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{NO_COMMENTS} {html} <small><i><b><span style="background-color:yellow;">Page actuellement en cours de rédaction</span></b></i></small> {/html} {br}{br} ---- ! Sound Studies * http://www.soundstudieslab.org/ , Prof. Dr. Holger Schulze, Institut für Kulturwissenschaft, Humboldt-Universität zu Berlin http://www.soundstudieslab.org/projects/anthropology-of-sound/ {br}How do human beings experience sonic environments under historically and culturally changing circumstances – and what are the epistemological implications of such a turn to an experiential hearing perspective in the wider field of sensory studies? http://www.soundstudieslab.org/projects/sound-in-media-culture/ {br}Which transformations can be observed in the cultural history of sound by the rise of media culture – in practices and concepts, as well as in artifacts and technologies? Which methods are appropriate to explore how the scientific entity of sound is constituted in historical and contemporary media culture?{br}Website : http://www.soundmediaculture.net/ * http://soundstudiesblog.com/ {br}Sounding Out: The Sound Studies Blog provides an outlet for ruminations on the role of sound and listening in our contemporary culture, tackling questions like:{br}Did the invention of the iPod actually change the way we listen to music? Do we all listen in the same way?{br}Why does the crackle, pop, and hiss of old vinyl records comfort some and annoy others?{br}Does the sound of your voice impact your chances at employment and good housing?{br}Do supposedly neutral “noise ordinances” actually affect some people more than others? * Pinch, T. and Bijsterveld, K, 2004, Sound Studies: new Technologies and Music, in "Social Studies of Science", 34, pp. 635-648. * Schulze, H., 2010, The Sound & The Senses: Historical Anthropology of Sound, in Morat, D., 2010, Hearing Modern History. Auditory Cultures in the 19th and 20th Century. Wissenschaftskolleg Berlin (conference proceedings) * http://en.wikipedia.org/wiki/Sound_culture * http://groups.google.com/group/sound-studies/ {br}This is the listserv and all-purpose electronic portal for the Sound Studies special interest group of the Society for Ethnomusicology. {br}{br} ---- ! Revues * '''Sound Effects''', http://www.soundeffects.dk/ {br}An Interdisciplinary Journal of Sound and Sound Experience{br}SoundEffects brings together a plurality of theories, methodologies, and historical approaches applicable to sound as both mediated and unmediated experience. The journal primarily addresses disciplines within media and communication studies, aesthetics, musicology, comparative literature, cultural studies, psychology and sociology. * '''Organised Sound''', http://journals.cambridge.org/action/displayIssue?jid=OSO&volumeId=17&seriesId=0&issueId=01 {br}An International Journal of Music and Technology{br}Volume 17 - Issue 01 (Networked Electroacoustic Music) - avril 2012{br} {br}{br} ---- ! Open Calls * ONE-DAY WORKSHOP, '''Musicians and their audiences''', King’s College London, Saturday, 1 December 2012{br}The musician/audience dichotomy has served as a constant subject of scrutiny for the sociocultural study of music practices. Both in ‘presentational’ and ‘participatory’ performances (Turino, 2008), the dynamic relationship between performing and being watched/heard has been central to the construction of music genres and identities. Moreover, as music cultures become re-contextualised from local communities to the world stage, and reversely from global scenes to subcultural formations, the dialectics of performance and spectatorship become more complex. {br}http://www.iaspm.net/category/upcoming-conferences/ {br}{br} ---- ! Colloquiums, conferences & seminars * ''''__Designing Musical Interactions for Mobile Systems__'''', Workshop Programme, Tuesday 12 June 2012, Culture Lab Newcastle{br}Organised by Koray Tahiroğlu, Aalto University School of Arts, Design and Architecture (FI); Atau Tanaka, Goldsmiths Digital Studios, University of London (UK) ; Adam Parkinson, Culture Lab, Newcastle University (UK) ; Stephen Gibson, School of Design, Northumbria University (UK) Michael Gurevich – University of Michigan{br}'''Spectators of Mobile Musical Interactions: Opportunities and Challenges'''{br}Abstract: This paper considers the role of the spectator in mobile inter- active music and suggests how designing mobile music experiences with broadened notions of spectatorship may give rise to new design opportunities and challenges. Zheng Li and Hua Wang – Blekinge Institute of Technology{br}'''A music puzzle game application for engaging in active listening'''{br}Abstract: In this paper we introduce an application for tablet devices with Android operating system called The Music Puzzle. This work is part of an ongoing project called The Soundpark– Using modern smartphones to create interactive listening experiences for hearing impaired. In the Soundpark, we intend to provide different experimental applications for interacting with sound. Baptiste Caramiaux – Ircam – Centre Pompidou{br}'''Embodied Musical Interaction: when Listening meets Performing'''{br}Abstract: One aspect of embodied musical interaction that seems promising resides in blurring the frontiers between listening and performing. In this paper we propose a computational system that allows for listening recorded sounds and reinterpreting them with body movements. We argue that such approach makes sense if being embedded in modern pervasive mobile systems. Sheryl Brahnam – Missouri State University{br}'''Description of a Cell Phone Concert & Sound Performance'''{br}Abstract: We describe a cell phone concert and sound performance as part of a contemporary dance performance that used the loudspeakers of audience participants’ cell phones. The concert explored cell phones as containers and mediators of the imaginal. The concert also provoked interactional tensions that played off the cell phone’s propensity to disrupt the public sphere. Jane Grant and John Matthias – Plymouth University{br}'''Closer: A mobile neural field'''{br}Abstract: In this short paper, we describe a proposal for new work entitled Closer , a distributed, participatory performance artwork. It is formed from a neuronal network or ‘cortex’ of smart phones that record sounds from phone users and their geographies, streaming and fragmenting the audio within the network of phones and neurons. Closer will be part distributed sonic instrument and part game played in real- time geographical space. Each participant becomes part of a dynamically rich, fluid consciousness, navigating the geoneural spaces of a city. Nick Bryan-Kinns – Queen Mary University of London{br}'''Mutual Engagement: Participating ≠ Performing'''{br}Abstract: Our designs for distributed and mobile music making interfaces have produced mutually engaging experiences. However, whilst people participate in music making with our systems, they are not able to express themselves through the co-created music. We would like to explore designing for expressivity and possible new styles of music for mobile devices.
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