The difference between hearing and listening | Pauline Oliveros

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prison songs

prison-songs-image-for-websitehttp://citiesandmemory.com/projects/prisonsongs/

here is my piece for the project:

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cfp: Sonologia: Out of Phase

CFP_Sonologia2016

The Sonologia 2016 – Out of Phase international sound studies conference welcomes submissions from researchers
across different fields of study that can refer to, but are not limited to, the following topics:
• postcolonial historiographies that counter euro-american narratives and describe the importance of other geographically
situated musical/sonic practices, not only in the development of a regional experimental/contemporary music scene, but
also in the wider history of such practices;
• practice-based artistic research and/or musicological reports of music, sound art (improvisation, composition,
performance, installation, radio, field recording, performance, site-specific endeavours) or other post-medium/hybrid
artwork;
• case studies that describe and reflect on the processes involved in the transfer of knowledge, technology and creative
practices between different geographical realities (relating to music/sound);
• critical insights into the politics of sound: demarcation and regulation of territories and communities, online and public
activism, noise abatement, sonic warfare and torture;
• research projects or case studies that promote the accessibility of music technology software/hardware, through
repurposing old/novel technologies or using open-source platforms;
• discussions related to technical, social and poetic aspects regarding the role of technology in music and sound art
production;
• inter or trans-disciplinary methodological papers that describe the study of sound/music and its pertinence to other
fields;
• ethnographic inquiries that describe the national and institutional frameworks that support contemporary/experimental
music and sound art making;
• expanded epistemic and multimodal accounts of knowing the world through feminist, queer, trans, race or(and) other
non-normative/binary listening perspective(s);
• inquiries that problematise discursive and practical tropes in contemporary sonic artworks that deal with place, nature
and human/non-human entities;
• discussion(s) regarding the mediation of composers’/artists’ presence (authorial and physical) in making/presenting music
or art

http://www.eca.usp.br/sonologia

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music in the historical ankara castle

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call for submission – ISSTA 2016

http://issta.ie/call-for-submission-2016/

INTERNATIONAL FESTIVAL AND CONFERENCE ON SOUND IN THE ARTS, SCIENCE AND TECHNOLOGY

SEPTEMBER 7TH-9TH 2016

TEMPORARY AUTONOMOUS ZONES 2016

One of the reasons we value sound as a perceptual and phenomenological event is that it allows for the creation of new types of sensory engagement with space. Creative processes of sounding allow us to design different types of sound worlds; places which can become autonomous zones. Lefebvre, in his seminal text The Production of Space, alludes to the concept of autonomous zones or imagined spaces; places which are imagined and created by community.

The idea of how we create and respond to autonomous zones is the subject of this year’s ISSTA festival as it comes to Northern Ireland for the first time, fostering a range of artistic, technological and academic interventions in Derry/Londonderry entitled Temporary Autonomous Zones 2016. A Temporary Autonomous Zone (TAZ), as defined by the poet and anarchist cultural theorist Hakim Bey, is more than just a distinct space; it is a space in control of itself, in that it does not recognise outside authority.

Bey suggests that a festival or event has the potential to act as a moment of intense uprising and creative disruption, which allows for the creation of a TAZ, a guerrilla moment of positive revolutionary acts and art. In our present period of geopolitical and economic uncertainty, mass movements of people across territories are coinciding with the beginnings of exclusionary zones in Europe. It is in this context that this year’s ISSTA festival seeks to create a series of Temporary Autonomous Zones–new unmapped and self-determining sonic, conceptual and social spaces–which assert, for a time, their independence from existing structures through discussions of creative and technological practices and research, and through the artistic works themselves.

We look forward to inviting artists, scholars, technologists and other practitioners to Derry/Londonderry to investigate and play with some of these questions. From the historic autonomous zones of the 17th–century walled city of Londonderry to the autonomous commune of Free Derry (1969–72) to the highs, lows and contradictions of becoming the first UK City of Culture and even to its contested name and identity, we hope that Derry/Londonderry will offer a stimulating context for sharing participants’ work and ideas.

This year, we are seeking works of art, research papers, performances, compositions and workshops that engage with the concept of autonomous zones and the social spaces of sound and technology:

  • We hope that designers and technologists will take advantage of the temporary autonomous zones of our interdisciplinary conference to engage with more ‘blue sky’, speculative or conceptual aspects of their work.
  • We hope that artists, cultural researchers and thinkers will find inspiration from these various perspectives on space as defined, expressed and contested through sound, technology and culture.

We will be working in the city of Derry/Londonderry, a space traditionally defined by zones of ethno–religious and political difference, spaces that are mapped, marked and articulated by performances of difference, but also by creative communities. We are therefore particularly open to the idea of collaborative projects which have a community outreach aspect to them.

We propose to take the approach of the TAZ guerrilla ontologist: making a mark, a difference, without violence!

Artists are encouraged to submit proposals for site-specific work involving Derry/Londonderry as urban environment, (we will be circulating more information about the environs). We will also have partnerships with local galleries and may also provide for situating pieces at various sites in the city in consultation with artists. Supplementary details will be made available on some of the sites and spaces.

The call is open to all practitioners regardless of nationality. Participants are responsible for their own travel and accommodation. Registration for ISSTC 2016 is required for participation.

Submissions will be due April 4th, 2016. Notifications will be sent by June 4th, 2016.

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call for sounds: Cities and Memory: Dada Sounds

http://citiesandmemory.com/dadasounds

dada-shareable-3

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Hildegard Westerkamp: What’s in a Soundwalk? (Sonic Acts XIII, 2010)

Hildegard Westerkamp: What’s in a Soundwalk? (Sonic Acts XIII, 2010) from Sonic Acts on Vimeo.

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