<html><head><meta http-equiv="Content-Type" content="text/html charset=utf-8"></head><body style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space;" class=""><span style="font-size: 12.8px;" class="">SOUNDING OUT THE SPACE: AN INTERNATIONAL CONFERENCE ON THE SPATIALITY OF SOUND</span><br style="font-size: 12.8px;" class=""><br style="font-size: 12.8px;" class=""><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">Date: 2–4 November 2017</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">Location: Dublin School of Creative Arts, DIT Grangegorman Campus</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">Organisers: DIT Conservatory of Music and Drama, Dublin School of</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">Creative Arts, GradCAM</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">Partners: Contemporary Music Centre, Irish Sound Science and Technology Association, Lewis Glucksman Gallery, Society </span><span style="font-size: 12.8px;" class="">for Musicology in Ireland, Solstice Gallery, Spatial Music Collective</span><br style="font-size: 12.8px;" class=""><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">Conference website: </span><a href="http://soundingout2017.com/" rel="noreferrer" target="_blank" style="font-size: 12.8px;" class="">soundingout2017.com</a><br style="font-size: 12.8px;" class=""><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">Keynote Speakers:</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">Brandon LaBelle – artist, writer and theorist (Bergan Academy of Art and Design)</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">Bill Fontana – American artist and composer</span><br style="font-size: 12.8px;" class=""><br style="font-size: 12.8px;" class=""><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">Sound is an inherently spatial phenomenon. No matter what its point of</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">origin, be it a musical instrument, a voice, an audio speaker, or</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">another sound-producing entity, sound must navigate space before</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">reaching our ears. On this journey it enters into a complex relational</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">dynamic with the surrounding environment: it may be amplified,</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">distorted, reverberated, dissipated and subject to a multitude of</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">transformations which modify it in different ways. While this dynamic</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">is an intrinsic part of any sonic event, certain artistic endeavours</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">have sought to exploit this spatial aspect of sound as a distinct</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">parameter in its own right. Though spatial experiments have a long</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">history in western music stretching back centuries, the search for</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">novel means of expression in the twentieth century led to an</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">unprecedented investigation into the spatiality of sound as an</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">integral component of the work. From Edgard Varèse’s Poème</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">électronique to Karlheinz Stockhausen’s Helicopter String Quartet,</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">such concerns have been at the centre of some of the canonic works of</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">musical modernism. In the discipline of sound art, auditory dialogues</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">with the surrounding space have been the defining feature of sound</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">installations by Max Neuhaus, Bernhard Leitner, Maryanne Amacher and</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">others, who have sought to locate sound in relation to architecture.</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">While such work grew out of developments in the wider field of art</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">installation, increasingly the practices of both sound and art</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">installation have converged in the work of artists such as Janet</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">Cardiff and Zimoun forming multi-sensory experiences. Expanding</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">outwards, the multi-site sound installations of Bill Fontana have</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">developed the notion of spatiality across geographical locations while</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">recent innovations in communication and digital technologies have</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">created virtual networks, redefining our conception of space and</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">presenting new possibilities for music, sound art and visual art.</span><br style="font-size: 12.8px;" class=""><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">Although substantial research on the spatiality of sound has been</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">carried out within the disciplines of musicology, sound art, and</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">visual art studies, much of this work has remained separate, enclosed</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">within these specialised fields of research. This conference aims to</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">address this imbalance, acknowledging the fluid exchange of ideas</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">between these spheres in actual practice and fostering an</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">interdisciplinary spirit amongst researchers and practitioners. The</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">conference committee thus invites presentations from sound artists,</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">visual artists, composers, academics, and post-graduate researchers</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">which consider the spatiality of sound in all its diverse forms. While</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">the conference remit is broad, the committee especially encourages</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">contributions which address (but need not be limited by) the following</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">three strands:</span><br style="font-size: 12.8px;" class=""><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">• Sound and Visual Art</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">‒Contributions from Sound Artists/Visual Artists</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">‒Convergences between Sound and Visual Art</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">‒Historical Perspectives</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">‒Installation</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">‒Modes of Listening</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">‒Sound Architectures</span><br style="font-size: 12.8px;" class=""><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">• Spatial Music</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">‒Analytical Accounts</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">‒Attempts at Definition/Theorisation</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">‒Composer Perspectives</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">‒History of Spatial Music</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">‒Listener Perception</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">‒Performance Challenges</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">‒The Role of Sound Technologies</span><br style="font-size: 12.8px;" class=""><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">• Geographic and Virtual Spaces</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">‒Digital Networks and Communications Technologies</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">‒Live Streaming and Web-cast</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">‒Interactivity and Participation</span><br style="font-size: 12.8px;" class=""><br style="font-size: 12.8px;" class=""><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">Proposals are invited in the following formats:</span><br style="font-size: 12.8px;" class=""><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">•Individual Papers (20 mins duration plus 10 mins discussion)</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">•Joint Papers (max 2 speakers, same format as above)</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">•Themed Sessions (3 papers totalling 90 mins or 4 papers totalling 120 mins)</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">•Panel and Roundtable Discussions (90 mins, max 6 speakers)</span><br style="font-size: 12.8px;" class=""><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">Proposals for individual and joint papers must be in the form of an</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">abstract not exceeding 250 words. Proposals for themed sessions,</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">panels and roundtable discussions should not be more than 800 words</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">and should indicate the number and title of each individual paper with</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">its abstract. Abstracts may be submitted in either a Microsoft Word</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">document or via a PDF attachment. All proposals should include the</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">name, contact details, institutional affiliation (if any), technical</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">requirements, as well as a short biographical note of not more than</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">100 words of each speaker. The conference language is English.</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">Proposals should be submitted to </span><a href="mailto:soundingout2017@gmail.com" style="font-size: 12.8px;" class="">soundingout2017@gmail.com</a><br style="font-size: 12.8px;" class=""><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">All proposals will be subject to a double-blind review process by the</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">conference’s scientific committee which is comprised of specialists</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">from the disciplines of sound art, visual art and musicology.</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">Applicants will receive notification as to whether their proposal has</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">been accepted by early May 2017.</span><br style="font-size: 12.8px;" class=""><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">The deadline for submissions is 31 March 2017</span><br style="font-size: 12.8px;" class=""><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">Conference Committee</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">Dr Adrian Smith (Conference Chair)</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">Dr Brian Fay (Acting Head of School, Dublin School of Creative Arts, DIT)</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">Dr Mark Fitzgerald (Senior Lecturer, DIT Conservatory of Music and Drama)</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">Dr Noel Fitzpatrick (Head of Research, College of Arts and Tourism, DIT)</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">Dr Kerry Houston (Head of Academic Studies, DIT Conservatory of Music and Drama)</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">Martin McCabe (Centre for Transcultural Research and Media Practice, DIT)</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">Jonathan Nangle (Composer and Senior Lecturer, Royal Irish Academy of Music)</span><br style="font-size: 12.8px;" class=""><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">Scientific Committee</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">Dr Enda Bates (Composer and founding member of the Spatial Music Collective)</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">Dr Brian Bridges (Ulster University)</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">Jennie Guy (Independent Curator)</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">Dr Kerry Hagan (Digital Media and Arts Research Centre, University of Limerick)</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">Fiona Kearney (Director, Glucksman Gallery, Cork)</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">Dr Victor Lazzarini (National University of Ireland, Maynooth)</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">Dr Linda O’Keefe (University of Lancaster)</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">Dr Karen Power (University College Cork)</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">Belinda Quirke (Director, Solstice Arts Gallery, Navan)</span><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">Prof Pedro Rebelo (Sonic Arts Research Centre, Queen's University Belfast)</span><br style="font-size: 12.8px;" class=""><br style="font-size: 12.8px;" class=""><br style="font-size: 12.8px;" class=""><span style="font-size: 12.8px;" class="">For further details please email: </span><a href="mailto:soundingout2017@gmail.com" style="font-size: 12.8px;" class="">soundingout2017@gmail.com</a><div class=""><br class=""></div><div class=""><br class=""></div><div class=""><br class=""></div><div class=""><br class=""><div class="">
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