Sound, Media and Art – Theories, Histories, Practices.
Tuesday – Friday, August 20-23, 2019
Hosting organization: Aalborg University, Department of Communication, School of Communication, Art, Technology and Music.
General Program Chair: Dr. Morten Søndergaard, Associate Professor Interactive Media Art, School of Communication, Art, Technology and Music.
Co-Program Chairs: Dr. Laura Beloff, Professor, IT University in Copenhagen; Dr. Phil. Jacob Wamberg, Professor Aarhus University; Dr. Jens Hauser, post.doc., University of Copenhagen.
Second call for papers etc will be announced 1 September 2018.
Re:Sound – Description
The histories of art are saturated by sonic experiments and expressions (Kahn, Weibel). Yet, the occurrence of sound in art throughout the 18th, 19th and 20th century remains heavily under-theorized and -contextualized, just as it is all but missing in existing archives (with few important, albeit resent, exceptions).
These experiments and expressions can be seen as indexes of the technology and electronic media implied when we use the term ‘media art’; Moreover, the histories of sound also contain important corrections to, on the one side, the traditional ‘art history’, where the reduction of art to more or less fixed genres with specific sensibilities seem to be accelerating; On another side, it contains promising and crucial perspectives on the great variety of conceptions feeding into the constructed field of ‘Media Art’: art and science relations, cybernetics, transdisciplinary research, post-human studies, digital humanities, art-based research, media archaeology, STS, and the fields of robotic art, biotech art, and network and audio-based practices,to name a few.
This, the ‘matter’ of sonic saturation and its interlinked under-theorized situation, does not only concern the musicologists and a small specialized field of sound researchers; it is, or should be, the matter and concern of the whole media arts field: It speaks to its very foundation in transmedia issues and different understanding of the plurality of the histories contextualizing technologically mediated art.
Through its techno-resonating immersion, media art reverberates in all cultural and societal matters on a pervasive scale. Re:sound will address this techno-resonance, trans-mediality, and cultural and social reverberation of media art, in general: It’s histo-ecologies, -geologies, and -archeologies. As well as focusing on a wide range of the field’s practitioners, producers and creators – past, present and future.
In particular, Re:Sound will take a specific interest on the theories, practices, histories etc of art and technology which are focusing on, concerned with, reflecting on, including, mobilising and/or working with sound, as a main component or an integral part.