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CFP, Urban Soundscapes and Critical Citizenship, 27th & 28th March, 2014, Limerick, Ireland


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

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

The deadline for receipt of individual and panel abstracts is Nov 14th. Notifications will be sent by Nov 28th.

Programme committee:

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.



Network downtime Thursday 7/11


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 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: Twitter: @mergingmedia14



PUBLIC seminar og videoevent



Onsdag 6. november: 18.00- 22.00
Tema: Videokunst i det offentlig rom
Sted: Tag Team Studio i Møllendalsveien 17,

Med suppepause og videoevent.

TagTeam og DOPPLER har gleden av å inviterer til et kveldsseminar hvor vi vil diskutere utfordringer og opplevelser knyttet til videobasert og temporær kunst i det offentlige rom. Seminaret tar opp spørsmål rundt bruk og tilgjengelighet for publikum, gjeldende ulike utsmykningsformer, temporære visninger, samt arkivering og nye visningsarenaer. Som en del av seminaret vil Doppler vise et av Tania Ruiz Gutierrez verk i nærområdet.

Inviterte deltagere:

Tania Ruiz Gutierrez:
Vi har invitert Tania Ruiz Gutierrez til å presentere sin monumentale videoinstallasjon ´Elsewhere´på Malmö Centralstation. Hun vil bl.a. snakke om idéutviklingen av prosjektet og utfordringer/muligheter knyttet opptil drift av denne typen utsmykninger. ´Elsewhere´er det største permanente kunstvideoprosjekt i Europa og består av 46 projeksjoner, spredd utover 360 meter i et bevegelig panorama som flyter langs med trafikken.

Jørgen Blitzner: Jørgen Blitzner er konsulent for utsmykningen av Bybanen i Bergen. Vi har invitert han til å presentere ferdigstilte utsmykninger langs bybanen, ideer og planer for de neste to byggetrinn med fremtidige visjoner.

Anne Marte Dyvi: Anne Mathe Dyvi vil presentere arbeid knyttet til Nasjonalt arkiv for videokunst, Hva skal vi og vil vi med arkivene? Hvordan kan vi bevare, tilgjengeliggjøre og tilrettelegge videokunst for fremtiden?

Videosnakk: Avsluttende refleksjoner med deltagere og publikum. Seminaret vil foregå på engelsk og norsk.

Doppler: og TagTeam:

+ + +

PUBLIC, seminar and video event in Bergen

Wednesday 6th of November: 18.00- 22.00 ( including pause with serving of soup)
Theme: Video based art in public spaces.
Place: TagTeam Studio, Møllendalsveien 17.

TagTeam and DOPPLER has the pleasure to invite to an evening seminar concerning video based and temporary art in public spaces. The seminar will discuss questions concerning the use and availability for the public in relevant to different types of public commissions, temporary screenings as well as archiving and new arenas for viewing . As a part of the seminar Doppler will show one of Tania Ruiz Gutierrez video works outdoors in the area.

Tania Ruiz Gutierrez (FR)
Jørgen Blitzner (NO)
Anne Marthe Dyvi (NO)

Tania Ruiz Gutierrez ( french/colombian visual artist living in Paris) will presents her video work ‘Elsewhere’, video installation at Malmö Central Station( Sweden) . Elsewhere is a monumental moving panorama composed of 46 projections, deployed over 360 linear meters. This is the largest permanent video artwork in Europe.

Jørgen Blitzner : Jørgen Blitzner is adviser for the public commissions for Light Rail project in Bergen. We have invited him to present finished art works along the light rail, ideas and plans for the next two stages with future visions.

Anne Marte Dyvi: Anne Mathe Dyvi will be presenting work related to the National Archives for video, How can we collect, maintain, make available and facilitate video for the future?

Video talk: Talks on future thoughts on the medias placement in public spaces.

Visual Artist Tania RUIZ GUTIERREZ trained as a film-maker. She initially focused mainly in video projections, her works now include objects and mixed-media installations, which have appeared in several international exhibitions and festivals. Public space is a central subject of her artistic research and practice. Main works on this field are GardeTemps – a light, video based, permanent sculpture for the City of Vancouver – and Elsewhere, a monumental permanent video installation for the new Malmö Central Station, opened in December 2010. She currently teaches at the Art Department of The University of Paris VIII.

Elsewhere is a multi-projection video art work which seeks to transform the reinforced concrete landscape of the Malmö C underground station into a wide open space. Through a projection device that evokes the perceptual experience from the train, the viewers will be invited to lose themselves in images during their wait. The projections acting as windows, the station itself becomes a train that loses its spatial and temporal rails, itinerant across the earth.

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ICAD 2014 - Call for Papers


20th International Conference on Auditory Display
22 – 25 June 2014
New York, NY, USA

Paper submission deadline: February 1 2014.

The 2014 International Conference on Auditory Display (ICAD) will be held June 22-25, 2014, at New York University (NYU). ICAD, which began in 1992, will have its 20th conference featuring paper sessions, student think-tanks, workshops, concerts, and other special events.


The conference will take place at NYU’s Steinhardt School of Culture, Education and Human Development. NYU Steinhardt’s facilities are conveniently located in the heart of Manhattan’s Greenwich Village and next to the historic Washington Square Park.


ICAD is the premier international venue for the dissemination and discussion of work related to the science, art, and practice of sound as a communicative display. Technical areas for the ICAD include but are not limited to:

  • 3D and Spatial Audio
  • Aesthetics, Philosophy, and Culture of Auditory Displays
  • Auditory Display Theory and Methods
  • Auditory Information Design
  • Accessibility
  • Applications of Sound in Systems
  • Evaluation and Usability of Auditory Displays
  • Human Factors of Auditory Display
  • Sound Interaction Auditory Cognition, Perception, and Psychoacoustics
  • Sonification and Exploration of Data through Sound
  • Sonification as Art
  • Technologies and Tools for Auditory Display
  • Use of Audio in Human-Computer Interfaces


We invite the following three forms of submissions:

  • Full Papers should describe work that offers a substantial contribution to the field of auditory display. Paper submission will be 4-8 pages in length, including all figures and references. Authors of accepted papers will be invited to give an oral presentation of their work, and at least one author must present the work at the conference for the paper to appear in the published proceedings.
  • Poster submissions should describe both finished work and work in late stages of progress. Work that is complete enough that meaningful conclusions can be drawn at the time of submission is encouraged. Submission for posters requires a proceedings paper of 4-8 pages in length. Authors of accepted submissions will be invited to participate in a poster session, and at least one author must present the work at the conference for the paper to appear in the published proceedings.
  • Extended abstracts include, but are not limited to late-breaking results, works in early stages of progress, novel methodologies, unique or controversial theoretical positions, and discussions of unsuccessful research or null findings. Particular attention will be paid to the potential for extended abstracts to lead to engaging presentations of broad benefit to the auditory display community. Submissions for extended abstracts require a proceedings paper of up to 2 pages in length. At least one author must present the work at the conference for the abstract to appear in the published proceedings.


  • Submission of papers for review: February 1 2014.
  • Notification of acceptance: April 1, 2014
  • Camera-ready papers: May 1, 2014


For more information on ICAD 2014 please visit


Papers Co-Chairs

Norberto Degara and Areti Andreopoulou

Conference Chairs

Agnieszka Roginska and Tae Hong Park