It’s not exactly data sonification (my Feb. 7, 2014 posting about sound as a way to represent research data) but there’s a call for papers (deadline March 31, 2014) for a conference focused on curating sound art. Lanfranco Aceti, an academic, an artist and a curator whom I met some years ago at a conference sent me a March 20, 2014 announcement,
OCR (Operational and Curatorial Research in Art, Design, Science and Technology) is launching a series of international conferences with international partners.
Sound Art Curating is the first conference to take place in London, May 15-17, 2014 at Goldsmiths and at the Courtauld Institute of Art [both located in London, England].
The call for paper will close March 31, 2014 and it can be accessed at this link:
The conference website is available at this link: http://ocradst.org/soundartcurating/
I did get more information about the OCR from their About page,
Operational and Curatorial Research in Contemporary Art, Design, Science and Technology (OCR) is a research center that focuses on research in the fine arts. Its projects are characterized by elements of interdisciplinarity and transdiciplinarity. OCR engages with public and private institutions worldwide in order to foster innovation and best practices through collaborations and synergies.
OCR has two international outlets: the Media Exhibition Platform (MEP), a platform for peer reviewed exhibitions, and Contemporary Art and Culture (CAC), a peer-reviewed publishing platform for academic texts, artists’ books and catalogs.
Lanfranco Aceti is the founder and director of OCR, MEP and CAC, and has worked in the field for over twenty years.
Here’s more about what the organizers are looking for from the Call for Papers webpage,
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
Chairs: Lanfranco Aceti, Janis Jefferies, Morten Søndergaard and Julian Stallabrass
Conference Organizers: James Bulley, Jonathan Munro, Irene Noy and Ozden Sahin
The event is supported by LARM [Danish interdisciplinary radiophonic project; Note: website is mixed Danish and English language], Kasa Gallery, Goldsmiths, the Courtauld Institute of Art and Sabanci University.
With the participation and support of the Sonics research special interest group at Goldsmiths, chaired by Atau Tanaka and Julian Henriques.
The event is part of the Graduate Festival at Goldsmiths and the Graduate research projects at the Courtauld Institute of Art.
250 words abstract submissions. Please send your submissions to: email@example.com
Deadline: March 31, 2014.