Call for submissions
Volume 23, Number 3
Issue thematic title – Sound and Kinetics: performance, artistic aims and techniques in electroacoustic music and sound art
Date of publication: December 2018
Submission deadline: 15 January 2018
Technology- and sound-based music reaches well beyond the concert hall, and experimental music often blends with visual arts and other disciplines into various genres of sound art. This continuing re-conception of music brings other relationships than the use of, for example, intervals, rhythms and those within sound itself into the artistic discourse, and contributes to the development of critical perspectives. With new technology, immediacy, agency, object design and wider corporeal physical presence cross paths with the fixed medium, live and site-specific worlds. And the use of live physical interfaces instigate and enhance creative processes.
The use of physical objects in combination with electronic means springs from a mixed genealogy of musical automatons, algorithmic composition, acoustics and kinetics, to name a few in addition to the more conventional electroacoustic music. The introduction of noise, mechanical sound and electronic manipulation of recorded material are obvious predecessors to the new, kinetic art, and the use of sounding physical objects has correlated the electroacoustic musical paradigm with the visual arts.
Current developments in kinetic sound art frequently exploit the possibilities for precision and comprehensive control made possible by affordable computers and a steadily growing array of sensors and small DIY electronics. Transactions of some kind are taking place between humans and objects, instruments or interfaces, and this empowers new generations of composers and artists in their rehumanisation efforts of technology-based expressions. New media and symbolic relationships that transgress the boundaries of conventional electroacoustics are activated, and include the materiality and physical presence in the resulting works.
* How does the genre of kinetic sound art connect to conventional musical activity?
* The roles of physical objects in relation to sonic expression.
* Composition and performance with objects
* Physical aspects of the agency of sound.
* Does kinetic sound art influence and expand our musical perception?
* Does kinetic sound art change our listening, and does it bring in a radical perspective?
* Is it possible to extract a new type of essence from key works of this trend?
* Composition strategies in flux – and are they changing with technology?
* Which historical narratives might be interesting in describing the development of kinetic sound art?
* Learning from the history of physicality in experimental sonic works
* Arenas and venues – are there particular links to the broader artistic awareness?
* Audiences and viewers
As always, submissions related to the theme are encouraged; however, those that fall outside the scope of this theme are also welcome.
SUBMISSION DEADLINE: 15 January 2018
Notes for Contributors and further details can be obtained from the inside back cover of published issues of Organised Sound or at the following url:
http://journals.cambridge.org/action/displayMoreInfo?jid=OSO&type=ifc (and download the pdf)
Properly formatted email submissions and general queries should be sent to: email@example.com, 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
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, Jean-Claude Risset, Mary Simoni, Martin Supper, Daniel Teruggi