualities;
• The discourses that exist in relation to musical instruments in different genres, styles and traditions;
• The gestural affordances and ergonomic principles of musical instruments and the musical meanings that emerge as a result of these affordances and principles;
• Performers, improvisers and their instruments: phenomenologies of music making in the context of particular kinds of musical instruments;
• Composer and instruments: the material, acoustical and expressive qualities of instruments and their relationship to musical languages composers create;
• Relationships between creativity in performance, nature of musical interpretation and musical instruments;
• The role of the musical instrument in the creation of musical identities;
We also invite proposals on any research area related to the nature and use of western acoustical instruments, traditional ethnic instruments and digital/virtual instruments.
Please submit an abstract of approximately 250-300 words as an e-mail attachment to firstname.lastname@example.org
As contributions will be ‘blind’ peer-reviewed, please do not include information that might facilitate identification from the abstract. In addition, please include separately the name(s) of the author(s), institutional affiliation (if any) and short biography (approximately 100 words). Deadline for the receipt of abstracts is Friday, 29 March 2019. Notification of acceptance will be sent by 8 April 2019.
CONFERENCE FEE– includes registration, lunch, coffee/tea and conference concerts
€150 for delegates (day rate: €50), and €75 for students (day rate: €25)
If additional information is required please contact Prof. Dr. Mine Doğantan-Dack
Prof. Dr. Mine Doğantan-Dack (University of Cambridge) – email@example.com
Prof. Dr. Christoph Seibert (HfM Karlsruhe) – firstname.lastname@example.org
Dr. John Dack (Middlesex University, UK) – email@example.com
Prof. Miroslav Spasov (Keele University, UK)
Prof. Dr. Marc Bangert (HfM Karlsruhe)
Prof. DMA Damon T. Lee (HfM Karlsruhe)
Prof. Dr. Paulo Ferreira Lopes (HS Mainz/HfM Karlsruhe)
Dr. Stefanie Steiner-Grage (HfM Karlsruhe)
Nanna Schmidt (HfM Karlsruhe)
Timothy P. Schmele (HfM Karlsruhe)
Administrative support: Gundi Rössler (HfM Karlsruhe) – firstname.lastname@example.org
New book review online
Noise and the Brain: Experience Dependent Developmental and Adult Plasticity - Jos J. Eggermont. Academic Press, 2013
Reviewed by Robert V. Harrison
DESFORM 2019 | DESIGN AND SEMANTICS OF FORM AND MOVEMENT, XI EDITION - Call for papers
OCTOBER 9-11, 2019
In recent decades, design has faced great challenges and profound transformations. Its traditional approach to crafting and shaping the tangible world has been revolutionized by the way this very world has changed, becoming infused with digital technologies that have made it smarter, more interactive, and more connected.
Recent technological developments have generated even more rapid and extreme changes. The emergence of AI, machine learning, flexible electronics, miniaturized and implantable sensors, and hybrid synthetic- biological materials have not only provided designers with new design ingredients, but also generated new cultural and social landscapes in which they must design.
This edition of the DeSForM conference will explore the implications of these recent and emerging technological transformations in the practice of design, with a particular focus on the aesthetics and human experience of these new systems.
Designing beyond intelligence means that the design of such advanced and smart ecosystems should consider issues beyond mere algorithmic thinking and functionality. Scholars in the design field should start reflecting on the connections and mutual relations between the performance of these intelligent ecosystems and their physical appearances, aesthetics, interaction modalities, and personalities. In doing so, they will be able to address the design of ecosystemic user experiences.
DeSForM has traditionally dealt with the design of new, dynamic and interactive artifacts supported by the rise of intelligent systems (sensors, processors, algorithms, actuators, smart materials, etc.). Such systems are becoming more and more complex and sophisticated, giving birth to new forms of digital-physical hybridizations, i.e. dynamic ecosystems where advanced materials, sensing technologies, artificial intelligences, data, and humans are deeply interconnected and mutually shaped. These emerging hybrid ecosystems have already reached a point where their understanding, design, and evaluation ask for the development of new approaches and tools, as the experiences they create are far more complex to foresee and assess.
In this edition, we challenge scholars in this field to start thinking beyond designing for and with intelligence embedded into single artifacts, to broaden their focus and start addressing designing for distributed, hyperconnected, and complex intelligent ecosystems, and how their meaning, experience, and ethics can be approached in this new landscape.
This evolving context of design calls for new design skills and ways of thinking that go beyond the traditional field of design, as well as the creation of multi-disciplinary and adaptable teams able to envision new interactive, interconnected and even unpredictable systems.
The emergence of AI, robotic solutions, and big data connected with the spaces, objects and people we interact with everyday, will create new landscapes for future generations of designers. This will require designers to adopt new lenses in the design and evaluation of emerging technology, and it will necessitate that designers equip themselves with new ethical paradigms.
This conference will face the need to explore new frontiers for design, where emerging forms of distributed intelligence become design material. This material should be fully investigated in terms of tangible manifestations, implications and impact on the design process, user experience, and social consequences. The conference will be structured around four main topics: Experiencing Complexity, Interacting with New Intelligences, Societal Impacts & Design Ethics, and Future Roles of Designers.
Submissions should be focused on one or more of the following themes. In addition to these topics, contributions addressing the general conference interests (i.e. designing meanings, semantics and aesthetics of smart, dynamic and interactive artifacts) are also accepted.
The role of aesthetics in dynamic digital-physical ecosystems
Designing and evaluating user experience in complex digital-physical ecosystems
Design tools to tackle complexity in technology-enriched systems
SOCIETAL IMPACTS & DESIGN ETHICS
Algorithmic decision making, autonomous systems and their impact on user experience and behavior
Designing for transparency and reliability
Emerging technologies and their effects on society
Design tools for ethics
Future challenges for design
INTERACTING WITH NEW INTELLIGENCES
How artificial intelligence transforms artifacts (objects, spaces) and their interaction modalities.
Embodying artificial intelligence through design; tangible forms and appearances of AI
How products’ aesthetics and user experience will change through AI:
At home, living experience in the private domain
At work, working experience in the semi-public domain
In society, connected experience in the public domain
FUTURE ROLES OF DESIGNERS
In designing for complexity
In creating new forms of artificial intelligence and interactions with them
In designing for society
In designing with technology for social innovation
We invite authors to submit high-quality, previously unpublished, original contributions that explore one or more conference topics. Submitted papers (both full and short) will be assessed through a double-blind review process and accepted papers will be published in the conference proceedings. Contributions can fall into one of the following categories:
Full papers (Oral presentation)
Full papers should be up to twelve pages (including references). Submissions should be anonymized for double-blind review. Accepted papers will be given a 20 minute presentation slot at the conference and will be included in the proceedings.
Short papers (Demonstration + Poster)
Short papers should be up to six pages (including references). Submissions should be anonymized for double-blind review. Short papers should describe actual design or art projects, which will be presented through live demos and posters during the conference. Submitters of short papers are also encouraged to provide in their papers a link to download media demonstrating their results, whether images, videos, or other media types. All content should be anonymized for double-blind review. Short papers will be included in the proceedings.
How to submit your paper
Please submit your proposal through the Easy-Chair platform. If you are a new user of Easy-Chair, you will be required to create an account. Once you are logged in, click again on the below link to ensure that you are visualizing the DeSForM 2019 page. The uploaded file must be in PDF format and should not exceed 20 MB.
See https://desform19.org for more information.
NOV 15, 2018
MARCH 1, 2019
Full/Short paper submission deadline
MAY 1, 2019
Notification of acceptance
MAY 1, 2019
Conference registration opening
MAY 31, 2019
Camera ready paper deadline
MAY 31, 2019
Early bird registration closing
SEPT 15, 2019
Conference registration closing
SEPT 30, 2019
Seminar/Workshop registration closing
URBAN SOUND SYMPOSIUM | April 3-5, 2019 in Ghent, Belgium - Soundscape hackathon
The organizing committee of the International Urban Sound Symposium is proud to announce the first Soundscape Hackathon! This hackathon is held as a satellite event to the main symposium, and will take place in parallel to the symposium in De Krook, the new media centre of Ghent.
Goal and objectives
The goal of the soundscape hackathon is to generate awareness and create support for the design of urban soundscapes, and ultimately to foster the introduction of urban soundscape design in education and practice.
During the soundscape hackathon, teams of up to 4 people compete to redesign and improve the soundscape at selected urban open spaces worldwide. Teams are provided with high-quality immersive audiovisual recordings (360-degree video and spatial audio), collected within the framework of the Urban Soundscapes of the World project, in cities such as Berlin, Montreal, Hong Kong, Chicago or New York. Teams are required to develop software to alter the spatial audio recordings by adding or suppressing sounds originating from various directions, and subsequently to design a series of scenarios that present an improvement of the soundscape based on the original recordings.
An international jury will evaluate the designed sound environments and the way they are presented in VR to lay persons and professionals, and will award the winning team.
Teams will be given a detailed task description and all materials on Wednesday April 3 at 9 am, and they will have time to actively work on their project until Friday April 5 at noon. Participants of the soundscape hackathon are free to attend any of the lectures at the Urban Sound Symposium if they desire to do so.
On Friday April 5 in the afternoon, the teams will present their results to the jury and to any interested participants of the Urban Sound Symposium, during a demo session at De Krook.
Note that teams cannot claim ownership of their designs or of the supporting software.
Where will it take place?
The soundscape hackathon will take place in the brand new media centre of Ghent, called De Krook. This venue houses the library of Ghent, together with the media labs of Ghent University and imec. It is located within the city center of Ghent, only a 10-minute walk from Het Pand where the main symposium takes place. The media lab will provide one computer and one set of VR glasses for each team. Furthermore, the media lab is equiped with a state-of-the-art Iosono wave field synthesis system provided by Barco Audio Technologies (see pictures on the right), which can be used by the teams to test their acoustic designs. Technical staff will be available to support playback of spatial audio on this system.
Who can participate?
Teams of up to 4 people are invited to apply for the soundscape hackathon. We specifically target master students, PhD students and postdocs in acoustics, architecture, computer science, urban design or any related field, with an interest in soundscape design and virtual reality. The hackathon is open to people of all nationalities.
How to apply?
To apply for the soundscape hackathon, please send the following to email@example.com before January 31, 2019:
- The name of the team
- The names of the members of the team (4 members maximum)
- A short CV of each team member (1 page maximum per CV)
- A joint motivation letter (1 page maximum)
A limited number of teams will be selected on the basis of their CV’s and motivation letter; selected teams will be announced in the course of February 2019, and will be provided with the detailed regulations of the hackathon in due time.
Participation to the hackathon is free of charge. Participants have to cover travel and accommodation expenses themselves, but several alternative accommodation options close to the hackathon venue will be proposed by the organizers.
The winning team will receive an award in cash of 1.500 euro.