Sounding Out the Space: An International Conference on the Spatiality of Sound

Страна: Ирландия

Город: Dublin

Тезисы до: 31.03.2017

Даты: 02.11.17 — 04.11.17

Е-мейл Оргкомитета:

Организаторы: DIT Conservatory of Music and Drama, the Dublin School of Creative Arts and GradCAM


Sound is an inherently spatial phenomenon. No matter what its point of
origin, be it a musical instrument, a voice, an audio speaker, or
another sound-producing entity, sound must navigate space before
reaching our ears. On this journey it enters into a complex relational
dynamic with the surrounding environment: it may be amplified,
distorted, reverberated, dissipated and subject to a multitude of
transformations which modify it in different ways. While this dynamic
is an intrinsic part of any sonic event, certain artistic endeavours
have sought to exploit this spatial aspect of sound as a distinct
parameter in its own right. Though spatial experiments have a long
history in western music stretching back centuries, the search for
novel means of expression in the twentieth century led to an
unprecedented investigation into the spatiality of sound as an
integral component of the work. From Edgard Varèse’s Poème
électronique to Karlheinz Stockhausen’s Helicopter String Quartet,
such concerns have been at the centre of some of the canonic works of
musical modernism. In the discipline of sound art, auditory dialogues
with the surrounding space have been the defining feature of sound
installations by Max Neuhaus, Bernhard Leitner, Maryanne Amacher and
others, who have sought to locate sound in relation to architecture.
While such work grew out of developments in the wider field of art
installation, increasingly the practices of both sound and art
installation have converged in the work of artists such as Janet
Cardiff and Zimoun forming multi-sensory experiences. Expanding
outwards, the multi-site sound installations of Bill Fontana have
developed the notion of spatiality across geographical locations while
recent innovations in communication and digital technologies have
created virtual networks, redefining our conception of space and
presenting new possibilities for music, sound art and visual art.

Although substantial research on the spatiality of sound has been
carried out within the disciplines of musicology, sound art, and
visual art studies, much of this work has remained separate, enclosed
within these specialised fields of research. This conference aims to
address this imbalance, acknowledging the fluid exchange of ideas
between these spheres in actual practice and fostering an
interdisciplinary spirit amongst researchers and practitioners. The
conference committee thus invites presentations from sound artists,
visual artists, composers, academics, and post-graduate researchers
which consider the spatiality of sound in all its diverse forms. While
the conference remit is broad, the committee especially encourages
contributions which address (but need not be limited by) the following
three strands:

• Sound and Visual Art
‒Contributions from Sound Artists/Visual Artists
‒Convergences between Sound and Visual Art
‒Historical Perspectives
‒Modes of Listening
‒Sound Architectures

• Spatial Music
‒Analytical Accounts
‒Attempts at Definition/Theorisation
‒Composer Perspectives
‒History of Spatial Music
‒Listener Perception
‒Performance Challenges
‒The Role of Sound Technologies

• Geographic and Virtual Spaces
‒Digital Networks and Communications Technologies
‒Live Streaming and Web-cast
‒Interactivity and Participation


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