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):

 

https://www.sfu.ca/sonic-studio/WSPDatabase/

 

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 (truax@sfu.ca

Website: www.sfu.ca/~truax


 


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 FORM


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.


QUESTIONS? info@sonohr.ch


 


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

 

Guest editor

The Croatian musicologist Diana Grguric will act as guest editor of this special issue. 

 

Deadline

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 (dgrguric@ffri.hr)




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


 


Journal of Sonic Studies 19 is Online

The editorial team of The Journal of Sonic Studies (JSS) is happy and proud to announce that JSS19 is online now. Please click here for the Table of Contents and the links to all articles. JSS19 takes you on a sonic journey through Latin America with stops in Mexico, Brazil, Colombia, and many other countries. Topics include, among others, the musical sounds of street vendors, the sounds of street protests, several sound art and compositional projects, natural versus human soundscapes, radio art, calls for listening and silence, sounding the political, and sonification. Please enjoy these sonic encounters with this fascinating continent.

 


 

  

Call for works: Online sound art exhibition | April 24 - May 17


 

 

  • £150 fee for selected work
  • Deadline 17 May 2020, (midnight BST)

This online exhibition calls for sound works that explore the sonic condition of our cities around the world, interrogating how our urban spaces have been built in sound, and what our sonic agency is within them.

 

Over half the world’s population live in urban environments; there are over 1000 cities worldwide including 30+ ‘megacitites’ that house more than 10 million people each. Within just 10 years this will increase, and two thirds of the global population will live in urban environments. How have we built our urban environments in sound? How do these environments audibly differ from one another, and how are they similar? How is the urban sound environment constructed from the architecture, infrastructure, culture, society, laws, geographic region, voices, technologies etc that contribute to the sound environments? What was considered in the building of these sonic spaces, what was decided, and was this accidental or arbitrary? What are the sounds, the silences, and the rules for listening and audibility that operate within these spaces? When is it immovable, or mobile, and what are we contributing to this sound environment at an individual level? How, through creative sound-based acts, can we push and pull at this sonic urbanity – to test its edges, its weaknesses, its strengths, to explore the intentions behind it and to insert our own? How can we re-hear, re-think or re-sound what this sonic urban is, not as a design aspiration of the future, but as a survey of the present.

 

This open call invites relational sound works that interrogate our sonic urbanism and sound out our sonic agency within it – works that trigger a hearing below the surface of our urban sonic landscapes in order to find something else within those same vibrations, to hear the unspoken or the cancelled out, the restraints or opportunities that might be found there, demonstrating our possibilities within these often seemingly impermeable spaces.

 

While hosted online, selected artworks will require activation directly in public space by audiences (once this is possible again) – the online component to the work should be limited to a score / instruction / materials / direction or other, that leads to the realisation of the work within public space. The audience will be required to activate these works in order to experience them, to sound them out / listen to them / consider them / perform them in public spaces. Any city or urban space around the world is intended to be the stage for these activations, and a process for feedback from audiences will be an ongoing aspect of the exhibition. By enacting these works in multiple sites, it is hoped that a shared hearing and exploration of our sonic cities side by side will be possible, a togetherness across the geographic distances, and new resonances that might prise open new ways of being within our cities.

 

This open call comes at a time when many of our urban spaces have changed significantly, our streets are currently in / have gone through a time of being empty of their usual animation, replaced with another way of being, our access restricted, and so the urban sonic landscape shifted considerably. Some apparently unstoppable sounds did cease, while others were revealed, increased or joined in. The urban sonic present suddenly changed – what does this reveal to us about the structure of our sonic city? Both artworks exploring this new Covid-19 urban sonic present, and artworks made previously, relevant to the previously animated urban sonic (that will resume / is resuming, in some configuration …), are welcome. The exhibition will only launch once outdoor urban spaces are widely accessible again for non-essential usage – when it would be possible to enact these creative works. We imagine this exhibition to coincide with our return to our shared urban spaces, and to celebrate our being within them together again.

 

How to apply: please download the >> Call for works PDF 116kb << for full details. 

 

Curated by Lisa Hall for CRiSAP.


 

 

Long-distance collaborative project | N gallery


Call for works


As the physical distance between us and other people, places and everything that constitutes our daily routines grows larger, so does the need of a creative person to keep creating new works and feel connected with the world. In response to this, n gallery is organising a call for artists, thinkers and scholars from all disciplines to collaborate from a distance and produce new works which will be presented online. The only prerequisite is that the collaboration between participants does not require their simultaneous physical presence, but occurs strictly by distance. There is no particular theme or duration of the works. Since it is not known how many of you will respond to this call it is not known how many online events will be required to present the works. However, for practical purposes there are 3 distinct categories in which you may apply.


Ngallery will curate this project by linking the participating artists with each other, and with the overall programming of the works.


The works will be presented at the physical space of ngallery (with or without audience depending on the situation at the time) and they will be available online. There is no funding for this project, either for the creative or the organisational side. However there is a strong wish to fundraise in order to document the works of this project after it is completed.


CATEGORY 1: COMPOSERS & PERFORMERS

One composer will be linked to one performer to create a new work, by distant collaboration. The performer will preferably video-record the piece. If video recording is not possible then a sound file will suffice.


How to apply:

All interested composers and soloists should send an e-mail (ngallery18@gmail.com) putting in the subject line the category you are interested in (eg. CATEGORY 1). Please send one sample of your work and a very short text describing what you wish to do in this project (150 characters max). In this way, we can get an idea of your artistic goal and try to make interesting links between composers and performers. If there are more than one performers living in the same space (ie. roomates, family, collective) and they wish to form an ensemble, this is also possible.


CATEGORY 2: SOUND & OTHER ARTS

One sound artist will be linked to one artist from a different discipline to create a new work, by distant collaboration. All artistic disciplines apply in this category, eg. video, poetry, painting, dance, acting, architecture, radio performance, etc. and they should be able to provide the end performance as video.


How to apply :

All interested artists should send an e-mail (ngallery18@gmail.com) putting in the subject line the category you are interested in (eg. CATEGORY 2). Please send one sample of your work and a very short text describing how you would like to contribute to this project (150 characters max). In this way, we can get an idea of your artistic goal and try to make interesting links between artists. If there are more than one artists living in the same space (ie. roomates, family, collective) and wish to form a larger group, this is also possible.


CATEGORY 3 : OPEN

This is the most open category where artists, thinkers and scholars can apply. Any combination is possible and welcome, from a lecture and a collaboration on a scientific paper to a podcast, a children’s story, a discussion etc.


How to apply :

All interested applicants should send an e-mail (ngallery18@gmail.com) putting in the subject line the category you are interested in (eg. CATEGORY 3). Please send one sample of your work and a very short text describing how you would like to contribute to this project (150 characters max). Please note that because CATEGORY 3 is the most open of all, we kindly ask you to be as clear as possible regarding your ideas of what you wish to create. You may also let us know what you have in mind in terms of the discipline you wish to be linked to, although we cannot guarantee that this will be possible.


DEADLINES

Deadline for submitting your interest in the project : April 10th, 2020 Starting date of the collaborations : April 20th, 2020 Deadline for completed works : June 15th, 2020 Dates of presentations of the works : TBA


 

 

Call for papers | Urban Nostalgia:  The Musical City in the 19th and 20th Centuries. EHESS, Paris, 105 boulevard Raspail (Salle 13), 3 juillet 2020. Deadline to apply : 6 April 2020

 

 

The aim of this workshop is to explore space through music, approaching the history of the city via the notion of nostalgia. Often described as a form of homesickness, nostalgia is, by definition, the feeling that makes us wish to repossess or reoccupy a space. Such spaces appear to us as both near and distant, tangible and remote, and it seems that attempts at reclaiming them are frequently musical in nature. We know, for instance, that particular compositions have played important roles in helping people to navigate or mitigate a sense of displacement. In these circumstances, affective experiences may be bound up with trauma or joy, as is the case of song during wartime or musical imaginaries among migrants. Under other conditions, we might identify a ‘second-hand nostalgia’ in the guise of a musically-inflected tourism that seeks to reactivate (for pleasure and/or profit) the historical aura of an urban site. What are we to make of the abundance of personal, inter-personal, and propositional episodes that posit music as some kind of a bridge to the urban past?

 

One option is to turn to digital humanities and to recent trends in mapping the musical layers and pathways of city life. Yet, how well do such methods account for the emotional force of nostalgia and for the flickering between presence and absence that seems to characterise the musical grasp of the past? It is notoriously difficult to geo-locate affect and it is for this reason that we are looking to the kinds of mapping that music enables without the use of digital tools. How might we revisit compositions, correspondence, film music, opera, music criticism, etc. as techniques of urban nostalgia? Of course, these questions are not entirely new. But even as the so-called ‘urban musicology’ offers alternatives to traditional narratives of musical history, replacing big names with city streets, it sometimes remains unclear what the deeper relationships between musical practice and urban experience may be. We seek to address this lacuna by asking:

 

1) how composers, interpreters and other cultural actors have codified the city in musical terms;

2) how particular cities have afforded particular kinds of listening for particular groups at articular times;

3) and how music has contributed to the repertoire of clichés about urban identity, whether understood from ‘within’ or from the ‘outside’.

 

Another context for this conference is the growth of sound studies, which has made the notion of a ‘soundscape’ an unavoidable point of reference when describing links between music and urban atmospheres. In light of such work we aim to consider what the idea of a musical landscape or musicscapemight offer to historically-sensitive and site-specific scholarship.

The workshop welcomes papers with a broad disciplinary grounding, including (but by no means limited to) musicology, history, cultural and sound studies, cultural geography, art history, and literature. They are also looking to include research – and researchers – that expand the geographical frame beyond Europe and Northern America, the areas favoured thus far by sound studies and technology and media studies.

 

Keynote lecture by Richard Elliott (Newcastle University), title tbc

 

Please note the quick turnaround for this call: abstracts of no more than 250 words are to be sent to musical.cities.2020@gmail.com no later than 6 April 2020. Accepted proposals will be announced on 17 April 2020. Please, include a short biography of no more than 100 words and your institutional affiliation. Proposals in both English and French will be accepted.


 

 

4th International Congress on Ambiances, 2nd-4th December 2020 - General Call for Proposals

 

 

Entitled "Ambiances, Alloaesthesia: Senses, Inventions, Worlds", the 4th International Congress on Ambiances focuses on the renewal of the forms of feeling in a world that is undergoing major changes. Composed by “allo” which stands for “other, of another kind”, using the term alloaesthesia aim to characterize: other senses, or senses of another kind, and suggests to be comprehensive of the emergence of potential new kinds of senses and sensibilities. This Congress aims to consider how the contemporary environmental, social, technological, political and ethical changes are likely to affect the sensitive worlds, their ambiances, and the ways of experiencing them. How  these changes question the research on ambiances and atmospheres, at epistemological, theoretical, methodological and practical levels? 

 

These questions will be addressed through these three thematic axes:

 

Axis 1/ New sensitizations

Present times, on a global scale, are marked by the multiplication of environmental (such as global warming, massive damage to the biosphere, etc.), political and social (as evidenced by the rise of conflicts, the emergence of the "society of vigilance", etc.) emergencies, which are carried in a massive and almost unavoidable way by the media and social networks. Together, they contribute to redefining the landscapes of ordinary life. In what way does this situation, characterized by various threats and associated anxieties, renew our modes of attention, presence and action in the world? How do these attentions redefine the sensitivities, in that they refer to what I am sensitive to (what touches me) and how we become sensitive to (how am I affected)? How do our sensitive experiences reconfigure themselves in these new worlds of uncertainty? How do they crystallize into new ways of designing and managing spaces? And how do these modes circulate and are communicated?

 

Axis 2/ Human and non-human sensitivities

How can we question the pressures resulting from the evolution of the sensory environment on the non-human sensorium in a world more than ever affected by human actions, which can be designated in certain circumstances as Anthropocene? In what ways can ecological and ethological approaches, through observations on non-human living beings, question potential evolutions of human sensitivity? How, by extension, do they renew the ways of understanding ambiances? Conversely, how are the concept of atmosphere, and how the scientific approaches, on the one hand on architectural and urban ambiances, and on affective atmospheres on the other hand, likely to put into question disciplines that challenge the senses, the action, the interactions between body and environment, grounded within different epistemologies, and other methodological traditions? 

 

Axis 3/ Artificial and extended sensibility

In what ways does the development of technologies allowing the consultation and representation (notably through visualization, auralization, etc.) of a very large amount of information contribute to alter (notably through restriction or extension) our sensitive potential within a datascape? How do the spaces measured, captured, reproduced by machines, sensors and algorithms create new worlds, and new sensory universes for humans? How do physiological alterations (may these be temporary, such as the wearing of augmented reality devices, or durable, such as certain biotechnologies), and prostheses (whether these prostheses are located within the body, or are new holds and affordances provided by spaces) define new sensitive worlds? How do these environments overflow into our daily environments? What resources do works of fiction and anticipation provide to think about these changes? What resources or limitations do these new sensory worlds provide for action?

 

Beyond this general framework and these three themes, the Congress aims to be representative of the thematic and disciplinary diversity, of the most contemporary researches on Ambiances and Atmospheres. To do so, in addition to three main axis reporesented within the call, the Congress will feature several thematic session.

 

Submissions for paper presentations, panels & workshops, posters and artistic interventions are due Friday March 20, 2020.

 

Click here to submit your proposals !


 

Mindscapes Music Commission Call for Proposals


 

Manchester-based SICK! Festival and Brighter Sound are seeking musicians, composers and sound artists for a major new commissioning programme entitled MINDSCAPES.

 

MINDSCAPES is a year-long programme of co-operation and co-production between cultural institutions in The Netherlands and Manchester. Working with Dutch artists and arts organisations spanning performance, visual arts and digital media, the project explores the impact that our environment has on our mental wellbeing.

 

The project will consider how artists might make interventions into different environments, in ways that can have a profound and lasting impact on mental health. How might artists from different practices influence, shape and inhabit urban spaces in ways that combat social alienation, anxiety and depression?

 

MINDSCAPES provides a unique space for cross-sectoral thinking and reflection, where a range of perspectives from the Greater Manchester and Netherlands can come together and consider the most effective ways to deploy cultural activity for a social benefit.

 

ABOUT THIS COMMISSION

MINDSCAPES is seeking a Dutch musician (individuals or collectives) to develop a new project responding to a number of parameters.

 

The project must:

 

● Respond to the thematics of MINDSCAPES as set out above

● Reflect the lived experience of individuals and communities in Manchester

● Be developed in dialogue with communities (and potentially artists) from Manchester

● Respond to the specific conditions of the city. The interpretation of this is open to the artist and could include physical, architectural, public, social, institutional, domestic or digital space, or explore interactions between these

● Take an innovative approach to presentation space

● Have potential to engage a broad, diverse audience

● Be able to demonstrate significant potential legacy and/or impact for participating individuals and communities

● Be developed in Manchester and be ready for public presentation by October 2020

 

Participating artists/musicians will need to spend a significant amount of time working in Manchester (1-2 months in total) or sufficient time to ensure the project is developed and presented with thorough engagement with the city and its inhabitants.

 

The organisations can offer a commission fee of €4,700 to develop and deliver the project. The project will be produced by Brighter Sound. There will be a separate production budget for the delivery of the project.

 

HOW TO APPLY

If you’re interested in applying, please send a letter of application (no more than one page of A4), or an audio/video recording outlining:

 

● Your name and contact details

● Your musical practice (including links to your work)

● Your interest in the thematics of MINDSCAPES

● Your experience of working with community groups

● How these might be incorporated into a commissioned project


Please send your application to recruitment@brightersound.com using the subject line ‘MINDSCAPES Commission’ by Sunday 15 March, 2020, 11pm.


2 For more information or if you have any questions please contact

debra@brightersound.com


The organising partners are committed to supporting and meeting the needs of people with learning difficulties or disabilities. If you have any specific access requirements, please call them to discuss alternative options on +44 161 830 3899.


 

New book review online

 

 

Listening to War: Sound, Music, Trauma, and Survival in Wartime Iraq - J. Martin Daughtry. Oxford: Oxford University Press, 2015


reviewed by Norie Neumark


 

 

New book review online

 

 

Hush: Media and Sonic Self-Control - Mack Hagood. Durham: Duke University Press, 2019


reviewed by Alexandra Supper


 

 

New book review online


The Sound of Things to Come: An Audible History of the Science Fiction Film - Trace Reddell. Minneapolis: University of Minnesota Press, 2018


reviewed by Andy Birtwisle


 



Dear sound artists all over the world! - A friend of us is planning a dictionary


Below is a call for help/collaboration from Bernd Herzogenrath:


dear sound artists all over the world! 

I am planning a dictionary, an almanac of 'sound words', that is: words related to sound - onomatopoetical, mythological, practical, etc., words of personal importance to you and your craft, words from your memory, related to sound, and – i wanted to ask mainly sound artists for whom English is not the first language, to contribute such a word or concept in their own mother-tongue (maybe even untranslatable) with a personal, explanatory, poetic entry – words that have the potential to maybe even change our perspective on listening-musicking-thinking ... and if English words, then non-standard English, for example Welch, Gaelic, different dialects words. 

for this, i wanted to ask you if you could 'help me out', both by contributing, and by sharing this with your contacts in the world of international fellow sound artists ... ideally, we would have every language on earth (and beyond?) covered … 

if you are interested in contributing, i would welcome a first contact until, say, new year’s eve (dec 31, 2019) 

depending on how many contributors we can gather, the contributions will either consist of (short) essays, or dictionary-style entries. 

short proposals should be due by march 15, 2020, finished contributions by end of 2021, so that we can envision a publication in summer 2022. 

Please contact me at herzogenrath@em.uni-frankfurt.de thanx a lot for your help in this! 

Please spread WILDLY!!

Prof. Dr. Bernd Herzogenrath 
Goethe-Universität Frankfurt 


  


Symposium Sonic West: collective urbanism through a multiplicity of listening



 You are warmly invited to the symposium Sonic West: collective urbanism through a multiplicity of listening, a one-evening event that will be held at OBA De Hallen/Belcampo. A number of artists, authors, theorists and practitioners will reflect upon the ongoing participatory social sound project Sonic West.

Makers, artists, community members, students, designers, activists, politicians, theoreticians, humans and non-humans are invited to come and think about the the societal significance and use of community art projects concerning itself with the sonic aspects of social life. The project Sonic West will be used as a concrete example to discuss questions like can shared listening practises lead the way to a more just city? This evening both speakers involved in the project as well as speakers with an outside view will reflect upon these questions and entice those present to ‘hear into’ a future more shared city.

Programme and details
Sonic West: collective urbanism through a multiplicity of listening
Thursday 21 November 17:30
OBA De Hallen, Belcampo Entresol
Doors open: 17.30
Start: 17.45

17.30    Registration

17.45    Welcome and introduction 
Michiel Huijsman, Artist, initiator Soundtrackcity, curator Sonic West

17.50    Presentation 
Justin Bennett, Artist, curator Sonic West:
Public space as acoustic territory

18.05    Presentation 
Mayke Haringhuizen and Fani Konstantinidou, artists in residence Sonic West:
The sound of Green Space

18.15    Presentation
Michiel Huijsman:
The multiplicity of sonic perception

18.30    Presentation 
Donia Jourabchi and Taufan ter Weel, artists in residence Sonic West:
Gentrifriction

18.40    Lecture 
Arie Altena, editor and writer. Author of ‘Wat is Community Art?’
<title presentation tba.>

18.55    Paneldiscussion, Q&A
Arie Altena, Justin Bennett, Mayke Haringhuizen, Michiel Huijsman, Fani Konstantinidou, Donia Jourabchi and Taufan ter Weel

19.15    Drinks and bites

This symposium is English spoken. More about this event and Sonic West at:
https://sonicwest.soundtrackcity.nl/symposium-sonic-west-collective-urbanism-multiplicity-listening/

Admission free
Reservation is required due to limited seats. You can make reservations with an Email to info@soundtrackcity.nl


 


New book review online


 

Composing Electronic Music: A New Aesthetic - Curtis Roads. Oxford: Oxford University Press, 2015

Reviewed by Richard Barrett




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: relationalcity@gmail.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?


Journal contents:

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.

https://easychair.org/conferences/?conf=isstasoundconf2019

There are instructions for authors here:

https://easychair.org/smart-program/NICFD2016/instructions.pdf

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 belongingAs 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:

https://www.universiteitleiden.nl/en/events/2019/05/symposium-transformations-of-the-audible


 

 

 

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

Keynote speaker: 

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. 


ABSTRACT SUBMISSION: 

Please submit an abstract of approximately 250-300 words as an e-mail attachment to j.dack@mdx.ac.uk 

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 


CONFERENCE COMMITTEE: 

Prof. Dr. Mine Doğantan-Dack (University of Cambridge) – md787@cam.ac.uk 

Prof. Dr. Christoph Seibert (HfM Karlsruhe) – seibert@hfm.eu 

Dr. John Dack (Middlesex University, UK) – j.dack@mdx.ac.uk 

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) – roessler@hfm.eu 

 



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

 


New book review online

 

 

Being Time: Case Studies in Musical Temporality - Richard Glover, Jennie Gottschalk and Bryn Harrison. New York/London: Bloomsbury Academic, 2019

Reviewed by Richard Barrett


 


PRAKSIS online Lectures

PRAKSIS has organized a lecture series about the residency project in Oslo. Access to the lectures is via zoom:

 

18 August: Budha Chattopadhyay 

On decolonisation of sound objects and the sonic cultures of the Global South.

https://www.praksisoslo.org/events-calendar/2020/8/chattopadhyay

 

 

Unrecord: Demodernising and/or Uncolonising Sound Objects — PRAKSIS

www.praksisoslo.org

Sound artist and researcher Budhaditya Chattopadhyay’s talk and listening session focuses on the decolonisation of sound objects and the sonic cultures of the Global South.

 

1 Sept, 18.00 - Mikel R. Nieto

On his project Dark Sound (2016), which looks at noise created by the oil industry in the Ecuadorian rainforest.

https://www.praksisoslo.org/events-calendar/2020/9/darksound

Dark Sound: Oil, ecology, sound, and loss — PRAKSIS

www.praksisoslo.org

Sound artist, Mikel R. Nieto discusses his project Dark Sound, and value and cost, hierarchy and consent in relation to the oil industry.

 

9 Sept, 15.00 - Annea Lockwood and Leah Barclay 

On their work with rivers and ecology. 

https://www.praksisoslo.org/events-calendar/2020/8/listening-to-rivers

Listening to Rivers — PRAKSIS

www.praksisoslo.org

A listening session and talk with sound artists Leah Barclay and Annea Lockwood focusing on the rich, immersive soundscapes of rivers.

 

29 Sep 19.00 - Hildegard Westerkamp

On her shifting relationship to listening, and how her approach to recording has changed since the 60s. 
Info regarding this lecture will be updated here: 

https://www.praksisoslo.org/events-calendar?view=calendar&month=09-2020



Francisco Lopez 
 
 
Since several years, Francisco Lopez is a member of the JSS editorial board. This year marks his 40th anniversary working in experimental music, sound art, and sound studies. 
That is why he has been busy putting together a beasty mega-album that is just out: 


More on Francisco Lopez can be found on his Bandcamp site:
 
 



ARTIST RESIDENCY PROGRAMME 2021: OPEN CALL

 
 

The Artist Residency Programme 2021 at the Spatial Sound Institute in Budapest, Hungary, calls for creators, artists, researchers, and technical developers from a variety of disciplines to submit proposals for the development of new pedagogical approaches that make use of spatial sound technologies and listening-based practices. 

The programme seeks to engage projects that contribute to the following key areas of study:

Sonic Architecture
Physiology and Psychology of Listening
Spatial Memetics
Human Space Interaction Design


The submission deadline is: 
31 August 2020 23:59 PM.

Read more about the call for proposals here.

Interdisciplinary Approaches to Sound Pedagogy and
Sound Based Education

In the residency season 2021, we draw attention to concepts that are aimed to make young people sensitive to ideas through an active participation and activation of sound in space. We welcome specifically those projects that highlight the role of spatial sound in new pedagogical approaches. The questions this brings up, in our view, can only be defined when there is an exchange of knowledge and ideas between a variety of disciplines involved with sound.

The ways in which young people will learn to listen at present, will gravely influence our future ecology, geo-social contexts and the typologies of art to take on new meaning as valid ephemeral artefacts in the larger mediated world in which we live.

Read the preamble to the programme here.

 

We look forward to receiving your applications for our Artist Residency Programme. Please get in touch if you have any questions by emailing info@spatialsoundinstitute.com 


 

 

Call Soundtrackcity

How do you experience a quieter city? (or A Silenced city?)

Cities normally filled with noise. The corona crisis has changed that. Few or no people on the streets, shops closed, much less traffic, hardly any planes coming over. The soundscape of the city has completely changed. Soundtrackcity, the organization behind Urban Sound Lab, therefore makes a worldwide appeal: How does the city sound in times of corona?

 

Share your sound impression with Soundtrackcity

How do you experience the quieter city? What do you hear? We’re curious – because not everyone hears the same. Share a description of what you hear in an email to info@urbansoundlab.nl. You can make it as long or short as you like.

 

We ask you to write something about the effects of the new soundscape on your wellbeing, on your health, on your mood, on your social life. What has changed? How does it feel? What is pleasant / unpleasant? What sounds are you missing? And: How should the city sound in the future?

 

Response and context of the call

Why is Soundtrackcity making this call? Right at the start of the crisis, we at Soundtrackcity realized that it is valuable to collect material that represents this unusual time. We decided not only to register current urban sound by making audio recordings but also and foremost to collect the impressions that the acutely changed soundscape has on the inhabitants of cities.

 

This call from Soundtrackcity is an encouragement to listen attentively to the urban environment now and to see what new insights this gives us. Insights that can lead to building a more just city. The more people listen the better, feel free to send the link to this call to your friends and acquaintances.

 

Every week we place an anthology of the entries in our Urban Sound Lab.

https://urbansoundlab.nl/oproep-hoe-klinkt-de-stad-in-tijden-van-corona/


 

 

How a city sounds is important as well (in Dutch)

 

Artist impressions tonen hoe een project eruitziet, plannen maken duidelijk wat de afmetingen zijn. Maar waarom houden we zo weinig rekening met hoe een gebiedsontwikkeling gaat klinken? Marcel Cobussen (hoogleraar auditieve cultuur, muziekfilosofie aan de Universiteit Leiden en founding editor van JSS) en Irene van Kamp (RIVM-onderzoeker omgevingsgeluid en gezondheid) bespreken de kansen die juist Nederlandse steden op dat vlak laten liggen.

https://www.gebiedsontwikkeling.nu/artikelen/hoe-een-stad-klinkt-%C3%B3%C3%B3k-belangrijk/

 


 


New book review online


 

 

Immanence and Immersion: On the Acoustic Condition in Contemporary Art - Will Schrimshaw. New York: Bloomsbury, 2017

 

reviewed by Jordan Lacey


 

Open Call | Netherlands Field Recordings during Corona Crisis

 

 

Currently around the world, life has changed significantly. Due to the Covid-19 virus pandemic, daily life as we knew it has grinded to a near halt. Billions are in quarantine, advised or unallowed to leave their homes except when absolutely necessary. This limited mobility has caused dramatic shifts from limiting pollution to record surges in internet traffic. Discourse around the world has become solely focused on one topic and similarly, although you might not be aware, we are all united around the world as this pandemic has left no corner of our continent untouched sans Antarctica.

 

Another effect this pandemic has had on the world is how it sounds. Here in The Netherlands, Schiphol Airport has ceased nearly all  flights, trains are running more infrequently, car traffic is minimal, tourists are non-existent and mid-day, rush-hour streets are quieter than they are in the early morning hours. Our world sounds different and that’s important to recognize and remember. Therefore, The Netherlands Institute for Sound and Vision would like to encourage field recordists whether professional, hobbyist, beginner or experts around The Netherlands to take the time to record the world around them. It could be sounds captured while on walk (while maintaining social distancing), the sounds from your balcony, roof, garden or even just the sounds from inside your home.

 

Sound and Vision will begin taking in field recordings for preservation purposes over the coming months. We will also encourage that these sounds be made available for free re-use by artists, researchers and more just like our previous online exhibition, The Sound of The Netherlands did. The long-term preservation of these sounds will accompany other Covid-19 related preservation efforts being taken by Sound and Vision so that for years to come we’ll be able to comprehensively and thoroughly present this period to society. 

 

Over the coming weeks Sound and Vision will present a method for users to deliver their sounds in a structured manner. 

 

Sound and Vision will further collaborate on this topic with Rewire Festival and FIBER Festival for artistic presentations of new works related to these sounds as well as Soundtrackcity and members from the University of Amsterdam and Leiden University for matters related to academic research. 

 

If you are a field recordist and would like to get in touch and would consider sharing your collection with the institute please contact gmarkus@beeldengeluid.nl or begin sharing your sounds via: https://forms.gle/81DmLYVLw4sF2h3s8


 

New book review online

 

 


Making It Heard: A History of Brazilian Sound Art - Rui Chaves & Fernando Iazzetta (eds.). New York: Bloomsbury, 2019

 

reviewed by Igor Reis Reyner


 

  

ECOLOGY, SITE AND PLACE PITEÅ PERFORMING ARTS BIENNIAL 2020 | Oct 24-30

Piteå Performing Arts Biennial seeks new formats for the performing arts to engage in societal issues. The first edition focuses on ecological perspectives, and further seeks engagement in questions related to site and place. A series of new productions of ecological sound art, site-specific arts projects, dance and theatre productions, intermedia arts projects, film and video screenings will be presented. The Biennial also invites to a conversation between arts and science.

 

CALL FOR PRESENTATIONS

The Biennial now welcomes proposals to a peer-reviewed symposium that challenges the format of the scientific conference, and explores new formats for the communication of scientific results. Contributions may be in artistic form (we welcome presentations of installations, film, and performances in a wide range from music to theatre and choreography, and of course, intermedia work), traditional conference papers, or in a format that combines the two. Proposals for workshops and other interactive formats are also encouraged. The ambition with the symposium is to bring various kinds of knowledge production in the arts and sciences together with a multi-disciplinary research perspective on ecological issues, broadly speaking. Hence, the Biennial welcomes proposals from all research disciplines, in which questions of ecology, site and place are addressed. The symposium is structured as a lab, in which artistic work and research as process can be set in dialogue with other research disciplines. The aim of the symposium is to identify new ways in which the performing arts and the sciences can join forces to create and communicate new knowledge of ecological challenges in society. The presentations at the symposium will form the basis for a peer-reviewed edited publication.

 

Proposals may address one or more of the three central domains. The list below is to be understood as non-exclusive suggestions of possible perspectives.

 

ECOLOGY

The Biennial invite proposals related to:

- Research addressing societal and environmental perspectives related to Agenda 2030

- Narratives and art related to climate change and ecology

- Ecological sound art

- Acoustic ecology and bioacoustics

- Urban soundscapes

- Ecological perspectives on artistic practice which may include 4E cognition, a perspective proposing that our perception of the world is not only embodied but also embedded, enacted, and extended. Such an ecological understanding of human perception highlights “social, material, symbolic and aesthetic contexts [...] It points researchers to the ways in which emotions, when shared, structure the agentive character of groups of individuals in ways that, when coupled with forms of appraisal, ready individuals for action and configure psychological and physiological features of those readied actors” (Clarke, DeNora and Vuoskoski 2015, 74).

 

The Biennial further invites presentations exploring site and place as urban and rural environments, built and natural places, public and private, sacred and profane, mental and physical, real and imagined. This may include explorations of narratives through theatre, film, installation art and choreography.

 

SITE

The Biennal invites proposals of artistic presentations encompassing:

- Site specific projects in the performing arts

- Immersive sound and video

- Sound and video walks

 

PLACE

The Biennial encourages proposals that explore the relation between place, decolonizing indigenous studies, environmentalism and sustainability. They further invite presentations that address the role of place in the formation of memory, historical and sociological perspectives, and identities.

- Geographies of listening, sound and music.

- Participatory and autoethnographic approaches to place Each day will be specifically curated, and framed by a key presentation by an invited scholar or artist. The Biennal's ambition is to create a format for discussion and dissemination of artistic work and thinking about and through artistic work, while avoiding the all too common theory/ practice dichotomies and allow for a creative and intellectually vital environment in which artistic and scholarly approaches to the three perspectives can be molded together.

 

FORMAT AND CONTENT OF THE PROPOSAL

- Please send proposals to piteabiennial@gmail.com

- The description of the content and format of the presentation should be no more than 300 words and may also include audio and video material.

- Please indicate which theme/themes the proposal addresses. the duration of the presentation and also a technical rider if applicable.

- Artistic materials for review can either be submitted as links for download (mp4 or h264, only stereo files and one screen video) or links to webpages for streaming.

 

The deadline for proposals is March 30. The results of the peer-review will be announced on April 7. The Biennial opens on October 24, and the symposium takes place between October 26-30.



New book reviews online


Future Sounds: The Temporality of Noise - Stephen Kennedy. New York: Bloomsbury Academic, 2018

reviewed by Ben Byrne


Sound Art: Sound as a Medium of Art - Peter Weibel (ed.). Cambridge, MA: MIT Press, 2019

reviewed by Marcel Cobussen


 


New book review online


 

Digital Sound Studies - Mary Caton Lingold, Darren Mueller and Whitney Trettien (eds.). Durham: Duke University Press, 2018. 


reviewed by Vincent Meelberg

 





New book review online


 

Static in the System: Noise and the Soundscape of American Cinema Culture - Meredith C. Ward. Oakland: University of California Press, 2019


reviewed by Neil Verma 


 


 

Journal of Sonic Studies - Call for papers: Sound at home

 

Sound at home is the hum of appliances, the babble of water piping, the chatter of media, and the creaking of a wooden floor; it seeps in from other homes and from the world outside – traffic, music, shouting; it is the disconcerting, unfamiliar sounds of the places that have become temporary homes; it is sounds which go unheard in their familiarity.

 

In this call, the Journal of Sonic Studies asks authors to explore relationships between notions of home and the auditory. We encourage studies that consider home as a permanent dwelling for families and individuals as well as studies that consider the homely in a more abstract sense, as an ideal to long for or a place to dream of or run from. The broad aim of this special issue is an interest in explorations of the home as that which is close, most habitual – and perhaps therefore often overheard – as well as the methodological considerations that follow. Examinations might follow the home as private and secure, but we also encourage studies where sound at home reveals itself as problematic and “unheimlich” (cf. Raahauge 2009; Freud 1919).

 

Concretely, we ask how home designs and technologies shape the soundscapes and atmospheres of the home, how they are negotiated and how they influence the dynamics of the different occupants of the home? What kind of “acoustic agency” (Cusick 2013) is expected of the home – and what is available? How do we explore “acoustemologies” (Feld 2012) of the homes of the present and the past? What can we learn from the changes they might have undergone? What methodologies allow us to explore habitual sounds, and can we re-enchant (Mannay 2010; Sikes 2006) these sounds? What is the meaning of sounds that are transported into or out of the house deliberately or inadvertently? How do the other beings that we share our homes with influence our sense of home through their “sonic traces” (Schulze 2018) and kinetic melodies? What characterizes our own “homebody” (Steinbock 1995)?

 

Proposals for this special issue might speak to some of the following subjects and points of discussion, but are not limited to:


  • Soundscapes and acoustemologies of the home and the homely
  • The shifting historical role of sound technologies in homes
  • Power relations and acoustic agency of the homely
  • Methodological approaches to studies of the intimate and the well-known
  • Histories of sensing, habituation and overhearing sounds
  •  Sounds as mediations between the home and its surroundings
  •  Sound as indicators of safety versus uncanny sounds.

 

Deadline

Potential contributors are invited to submit full articles by July 1st, 2020.

For more information, or to submit an article, please contact sandra.lori.petersen@anthro.ku.dk or m.a.cobussen@umail.leidenuniv.nl

 

Guest editors

Mette Simonsen Abildgaard (cultural historian of technologies, Aalborg University), Marie Koldkjær Højlund (composer and audio designer, Aarhus University) and Sandra Lori Petersen, (anthropologist, University of Copenhagen) will be guest editors of this special issue. 


 


LISTENING / HEARING
International symposium Bonn Hoeren 17.-20.6.2020

 

Chamber music hall, Beethoven House, and LVR-Landesmuseum Bonn
Theme week bthvn2020 »Beethoven and the meaning of listening«



The four-day international symposium LISTENING / HEARING, organised by the beethoven foundation for art and culture of the city of bonn, will be held at the chamber music hall of the beethoven house and at the lvr-landesmuseum.


International and national experts – including all the former Bonn city sound artists – will discuss the latest state of auditory research and the role of hearing and listening in society.


The experts come from a wide range of disciplines and have been dealing with the phenomenon of listening and hearing for a long time, or in some cases have only recently discovered it: humanities scholars from the fields of psychology, sociology, philosophy, musicology, sound studies, history of art and architecture, anthropology, history and communication theory, as well as natural scientists from fields such as physics, biology, neurology, and acoustics. Last but not least, with the former Bonn city sound artists, there will also be participants who primarily wish to challenge and change listening/hearing, rather than research it.


Accordingly, artistic interventions, concerts, performances, and excursions will form an important part of the overall programme.


Beethoven serves the symposium as an ideal point of reference: a composer who was the first to define listening to music as an absolute experience, thus uncoupling it from traditional functions such as entertainment and praise of God.


The symposium sees itself as the conclusion, as the sum, of the Bonn Hoeren Project, and an extension to all disciplines that are currently concerned with listening and hearing in both explorative and creative ways.


German and English are equal symposium languages.


Electroacoustic Composition Workshop at Northumbria University

 

On Friday 13th December, the Department of Computer and Information Sciences at Northumbria University, Newcastle upon Tyne, UK  will be hosting a 1-day cross-disciplinary workshop, lecture and concert.  This will be of interest to people involved in understanding how the space around us impacts us in our daily lives. The workshop will be led by Paul Vickers (Northumbria), Gerriet K. Sharma (Graz, Austria), and Angela McArthur (Queen Mary, University of London). It follows on from the popular workshop on sonification and sonic interaction design for space run by Paul and Gerriet at Soundstack 2019 on 8 November.


The workshop will feature the IKO icosahedral loudspeaker which generates a stunning 3D sound field. Northumbria University has the only IKO in the UK, so this will be a great opportunity to come and see what IKO can do and the collaborative research opportunities it offers.


WORKSHOP DESCRIPTION

In the broad field of electroacoustic composition and sound design we are dealing for some time now with spatial sound phenomena that not only come from a direction and head for a vanishing point in the concert or studio space. Rather these phenomena have spatial dimensions like proliferation, width, height etc. forming diverse sound masses that can penetrate, layer, move around each other and define by their properties —space itself. Thus, these phenomena are perceived by composers, scientists and audiences causing ‘something’ we call a shared perceptual space (SPS).


Spatial composition has become a subject to academic curricula, workshops and master classes internationally. It is constantly triggering the development and extension of commercial and academic software solutions for the projection, placement and movement of phantom sources, the reproduction of higher order recordings of “natural” sound fields as well as the creation of so called immersive virtual sound environments. 


Moreover, as spatial computer music matures and consolidates within institutions and organizations, it is increasingly involving so-called 3D audio systems which can create auditory virtual environments (AVEs). Quite likely in the very near future AVEs will be part of many people's everyday life, e.g. in cars, working spaces, intelligent homes, concert halls and computer games. 


For the composer, the question arises as to what extent a communicable or self-explanatory composition of plastic sound objects is conceptually, theoretically and at all practically possible when faced with changing architectural space situations, different cultural spatial descriptions, and perceptions. It is therefore a matter of finding parameters for an intersubjective space for the perception of three-dimensional sound phenomena. Is there within the field of space-sound composition a space at the place of the music, where the composer’s perception in the compositional process overlaps with both the engineers’ and audience's perception? Can at least an approximate circumference of an overlap be described? How and from which sides (linguistic, technical, artistic, etc.) can this field be approached?


In this cross-disciplinary workshop and lecture we are going to investigate different uses of the term SPS in a variety of fields as aesthetic strategies, showing that space has become one of the key aspects in all kinds of scientific and artistic, applied and theoretical disciplines. By discussing examples from music, musicology, sociology, philosophy, architecture and linguistics we are trying to extract variables that can help to formulate a perception based framework for a hybrid model of sound as space.


The workshop is free to attend but space will be strictly limited. 


 

 

Inter-Noise 2020 – Call for Papers



The 49th International Congress and Exposition on Noise Control Engineering will be held in Seoul, Korea, 23-26 August 2020. The Congress is hosted by the Korean Society for Noise and Vibration Engineering (KSNVE) on behalf of the International Institute of Noise Control Engineering (I-INCE).


The theme of the Congress is Advances in Noise and Vibration Control Technology, and it will be held in COEX Convention Center, Seoul, Korea.


The INTER-NOISE Congresses are the largest international gathering of experts in noise control engineering each year. The INTER-NOISE Congresses have been held annually since 1972 at venues around the world. The Congresses include a large technical program consisting of papers and posters on all topics of noise control engineering. Papers summarizing these presentations are collected into a proceedings document that is available for reference after the congress. The congresses also include an exhibition of the latest products and instrumentation for noise control engineering.


INTER-NOISE 2020 will provide the best opportunity for engineers and scientists in all fields of acoustics to learn about and share their work with colleagues from around the world. Two plenary lectures, three keynote lectures and more than a hundred technical sessions will be organized for the exchanging of views and sharing of experiences. We believe that this congress will be an invaluable experience for all participants and a great opportunity to create new memories with the Inter-Noise family in the beautiful city of Seoul.


For more information, please visit http://internoise2020.org

 

New book review online


 

 

Sonic Flux: Sound, Art, and Metaphysics - Christoph Cox. Chicago: The University of Chicago Press, 2018

 

Reviewed by Jordan Lacey

 



Sound Sensing in Smart Cities – Wednesday 16 October 2019


Future Cities Catapult, One Sekforde Street, London EC1R 0BE


This event, organised by the IOA Measurement and Instrumentation Group, will review the current state of acoustic instrumentation and measurement within ‘Smart Cities’. The event will look at recent developments in instrumentation for distributed and long term noise monitoring, the development of appropriate analytics for handling large datasets and example case studies including those where acoustic data is combined with other measurands. Presentations include:


A Little Electronic Milky Way of Sound – The IoT and the Future Sound of Cities, Dan Pope, Atkins Global

Standards for Smart Cities, Richard Barham, Acoustic Sensor Networks

Getting Smarter - Turning sound level monitors into Smart City tools, Paul McDonald, Sonitus Systems

Tools for data collection in Soundscape applications, Miguel Garcia Pedroche, HEAD Acoustics UK   

AI for Sound: A Future Technology for Smart Cities – Prof. Mark Plumbley, University of Surrey

Tranquil Cities, Grant Waters, Tranquil City

More measurement data – more knowledge or just more noise?, Chris Skinner, AECOM


Full details available on the Institute of Acoustics website:

https://www.ioa.org.uk/civicrm/event/info%3Fid%3D438%26reset%3D1


 


New book review online

 

ludic.dreaming. how to listen away from contemporary technoculture - The Occulture (David Cecchetto, Marc Couroux, Ted Hiebert, Eldritch Priest). New York: Bloomsbury, 2017.


Reviewed by Marcel Cobussen


 

 


Sonic Memory IMR Conference  5th September 2019 University of Liverpool 


The Sonic Memory conference will call upon researchers from all areas of music studies to share methodological approaches to and understandings of music, listening and memory, including those from sonic studies, music psychology, music ethnography, music therapy, popular music studies, and sociology. In doing so, the symposium has the following three aims:


· To bring together different ways of thinking about ‘sonic memory’ and develop collaboration between scholars from different areas of sonic studies.
· To deepen understanding of the relationship between music, listening and memory.
· To strengthen the contribution of Musicology to research and debate on topical and pressing issues.


The conference is free. The registration can be found at 

https://www.eventbrite.co.uk/e/sonic-memory-conference-tickets-66545448227


 

CALL FOR PAPERS: SONIC MEMORY 

Institute for Musical Research, Conference 

5th September 2019, University of Liverpool


(Abstract Extended Deadline 20th July)


The idea that listening to sounds can trigger memory has captured the public’s imagination. Through the media, for example, music has been presented as a resource for autobiographical remembering, as in BBC Radio 4’s Desert Island Discs and the film documentary Alive Inside, which showed how listening to music can enable those living with dementia to access memories. The Sonic Memory day will call upon researchers from all areas of music studies to share methodological approaches to and understandings of music, listening and memory, including those from sonic studies, music psychology, music ethnography, music therapy, popular music studies, and sociology. In doing so, the symposium has the following three aims:


· To bring together different ways of thinking about ‘sonic memory’ and develop collaboration between scholars from different areas of music studies.


· To deepen understanding of the relationship between music, listening and memory.


· To strengthen the contribution of Musicology to research and debate on topical and pressing issues.


We would welcome abstracts for 20-minute papers from a wide range of approaches. For papers please submit a 300 word abstract by the 20th July 2019 to Jacqueline.Waldock@liverpool.ac.uk


Conference speakers include : Prof Ros Jennings and  Prof. Helmi Jarvliuoma.


The study day also provides an opportunity for PhD students to present a ‘three-minute thesis’, condensing their research into a three-minute presentation for an audience keen to discuss and engage with their work. For the 3 min thesis please submit: the thesis title and a short paragraph highlighting its’ relevance for the study day by 20th July 2019 to Jacqueline.Waldock@liverpool.ac.uk


 

New book review online

 

The Noisy Renaissance: Sound, Architecture, and Florentine Urban LifeNiall AtkinsonUniversity Park: The Pennsylvania State University Press, 2016


Reviewed by Tiffany Ng


 

 

Aural Diversity Conferences


The first Aural Diversity Conference will take place on Saturday November 30th and Sunday December 1st 2019 at De Montfort University, Leicester and at the Attenborough Arts Centre, University of Leicester.


It will coincide with the International Day of Persons with Disabilities at University of Leicester. It will be a ‘relaxed’ event, designed to be accessible to all.


The conference theme is the consequences of aural diversity for sound and music. The conference will comprise academic papers and musical performances that conform to the Aural Diversity conventions.


Keynote Papers:


·      Prof John Levack Drever - Phonating Hand Dryers: exploits in aural diverse composition and co-composition.

·      Dr Alinka Greasley - Exploring the music listening behaviour of people with hearing impairments: patient and practitioner perspectives.

·      Prof Andrew Hugill - Consequences of Ménière’s Disease and other forms of hearing impairment for musicians, their music-making, hearing care and technologies.

·      Prof Peter Rea - Aural Diversity: the consequences of pathology and treatment. A surgeon’s perspective.

 

Call for papers

The full extent of the differences in hearing between individuals is slowly being recognised. It is a fact of life that all people are affected by age-related hearing loss (presbycusis) which begins in their mid-20s. But hearing can also change in other ways during a typical lifetime. Millions of people have hearing loss caused by various conditions such as diseases and disorders, traumas and shocks. And hearing changes do not always involve loss: in some cases hearing can become more acute. Yet the sound and music industries assumes that everybody has the ears of a healthy 18 year old (BS ISO 226:2003).


The conference will consider such questions as:


o   What adjustments should be made to accommodate diversity in hearing?

o   How does aural diversity transform listening?

o   How can audiology and hearing aid design take better account of aural diversity?

o   What new technologies can be made to accommodate different hearing types?

o   What are the consequences for composers of aural diversity?

o   How is musical performance affected by changes in hearing?

o   How may sound studies accommodate aural diversity?


This is not an exhaustive list and other related topics are also welcome.


We invite proposals for either or both of the following:


o   Academic papers (20 minutes, plus 10 minutes for questions)

o   Musical performances and/or artistic statements (10 minutes)


Please submit proposals by July 2nd 2019 using the Abstract Template to andrew.hugill@leicester.ac.uk

 


The conference will be interdisciplinary, and contributions are invited from music, sound studies, audiology, hearing aid design/manufacture, and other fields that relate to this area. Academic papers will be eligible for inclusion in a subsequent peer-reviewed book publication. There will be a registration fee of £25 (£10 for students, senior citizens, disabled and registered unemployed people).


 

 

 

Open Call: Artist Residency Programme 


The Spatial Sound Institute invites artists, researchers and technical developers from a variety of disciplines to apply for the Artist Residency Programme at the Spatial Sound Institute in Budapest, Hungary. They currently accept submissions for residencies to take place in the period 1st of January - 31st of December 2020.


The Spatial Sound Institute welcomes applications by professionals from various disciplines that consider creation and investigation of sound vital to their personal development and professional practice. 

The programme seeks to engage projects that contribute to the following key areas of study:


·      Sonic Architecture

·      Physiology and Psychology of Listening

·      Spatial Memetics

·      Human Space Interaction Design


Closing date for applications: June 30th 2019 23:59PM CET.


Read more about the call for proposals here.


The institute also encourages you to explore the brand new website of the Spatial Sound Institute , our centre for the research and development in Budapest, Hungary.


Since its opening in 2015, the Spatial Sound Institute has been experimenting with new sound technologies and methodologies to improve our understanding of and interaction with sonic environments and their complex impact on us human beings. 


The website brings together an extensive archive of works created in 4DSOUND over the past decade, with projects and publications from over a hundred contributors in the fields of music, technology, architecture and media arts.

 



JSS Call for Papers: Sound Studies, Soundscapes, and Sound Art of Latin America [UPDATED]


Music, radio, and TV broadcasts; blaring loudspeakers, public announcements, street vendors; city sounds, sounds of progress, sounds of revolution, or sounds of change; sounds deliberately produced or emerging unintentionally, serving a disciplinary function or expressing forms of freedom; musical as well as non-musical (functional) sounds; overwhelming natural sounds of rain forests, the pampas, and highlands.


Latin America is filled with sounds; indeed, its cities might count among the noisiest of the world, in notable contrast with the (relative) quietness of its rural areas and wild nature. Is it possible to identify specific Latin American soundscapes? How can they 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?


The Journal of Sonic Studies is searching for scholarly and artistic contributions that deal with the connections and relationships between Latin American history, culture, society, and politics 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 Latin America. 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 Latin American soundscapes.


Themes for submission may include but are not limited to:

-       The sonic identity of any Latin American space

-       Differences between American/European and Latin American soundscapes

-       Latin American (contemporary) sound art

-       The role, position, and function of music in contemporary Latin American societies

-       Sonic histories of Latin America

-       Listening cultures of Latin America 

-       Politics of sounds or the sounds of politics in Latin America

-       The role of silence in Latin American societies and/or discourses

-       The role of sounds in Latin American religious practices

-       Rural “versus” urban soundscapes


Deadline

Potential contributors are invited to submit completed essays by September 1, 2019.

For more information, or to submit an essay, please contact noise@sonicstudies.org

 

Guest editors

The Colombian philosopher and sound artist Miguel Isaza and the Brazilian researcher and sound artist Pedro Oliveira will act as guest editors of this special issue. 


 

Conference: Regenerative Feedback - May 24-26, 2019, WORM – Rotterdam, UBIK Space, Boomgaardsstraat 71

 

Regenerative Feedback is an annual music, new media, sound art and philosophy conference. The idea behind this event is to present experimental performances; new media art, and to explore these through workshops, accessible lectures and conversations between experts and audiences.


The first iteration of Regenerative Feedback took place at Issue Project Room, New York City in 2018, with speakers such as Reza Negarestani, Alexandra Hedako Mason, Manni Dee, Colin Self, Melle Kromhout and Marielle Pelissero. This edition at WORM will be followed up by an event in Mexico City in 2020.


The event aims to investigate interdisciplinary methods to generate sustainable social futures through the lens of music and new media, and hopes to motivate spectators in new emancipatory directions: if we can understand what it is that attracts us to music, what drives us, in fact, to listen closely to one another; then there’s a chance for this vision to be innovatively applied in other areas.


Regenerative Feedback is thus both media conference and intellectual gathering, and tries to build bridges between the two, with room for extensive Q&A sessions to promote active spectatorship.


First names: Marie Thompson, Mattin, N-Prolenta, Céline Manz + Guest, Inigo Wilkins, Dreamcrusher, Cecile Malaspina, Adam Harper, DeForrest Brown Jr.


More information


 

 

Audio Mostly 2019: A Journey in Sound - 18th to 20th September 2019 | Call for Papers



As an interdisciplinary audio conference, Audio Mostly would like to welcome paper submissions from anyone interested in audio design, interaction and technology. The special theme for the conference this year is ‘A Journey in Sound’ and we would particularly encourage papers relating to this theme for at the conference this year. We often have different experiences of sound and music though out our lives, there are sounds that remind us of different places and people. We also have different playlists and songs that take us back and remind us of certain times and events. Throughout our lives we are interacting with sounds and music, we are on a journey in sound. This year the theme of the conference is open to interpretation, but people might think about the following, in relation to the theme:

 

·      Sonic aspects of digital stories, documentaries and archives

·      The soundtrack to our lives. Archiving and sharing sound 

·      The emotional potential of a sound, how might this be used to support interaction

·      The different uses of sound and music across different settings

·      The re-use of recollections and memories by composers and sound designers

·      The development of musical tools that can let us express our experiences over time 

·      Socio-technical uses of AI create highly personalised soundtracks that respond to one’s context

·      Adaptive sound and music use in journeys, time and the creative use of data

 

Audio Mostly 2019 encourages the submission of papers (oral/poster presentation) addressing such questions and others related to the conference theme and the topics presented below.

 

LIST OF TOPICS

The Audio Mostly conference series is interested in sound Interaction Design & Human-Computer Interaction (HCI) in general. The conference provides a space to reflect on the role of sound/music in our lives and how to understand, develop and design systems which relate to sound and music – we are particularly interested in this from a broad HCI perspective. We encourage original papers (oral/poster presentation) addressing the conference theme or other topics from the list provided below. We welcome multidisciplinary approaches involving fields such as music informatics, information and communication technologies, sound design, music performance, visualisation, composition, perception/cognition and aesthetics.

 

·      Accessibility

·      Aesthetics

·      Affective computing applied to sound/music

·      AI, HCI and Music

·      Acoustics and Psychoacoustics

·      Auditory display and sonification

·      Augmented and virtual reality with or for sound and music

·      Computational musicology

·      Critical approaches to interaction, design and sound

·      Digital augmentation (e.g. musical instruments, stage, studio, audiences, performers, objects)

·      Digital music libraries

·      Ethnographic studies

·      Game audio and music

·      Gestural interaction with sound or music

·      Immersive and spatial audio

·      Interactive sonic arts and artworks

·      Intelligent music tutoring systems

·      Interfaces for audio engineering and post-production

·      Interfaces or synthesis models for sound design

·      Live performing arts

·      Music information retrieval & Interaction

·      Musical Human-Computer Interaction

·      New methods for the evaluation of user experiences of sound and music

·      Participatory and co-design methodologies with or for audio

·      Philosophical or sociological reflections on Audio Mostly related topics

·      Psychology, cognition, perception

·      Semantic web music technologies

·      Spatial audio, interaction design and ambisonics

·      Sonic interaction design

·      Sound and image interaction: from production to perception

·      Sound and soundscape studies

 

SUBMISSION INFORMATION

Paper submissions can be presented in the two following formats:

 

·      Short papers (4 pages) should present a work-in-progress.

·      Long papers (5-8 pages) should present a substantial contribution to the field.

 

Please see the Authors’ instructions & submission section of the website for submission templates and further information on the submission process.

 

Submission Site

https://easychair.org/conferences/?conf=am2019

 

Guidance

Audio Mostly 2019 papers can be of the following nature:

 

·      Original research papers, which report original research methods and results.

·      Review papers, which typically summarise the current state-of-the-art on a topic.

·      Position papers, which typically present opinions about specific issues.

·      Case study papers, which typically present practical situations in real-world contexts that can contribute to existing knowledge of the field.

 

Upon paper submission, authors will have the possibility to give their preferences for oral or poster presentations. The final mode of presentation (oral/poster) will be based on the review process and program constraints, and will be communicated to the authors upon acceptance.

 

Review and Selection Process

Papers will be subject to single blind peer-review by at least two reviewers and included in the conference proceedings.

We encourage authors of papers to also consider their work for the Demo track, wherever relevant (see Call for Demos and guidelines below).

Audio Mostly 2019 proceedings will be published by the Association for Computing Machinery (ACM) (to be confirmed) and made available through their digital library.

 

Dates 
Submission Deadline: 24
th May 2019

Acceptance: 14th July 2019

Camera Ready: 9th August 2019

 

Registration

Audio Mostly requires that at least one author of each accepted paper must be registered to the conference to give the oral or poster presentation.

 

Contact

 

For more information or questions, please contact the Paper and Poster Chairs: Adrian Hazzard – adrian.hazzard@nottingham.ac.uk or Elizabeth Kelly – elizabeth.kelly@nottingham.ac.uk


 



JSS Call for Papers: Soundscapes of Latin America


Music, radio, and TV broadcasts; blaring loudspeakers, public announcements, street vendors; city sounds, sounds of progress, sounds of revolution, or sounds of change; sounds deliberately produced or emerging unintentionally, serving a disciplinary function or expressing forms of freedom; musical as well as non-musical (functional) sounds; overwhelming natural sounds of rain forests, the pampas, and highlands.

 

Latin America is filled with sounds; indeed, its cities might count among the noisiest of the world, in notable contrast with the (relative) quietness of its rural areas and wild nature. Is it possible to identify specific Latin American soundscapes? How can they 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?

 

The Journal of Sonic Studies is searching for scholarly and artistic contributions that deal with the connections and relationships between Latin American history, culture, society, and politics 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 Latin America. 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 Latin American soundscapes.

 

Themes for submission may include but are not limited to:

-       The sonic identity of any Latin American space

-       Differences between Western and Latin American soundscapes

-       Latin American (contemporary) sound art

-       The role, position, and function of music in contemporary Latin American societies

-       Sonic histories of Latin America

-       Listening cultures of Latin America 

-       Politics of sounds or the sounds of politics in Latin America

-       The role of silence in Latin American societies and/or discourses

The role of sounds in Latin American religious practices

-       Rural “versus” urban soundscapes

 

Deadline

Potential contributors are invited to submit completed essays by September 1, 2019.

For more information, or to submit an essay, please contact noise@sonicstudies.org

 

 

TheJournal of Sonic Studiesis a peer-reviewed, online, open access journal providing a platform for theorists and artist-researchers who would like to present relevant work regarding auditory cultures, to further our collective understanding of the impact and importance of sound for our cultures. The editors welcome scholarly as well as artistic research and also expect all contributions to have a firm theoretical grounding. Priority is given to contributions that explicitly use the Internet as a medium, e.g. by inserting A/V materials, hyperlinks, and the use of non-conventional structures. JSS invites potential contributors to use the Research Catalogue as the platform in which the submission is presented (see http://www.researchcatalogue.net/). Other submission guidelines can be found at sonicstudies.org/guidelines.


 


ICA 2019 – Call for Papers


The German Acoustical Society (DEGA) is pleased to invite you to the 23rd International Congress on Acoustics - ICA 2019 - in the beautiful and historical city of Aachen. The ICA 2019 takes place from 9 to 13 September 2019. It will also include the 4th EAA Euroregio conference. 

Registration and submission of abstracts is now officially open. You are
 welcome to join the global community of acousticians at ICA and submit your abstract until 1 February. 

*Official Call for Papers:
 www.ica2019.org/authors/call-for-papers * 
*Conference Website and registration:
 www.ica2019.org * 

We are looking forward to seeing you in Aachen next summer.
 

With our very best regards,
 

ICA 2019 organizing team
 

Michael Vorländer (Congress Chair)
 
Janina Fels (Congress Vice-Chair)
 
Martin Ochmann (Program Chair)
 



 


Conference Announcement: Acoustics of Empire ( December 7-8, 2018, University of Cambridge)

The long 19th century was a period of dramatic political, scientific and technological change. Both sound studies and global/postcolonial studies have focused on this period, but have largely done so independently of one another. This conference raises questions of how sound and sound technologies were bound up in colonial and imperial practices, and how that global political context simultaneously shaped the science and practice of hearing and thinking about sound. In short, how might we imagine a global history of 19th-century acoustics and aurality?

More details here, including the full conference programme

Register for conference here (£30 waged/£10 unwaged; Cambridge students free)

 

Participants:

Peter McMurray, co-organizer (University of Cambridge)

Priyasha Mukhopadhyay, co-organizer (Yale University)

Elleke Boehmer (University of Oxford)

Alejandra Bronfman (SUNY Albany)

Hyung Kyong Hannah Chang (Sungkonghoe University)

Nicholas Cook (University of Cambridge)

James Davies (UC Berkeley)

Ziad Fahmy (Cornell University)

Alexandra Hui (Mississippi State University)

Nazan Maksudyan (Humboldt Universitaet Berlin)

Jairo Moreno (University of Pennsylvania)

Anindita Nag (Max Planck Institute for the History of Science)

Rumya Putcha (Texas A&M University)

Sindumathi Revuluri (Harvard University)

Gavin Steingo (Princeton University)

David Trippett (University of Cambridge)

Richard Williams (SOAS University of London)

 

Part of the ERC-funded project Sound and Materialism in the 19th Century. 

 

Questions? Contact erc-sound@mus.cam.ac.uk



 


New podcasts online

Podcast Thirteen is online, which features artist Tim Shaw. This is the final podcast of The Dominant Eye series. In addition, the closing panel discussion of the “The Ecology of Sound” symposium can be auditioned on the Podcast page. The podcasts can be found here, or go directly to Podcast Thirteen by following this link, or to the closing panel discussion via this link.