About RE:SOUND

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).

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.

The Conference

The RE:SOUND conference is part of the Media Arts Histories conference series, bringing together leading researchers, artists, and scientists on a series of interdisciplinary topics for over 14 years.

RE:SOUND, the 8th conference in this series, 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. RE:SOUND will host four days with 10 tracks of paper sessions, panels, workshops, practice-based interventions, exhibitions, performances, poster sessions, a PhD workshop and keynotes.