Fwd: Call for Abstracts: Music/Architecture/Acoustics - please fwd

Subject: Fwd: Call for Abstracts: Music/Architecture/Acoustics - please fwd
From: Yves Gigon (ygigon@videotron.ca)
Date: Wed Sep 14 2005 - 13:37:26 EDT

>Call for Abstracts: “Sound Installation and Situated Sonic Practices”
>International Cross-Disciplinary Conference
>soundaXis and Ryerson University
>Toronto, Ontario
>June 8-10 2006
>Dear friends and colleagues,
>Ryerson University in Toronto and soundaXis are co-ordinating a 3-day,
>interdisciplinary conference on Architecture/ Music/ Acoustics in June
>2006. I am organizing a session on “Sound Installation and Situated Sonic
>Practices” (please see description below). I'd like to invite anyone
>interested in participating to submit an abstract for a paper to be
>considered for inclusion in the session. Abstracts can be up to 300 words
>in length and are due by October 31st, 2005.
>Gascia Ouzounian
>Critical Studies/Experimental Practices area
>Faculty of Music
>University of California, San Diego
>SESSION DESCRIPTION: Sound Installation and Situated Sonic Practices
>Sound installation is an art form in which properties of space, and of
>place, are explored through an interface with sound objects. An
>interdisciplinary genre that draws on music, visual arts, and media-arts
>traditions, sound installations may include interactive or
>performance-based elements and may be networked across multiple and hybrid
>(real, virtual, and imagined) spaces and times. In contrast to traditional
>music practices that emphasize temporal aspects of sound, sound
>installations highlight the relationship of sound to spatialized forms,
>whether these are architectural forms, social forms, imaginary spaces, or
>In this session, we will explore works by sound installation artists,
>developing new models for theorizing sonic-spatial practices. This will
>include a general field of “situated sonic practices,” which puts into
>focus space- and place-based aspects of sonic experience. Space is
>considered here as the multiple and hybrid physical, social, political,
>and/or historical settings of cultural production, while place is imagined
>as the relationships between elements in a network at a given moment.
>Situated sonic practices take into consideration not only aspects of the
>built environment, architectures, and social spaces, but also the temporal
>dimension of space as expressed through memory and history. They may
>engage contested modes of knowledge such as “the experience of sound” and
>other embodied objectivities.
>Please e-mail 300-word abstracts by 31 October 2005 to:
>Please send questions about this session to:
>Gascia Ouzounian, Session Chair
>For more information about the conference, please visit:

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