“The eOREMA journal is a peer-reviewed scholarly arm of the OREMA (Online Repository for Electroacoustic Music Analysis) project (www.orema.dmu.ac.uk) that focuses on the analysis of electroacoustic music. The eOREMA journal will be an open access publication platform that accepts both articles that discuss analytical methodologies and analyses of electroacoustic music compositions in the broadest sense (which can range from acousmatic music to installations and electronica). We encourage both new and established researchers to contribute.”
“The journal for artistic research (JAR) is an international, online, Open Access and peer-reviewed journal for the identification, publication and dissemination of artistic research and its methodologies, from all arts disciplines. The Journal is underpinned by the Research Catalogue (RC), a searchable, documentary database of artistic research work and its exposition, that functions as an inclusive, open-ended, bottom-up research tool supporting the development of the Journal’s academic contributions.”
Issue #0 presents work by:
- Bertha Bermudez, Scott deLahunta, Marijke Hoogenboom, Chris Ziegler, Frederic Bevilacqua, Sarah Fdili Alaoui, Barbara Meneses Gutierrez, Amsterdam
- Richard Blythe, Melbourne
- Sher Doruff, Amsterdam
- Cathy van Eck, Zürich
- Mark Fleischman, Cape Town
- Abhishek Hazra, Bangalore
- Anders Hultqvist, Gothenburg
- Daniel Kötter, Constanze Fischbeck, Berlin
- Tuija Kokkonen, Helsinki
- Elina Saloranta, Helsinki
- Sissel Tolaas, Berlin
- Otto von Busch, Gothenburg
JAR is published by the Society for Artistic Research (SAR). “[SAR] was established in March 2010 as an independent, non-profit organisation for the purpose of publishing JAR.” SAR:s institutional members are art and design schools and universities.
The journal invites submissions. JAR is peer-reviewed, but not the RC.
Interference : a journal of audio culture is a new online journal.
22nd International Conference on Systems Research, Informatics And Cybernetics
August, 2-6, 2010
Markgraf-Ludwig Gymnasium, Hardstrasse 2, Baden-Baden, Germany
Special Focus Symposion (August 5, 2010) on COMPROVISATIONS – Improvisation Systems in Performing Arts and Technologies
Submission details are available as a PDF.
Sound as Art – Sound in History, Sound as Culture – Sound in Theory
Conference on sound studies
University of Aarhus, Denmark
September 23–25, 2010
Call for papers
Today, sound studies provide an important framework for furthering cultural research related to a broad range of historical and contemporary issues. Also, sound studies contribute to the understanding of currents in social and global activity increasingly determined by auditory, sonic, and communicative materiality. At the same time, the exploration of auditivity and auditory cultures raises a series of significant aesthetic, medial, historical, cultural, and theoretical questions.
Cultural changes related to globalization and digital media have questioned traditional paradigms of vision containing notions of visual representation, semiotics, and a hermeneutics based on reading. Such changes suggest an auditive paradigm in which modes of interaction, mobile communications, and spatial and geographic fluidity lead to a renewed sense of orality and listening. In research this new paradigm is establishing itself as the interdisciplinary field of sound studies. It draws on disciplines such as musicology, performance studies, art history, anthropology, cultural studies, urban studies, and histories of technology and media while influencing these disciplines with new modes of reflection on and examination of their respective methodologies and subsequent political effects.
The aim of the conference is to profile contemporary sound studies as an interdisciplinary field of studies and to contribute to the discussion and development of the auditive paradigm in general. Key concepts like ‘acoustemology’, ‘acoustic space’ or ‘sonic environment’ might be reflected upon and developed as well, both at a theoretical level and with regard to specific cultural, medial and aesthetic contexts.
The programme of the conference will consist of keynote lectures, plenary roundtables, thematic workshops and individual presentations. Individual presentations and entire workshops may draw inspiration from the following array of questions:
- What is the experiential framework of listening and auditive culture, and how is the world constituted (identity, locality, sociality, culture etc) through auditive practice?
- How has musical and technological sound production and perception changed through the last century and how has it contributed to everyday soundscapes, the concert hall, and the media?
- What can we know, i.e., what types of knowledge, identity and meaning are made possible through acoustic practice – are there any limits to sound taken as an experiential framework and as cognition?
- What perspectives might arise from current studies of auditory modes of relating to space, of appropriating, expressing and designing social environments?
- How does sound help define urban environments, and how might issues related to urban planning, architectural design, and noise benefit from a deeper and more complex understanding of sound?
- What are the correlations between listening and other sensory modalities, the body, sociality, materiality, technology and media (sound viewed as a cognitive paradigm isolated from actual resonating sound).
- How do auditive practices appear to be conventional or normative? How do auditive practices, in conjunction with other sensory modalities, articulate value, aesthetics, ethics and morals in culture?
- How do we further the development of academic terminologies for dealing with sound?
- How can transgressions of traditional distinctions between sound, music and art be understood in a socio-cultural perspective?
- What do the specific aesthetic aspects of sound art seek to achieve in contrast to the predominance of visuality and modes of seeing within the arts?
- How is artistic and academic education in sound competence developing?
Proposals for presentations (20/10 mins) or workshops (90 mins) must be submitted to the conference organisers/programme committee by April 1, 2010 as an email attachment (rtf/pdf/doc) to firstname.lastname@example.org.
Please include the following information: Paper abstract and title (max. 200 words), name(s), affiliation, e-mail, and technical equipment required (PC/DVD/CD/data projector/over-head projector/etc.).
Notifications of acceptance will be sent no later than May 3, 2010.
Keynote speakers are Dr. Penelope Gouk (University of Manchester), Dr. Jean-Paul Thibaud (CRESSON), and professor Adam Krims (University of Nottingham).
The official language of the conference is English. The conference fee is 1.000 D.Kr/€135. Please contact one of the organisers mentioned below in case you need more information.
The conference is organized by the “National Research Network on Auditive Culture”(http://auditiveculture.ku.dk/), the research project “Audiovisual Culture” (http://www.ak.au.dk/en), and the Nordic Branch of the International Association for the Study of Popular Music.
The second International symposium on ambisonics and spherical acoustics will be held on May 6-7, 2010, at IRCAM, Paris. Read the call for participation for information on how to submit papers and demos. The previous conference was held in Austria 2009. Proceedings are available online.
The 7th Electroacoustic music studies conference will take place in Shanghai, June 21-24, 2010. This year’s theme is “Teaching electroacoustic music”. Read the call for papers for more information. Proceedings from previous conferences are available.
The 7th Sound and music computing conference, Barcelona, July 21-24, 2010, is open for both paper and music contributions. The concert hall has an octophonic system. Earlier proceedings are searchable online.
The 13th International conference on digital audio effects will be held in Graz, Austria, September 6-10, 2010. For more info, see call for papers; links to previous conferences/proceedings are at the main DAFx web site.
Updated December 6, 2009; originally posted November 23, 2009.
On-line journal Hz (www.hz-journal.org) is looking for articles on New Media, Net Art, Sound Art and Electro-Acoustic Music. We accept earlier published and unpublished articles in English. Please send your submissions to hz-journal(at)telia.com
Hz is also looking for Net Art works to be included in its virtual gallery (www.hz-journal.org/netg). Please send your URL to hz-journal(at)telia.com
Deadline: 1 November, 2009
Hz is published by the non-profit organization Fylkingen in Stockholm. Established in 1933, Fylkingen has been known for introducing yet-to-be-established art forms throughout its history. Nam June Paik, Stockhausen, Cage, etc. have all been introduced to the Swedish audience through Fylkingen. Its members consist of leading composers, musicians, sound artists, dancers, performance artists and video artists in Sweden. For more information on Fylkingen, please visit http://www.fylkingen.se/about or http://www.hz-journal.org/n4/hultberg.html
April 7, 2010
KTH, School of Computer Science and Communication, Stockholm, Sweden
The overall number of attendees will be *strictly limited* (to about 40), and priority will be given to attendees that submit and present novel and interesting work on Interactive Sonification.
It would help us to hear very early if you plan to attend or/and to submit work.
This workshop is intended as a forum for newcomers and all those interested in tightly-closed loop human-computer systems involving sonification. Work in progress is also very welcome, if there are relevant novel ideas, new approaches, techniques or applications to report.
Deadline for abstracts: October, 31 2009
Please see the above website for full details, and the call for papers.