Just a few days left to apply to CogNovo, a new and exciting fully funded PhD programme at Plymouth University in the UK.
CogNovo offers a choice of 14 focussed research projects. Each project is supervised by a multidisciplinary team of experts and offers opportunities for secondments to international academic and commercial partners.
DEADLINE: 12:00 30 NOVEMBER 2013
On Friday the 22nd and 23th of November, BEK’s rooms will be dedicated to PAB, performance art Bergen. Booking and equipment lending will be closed during these days. Paolo Zuccotti (IT/SE)/ Jan Hajdelak Husták (CZ)will modify BEK’s spaces for this occasion: come and have a walk through a transformed BEK on Saterday the 23th of November between 10am and 18.30h
In this interdisciplinary conference, we explore the intersection of soundscapes and acoustic ecology studies (Murray Schafer 1977; Truax 1978) with urban, applied ethnomusicology’s focus on human subjects (Hemetek and Reyes 2007; Jurková 2012) and with sociological understandings of the cultural restructuring of urban space (Fainstein and Campbell, 2011; LeGates 2011; Bridge and Watson 2010), through an evocation of ‘critical citizenship’ (Nell et al, 2012).
We would particularly welcome individual papers (20 mins + 10 mins for questions) or panel presentations (90 minutes) that address the following questions:
- Where is the individual located in urban (soundscape) studies?
- How do the sounds of a city shape human experience?
- What role does sound play in the cultural restructuring of urban space?
- Might soundscape projects be part of urban regeneration and renewal and if so, in what ways?
- How can we create/capture urban soundscapes and what motivates us to do so?
- How might the relationship between the city and the individual be reframed sonically?
- What critical potentials are unleashed in applied soundscape work?
- Are soundscapes mere reflections of acoustic and other realities, or might they construct pathways for greater interaction between cities and their people?
- What are contemporary methodological challenges in representing urban soundscapes?
- What new technologies allow for the reimagining of applied soundscapes production and manipulation?
- How can we productively bring together lessons from different disciplines in relation to urban, societal, cultural and acoustic ecologies in order to imagine a better, lived, urban experience?
Keynote speakers include:
- Dr. Ursula Hemetek, University of Music and Performing Arts Vienna (Applied/Urban Ethnomusicology)
- Dr. Giacomo Bottà, University of Helsinki (Urban Studies)
- Peter Cusack, CRiSAP/University of the Arts, London (Sound Arts Practices)
- Milena Droumeva, Simon Fraser University (Acoustic Ecology)
Please send your individual abstract of no more than 250 words, or a panel abstract of 350 words to LimerickSoundscapes@ul.ie
We also invite five-minute recording submissions for our dedicated listening space at the event. Please send your sound file, associated picture, and a brief description to email@example.com
The deadline for receipt of individual and panel abstracts is Nov 14th. Notifications will be sent by Nov 28th.
Dr. Aileen Dillane, Irish World Academy of Music and Dance, University of Limerick.
Dr. Tony Langlois, Dept. of Media, Mary Immaculate College, University of Limerick.
Dr. Martin Power, Dept. of Sociology, University of Limerick.
Dr. Eoin. Devereux, Dept. of Sociology, University of Limerick.
Dr. Mikael Fernström, Interaction Design Centre and Department of Computer Science and Information Systems, University of Limerick.
Dr. Colin Quigley, Irish World Academy of Music and Dance, University of Limerick.
LimerickSoundscapes is an interdisciplinary research cluster that includes applied, urban, and media ethnomusicologists, sociologists, acousticians, and soundscapes composers, and is based at the University of Limerick and Mary Immaculate College, Limerick, Ireland. This conference is funded by the Faculty of Arts, Humanities and Social Sciences, and by The Irish World Academy of Music and Dance, University of Limerick.
Uninet will be upgrading software on a router upstream from the BEK network coming Thursday (2013-11-07), and hence we expect 15 min downtime at some point between 2200 and 2300 CET. Analogies for the inconvenience!
CFP: Merging Media: An Interdisciplinary Conference on the Study of Hybrid Arts, 1st February 2014, University of Kent
Merging Media: An Interdisciplinary Conference on the Study of Hybrid Arts
Call for Papers
Saturday 1st February 2014 University of Kent, Canterbury
Although we naturally recognise different artistic media as distinct forms – music, painting, sculpture, film, dance, theatre, architecture, animation, and so on – we also
understand that these mediums can nevertheless have a meaningful dialogue in the creation of new artworks. Over the course of art history there have been numerous occasions when
different media forms have merged or been juxtaposed for artistic purposes. These intermedial examples have seen word and image intertwined on the page in the illuminated books of
William Blake; experimentation with the partnership between painting and music in Modest Mussorgsky’s Pictures at an Exhibition; performance and music mixed in Variations by John
Cage; the deconstruction of paintings through digital visual manipulation in Peter Greenaway’s lectures; and the recent National Theatre Live and Royal Opera House theatrical
performances being broadcast onto cinema screens. These instances – and many more – demonstrate a long tradition of medium boundaries being crossed, media being combined to
accentuate one another, or the creation of a new medium altogether.
It is particularly relevant to consider the subject of merging media at a time when discussions of media archaeologies, media convergence and the transmedia phenomena permeate
contemporary academic debates. This conference seeks to engage with these topics by exploring the theories and histories of hybrid art, as well as the effect new technologies have
upon our understanding of this concept. The emergence of digital technologies is an important strand in this investigation because it has both facilitated the creation of new art
forms (such as 3D digital animation) and generated the remediation of older forms (for example, the digitisation of literature for consumption on computerised devices, and new
forms of interaction with fine art online through virtual galleries).
This one-day conference is for postgraduate students and early career researchers whose work incorporates the interdisciplinary topic of artistic hybridity and intermediality. We
invite proposals for 20-minute presentations (individual papers or pre-formed 3-paper panels) or performance pieces from candidates across arts and humanities. We welcome papers,
panels and performances that investigate “merging media” through a variety of interpretations. Possible research topics for submission can include, but are not limited to:
- Hybridity of forms: case studies which explore instances where two or more established art forms are combined. What is the effect of this hybridisation?
- Hybridity and technology: the impact of new technologies upon intermedial art forms, both past and present. Does technology facilitate the “merging” of media for artistic
purposes, or is this an inevitable side-effect of – and an unavoidable trajectory towards – a larger media convergence culture?
- Hybridity and history: specific case studies of merged media from the past, from Wagner’s conception of gesamtkunstwerk – where all art-forms are united as one total art – to
the revolutionary intermedial ‘decadence’ of Warhol’s Exploding Plastic Inevitable, and others.
- Hybridity of performance: how performance is incorporated with various art media, from architecture in site-specific performances, to video in multi-media productions. How do we
engage with performance through technology? How does the notion of “intermedial” relate to the performance of art?
- Hybridity and the audience: what effect does a “hybrid art” form have upon its audience? How does merging media provide new opportunities for engaging with artworks?
- Hybridity and remix culture: how various art forms are recycled and reused in the establishment of new works of art (e.g. the reprocessing of “found footage” for the purposes of
art; fan-made hybrid products).
- Hybridity and modes of production: ways in which hybridisation impacts upon the production or creation of an artwork. What relationship does this production have with the
development and influence of new technologies? What implications do intermedial modes have upon the idea of a singular artist? Which organisations or institutions inspire or
enable the creation of hybrid art?
- Hybridity and sites of exhibition: what is the relationship between the intermedial art and how it is exhibited? Is there a convergence between performance and exhibition? How
is the exhibition of such work impacted by technology? Or is it technological itself (such as the internet)?
- Hybridity and theory: work on the historical or future discourse of intermediality. What implication does contemporary “merging media” hold for theory? How should hybrid arts be
theorised and which elements – such as production, exhibition or audience interaction – should be centralised in this scholarly debate?
Please send abstracts (300 words) for proposed papers, panels or performances and a short biographical note to firstname.lastname@example.org Deadline for submissions is 13th December
2013. Should you have any queries, please contact us at the e-mail address above.
Conference Organisation Committee Emre Caglayan, Frances Kamm, Keeley Saunders, Pete Sillett
Website: http://blogs.kent.ac.uk/mergingmedia/ Twitter: @mergingmedia14