Open Call: 'Sound Art'

Open Call: 'Sound Art'

Guest editor: Juan Reyes

Submissions deadline: April 30, 2018

 

A dogmatic definition of sound art lists expressions that approximate sound to an object and matter in works presented in galleries and museums, but will this be a comprehensive definition and does it group a variety of manifestations related to auditory perception, or does it restrict them? The purpose of this dossier is to expand on the possible practice of a supposed  “sound art,” a term that we are currently borrowing. Aware that art forms are structured as a reflection of the fluctuation between socio-cultural, scientific and technological movements, expressions related to sound are —not— simply a conglomeration of components resulting from chaos or chance. Rather, they exemplify updated samples of creative possibilities.

Thanks to systems of reproduction, diffusion, amplification, storage and memorization, the dissection of the acoustic phenomenon transposes the imagination of the tactile and visual element to the sense of listening. However, opportunities for exposure that make the most of sound also arise from the inheritance of structures related to an “open work” as work with an indirect message that is constantly evolving and moving. The presentation of artifacts or body movements that produce sound refers to echoes and resonances that are deciphered with symbols and connections representing images that are not so much visual in the mind, but rather no more than spectra of waveforms and timbres with harmonics or partials.

If we talk about sound, we talk about symbols and grammars, the reading of acoustic manipulation being the interpretation of a plethora of possibilities that are perceived with the ear and sometimes with the other senses. If there are objects that produce sound, the sound encourages them by creating spontaneity and transcending from live performances, since acoustics emanates from the passage of time. Therefore, thinking about sound art is to think about lengths and, consequently, its interference in space, surpassing the limits of tridimensionality. In this call, we welcome the contrasts and intersections, either superficial or deep, regarding musical expression. What is the role of instruments or gestural interface in open works? Will there be room for a revaluation of the composition process in both arts? Is the concert a suitable format for presenting sound manifestations or even new music?  

 

Reflection on sound art

Narratives in reference to history

Descriptions about sculptures, installations, objects or other manifestations of this art form

Space and movement with sound sources

Forms of concert and architectures for the presentation of performances with sounds

Intersections and contrasts between music and sound art

Role of the instrument or new interfaces

Sound is played: gesture control, haptic and tactile

Technical aspects of the acoustic phenomenon

Performance and spontaneity with what makes sounds

Poetics and aesthetics of aural expression

Poetry and listening

Radio art

Electronic and acoustic circuits

Mediatization, reproduction, transmission and diffusion of sounds

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