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Volume 26, Number 2

Issue thematic title: Socially Engaged Sound Practices

Date of Publication: August 2021

Publishers: Cambridge University Press

Issue co-ordinators: Tullis Rennie (tullis.rennie@city.ac.uk)

Deadline for submission: 18 September 2020

Socially engaged practices are creative art forms that take human relations and their social contexts as points of departure, methods, process, realisation. Art works are typically characterised through participatory elements, reticence towards single authorship, and/or a privileging of process over final outcomes. A clear collection of visual arts activity in this mode is accompanied by robust theory and criticism (see Bell 2015; Bishop 2012; Finkelpearl 2013; Jackson 2011; Kester 2011), and while the social aspects of music-making are well-documented, the sociality of sound is less often discussed in detail. This issue proposes to critically interrogate this emerging field, including furthering aspects of such discussion already addressed in this journal.

How do theories of- and creative practices through- participative listening, sounding, and composition intersect with wider themes of socially engaged arts? What is it about artistic uses of sound in particular that allows for such participative practice to emerge distinctly? Can the collaborative nature of sonic endeavours be clearly heard as such? Do digital technologies aid these processes? Can co-composition afford possibilities for reciprocal and contrary perspectives to co-exist in parallel? What creative responses to social distancing and self-isolation are currently emanating from sound practitioners?

With increasing focus on public engagement, outreach and inclusion through arts activity and funding, the precarious role of the sound artist or composer within such participatory work requires further discussion. Does social engagement too often presuppose or assume non-engagement or exclusion for an identified (othered) community? How might we move beyond the notion of participation and collaboration understood as positive forces in and of themselves, and towards more inherently (self-)critical resulting sound works?

When facilitation of distributed authorship occurs in collaboration with non-professional participants, how might sound-led approaches uniquely address tensions found through socially-engaged work? What are the political, ethical and aesthetic constraints on the artist? Can an ‘ethics of participation’ (Voegelin, 2019) harness the ‘ephemeral mobility and generative nature of sound, [to] open the narrow confines of politics to different political possibilities?’ (p. 37).

To both critique and develop notions of a creative, egalitarian sonic citizenship, this issue of Organised Sound collates aspects of current and emerging creative practice and scholarship in socially-engaged sound arts.

Topics for investigation might include:

  • Socially engaged sound practices
  • Distributed authorship in electroacoustic music and sonic arts
  • Collaborative approaches to sound composition
  • Theories of shared listening
  • Sound arts activism
  • Hearing the socio-political
  • Pedagogical approaches to participation
  • Listening, sound recording, composing as community engagement
  • Public engagement through co-composition
  • Technologically-mediated approaches to socially engaged sound

This call is open to all, and we wish particularly to encourage submissions from often under-represented groups in these fora, and also creatively and collaboratively-produced articles.

Furthermore, as always, submissions unrelated to the theme but relevant to the journal’s areas of focus are always welcome.

References

Bell, D.M. (2015) ‘The Politics of Participatory Art’, Political Studies Review, pp. 73-83

Bishop, C. (2012) Artificial Hells: Participatory Art and the Politics of Spectatorship. London: Verso.

Finkelpearl, T (2013) What We Made: Conversations on Art and Social Cooperation. Durham: Duke.

Jackson, S (2011) Social Works: performing art, supporting publics. Abingdon: Routledge.

Kester, G. H. (2011) The One and the Many: Contemporary Collaborative Art in a Global Context. Durham, NC: Duke University Press.

Voegelin, Salomé (2019) The Political Possibility of Sound. Bloomsbury: London.

SUBMISSION DEADLINE: 18 September 2020

SUBMISSION FORMAT:

Notes for Contributors and further details can be obtained from the inside back cover of published issues of Organised Sound or here.

Properly formatted email submissions and general queries should be sent to: os@dmu.ac.uk, not to the guest editors.

Hard copy of articles and images and other material (e.g., sound and audio-visual files, etc. – normally max. 15’ sound files or 8’ movie files), both only when requested, should be submitted to:

Prof. Leigh Landy
Organised Sound
Clephan Building
De Montfort University
Leicester LE1 9BH, UK


Accepted articles will be published online via FirstView after copy editing prior to the paper version of the journal’s publication.

Editor: Leigh Landy

Associate Editors: Ross Kirk and Richard Orton†

Regional Editors: Ricardo Dal Farra, Jøran Rudi, Margaret Schedel, Barry Truax, Ian Whalley, David Worrall, Lonce Wyse

International Editorial Board: Marc Battier, Manuella Blackburn, Joel Chadabe, Alessandro Cipriani, Simon Emmerson, Kenneth Fields, Rajmil Fischman, Eduardo Miranda, Rosemary Mountain, Tony Myatt, Garth Paine, Mary Simoni, Martin Supper, Daniel Teruggi


Volume 26, Number 1

Issue thematic title: The Sonic and the Electronic in Improvisation

Date of Publication: April 2021

Publishers: Cambridge University Press

Issue co-ordinator: James Andean (james.andean@dmu.ac.uk)

Deadline for submission: 15 May 2020

Improvisation is an important cornerstone of musical practice. However, due to its ephemeral and transitory nature, it is in some ways much more difficult to ‘pin down’ – for example for analysis or other formal examination or academic discussion – than other, more ‘fixed’ musical practices (composition being the obvious example).

Within the current range of sonic arts practices, improvisation is flourishing – whether as a practice, genre, or community in its own right, or as an important element of other musical or sonic practices. This includes improvisation practices that are explicitly predicated on the sonic arts, electroacoustic tools, etc. – f.ex. Electroacoustic Improvisation (‘EAI’) – but also other improvisation practices that incorporate sonic or electronic tools and approaches, such as some of the current ‘Free Improvisation’ communities based around centres like London and Berlin. It can perhaps be extended still further, to improvisation practices that share territory with the sonic arts, such as a focus on gesture, texture, or space.

This issue of Organised Sound proposes to explore improvisation within the sonic arts, whether as a category in its own right, or as a question of broader performance practice, with topics ranging from questions of improvisation ‘language’, to the use of sonic and electronic tools, to questions of cultures and communities.

Topics for investigation might include:

  • Electroacoustic Improvisation (EAI)
  • Improvisation and Live Electronics
  • Sonic approaches in Free Improvisation
  • Sound-based improvisation
  • Improvising with objects
  • Computer-based tools for improvisation
  • The roles of gesture and/or texture in free improvisation
  • Influences or cross-pollination between improvisation and the sonic arts
  • Issues of communication in improvisation and the use of software or electronic tools
  • Differences in the ‘sonic’ or the ‘electronic’ between improvisation communities
  • The role of improvisation as a technique in studio composition practice (and/or vice versa)
  • The role of the ‘sonic’ (or of technology, etc.) in multidisciplinary improvisation
  • Perception, interpretation, or reception of sonic, sound-based, or electroacoustic improvisation
  • Questions of mediation in improvisation involving technology or media
  • Approaches to the ‘sonic’ in other improvisation practices (traditional, non-western, historical…), and/or crossovers between these practices
  • Problems of analysis of sonic improvisation practices
  • Space as reflected in or by improvisation practice

As always, submissions related to the theme are encouraged; however, those that fall outside the scope of this theme are always welcome.

SUBMISSION DEADLINE: 15 May 2020

SUBMISSION FORMAT:

Notes for Contributors and further details can be obtained from the inside back cover of published issues of Organised Sound or here.

Properly formatted email submissions and general queries should be sent to: os@dmu.ac.uk, not to the guest editors.

Hard copy of articles and images and other material (e.g., sound and audio-visual files, etc. – normally max. 15’ sound files or 8’ movie files), both only when requested, should be submitted to:

Prof. Leigh Landy
Organised Sound
Clephan Building
De Montfort University
Leicester LE1 9BH, UK

Accepted articles will be published online via FirstView after copy editing prior to the paper version of the journal’s publication.

Editor: Leigh Landy

Associate Editors: Ross Kirk and Richard Orton†

Regional Editors: Ricardo Dal Farra, Jøran Rudi, Margaret Schedel, Barry Truax, Ian Whalley, David Worrall, Lonce Wyse

International Editorial Board: Marc Battier, Manuella Blackburn, Joel Chadabe, Alessandro Cipriani, Simon Emmerson, Kenneth Fields, Rajmil Fischman, Eduardo Miranda, Rosemary Mountain, Tony Myatt, Garth Paine, Mary Simoni, Martin Supper, Daniel Teruggi