[cma-l] Histories, Theories and Practices of Sound Art - call for studies

[Tamar Millen]

Histories, Theories and Practices of Sound Art
May 15 – 16 – 17, 2014

Venues: Goldsmiths, University of London, May 15 and 16, 2014; The 
Courtauld Institute of Art May 17, 2014.

Traditionally, the curator has been affiliated to the modern museum as 
the persona who manages an archive, and arranges and communicates 
knowledge to an audience, according to fields of expertise (art, 
archaeology, cultural or natural history etc.). However, in the later 
part of the 20th century the role of the curator changes – first on the 
art-scene and later in other more traditional institutions – into a more 
free-floating, organizational and ’constructive’ activity that allows 
the curator to create and design new wider relations, interpretations of 
knowledge modalities of communication and systems of dissemination to 
the wider public.

This shift is parallel to a changing role of the artist, that from 
producer becomes manager of its own archives, structures for displays, 
arrangements and recombinatory experiences that design interactive or 
analog journeys through sound artworks and soundscapes. Museums and 
galleries, following the impact of sound artworks in public spaces and 
media based festivals, become more receptive to aesthetic practices that 
deny the ‘direct visuality’ of the image and bypass, albeit partially, 
the need for material and tangible objects. Sound art and its related 
aesthetic practices re-design ways of seeing, imaging and recalling the 
visual in a context that is not sensory deprived but sensory alternative.

This is a call for studies into the histories, theories and practices of 
sound art production and sound art curating – where the creation is to 
be considered not solely that of a single material but of the entire 
sound art experience and performative elements.

We solicit and encourage submissions from practitioners and 
theoreticians on sound art and curating that explore and are linked to 
issues related to the following areas of interest:

     Curating Interfaces for Sound + Archives
     Methodologies of Sound Art Curating
     Histories of Sound Art Curating
     Theories of Sound Art Curating
     Practices and Aesthetics of Sound Art
     Sound in Performance
     Sound in Relation to Visuals


http://ocradst.org/histories-theories-and-practices-of-sound-art/
-- 
Tamar Millen
Arts Coordinator
Community Media Association
15 Paternoster Row
Sheffield
S1 2BX
0114 2795219

www.arts.commedia.org.uk