Forum für akustische Kunst

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Konferenz: “Musikalische Materialität im Digitalen Zeitalter”

Am 27. und 28. Juni wird an der Universität von Sussex eine Konferenz zum genannten Thema abgehalten. Beiträge werden derzeit gesucht.

Aus dem Aufruf:

“Call for Papers
Musical Materialities in the Digital Age
27-28 June 2014, University of Sussex

Keynote Speakers
Will Straw (Professor, Department of Art History and Communications
Studies, McGill University; Director, McGill Institute for the Study of
Noel Lobley (Ethnomusicologist and Research Associate, Pitt Rivers
Museum, University of Oxford)

Conference outline
Music, while summoning notions of intangibility, transience and loss, is
also associated with material objects that serve to ground the musical,
make the transient permanent and defer loss. Unearthing music’s
association with materiality reveals a fascinating array of artefacts,
including instruments, scores, transcribing devices, sound recordings
and much more. Such artefacts provide vital reference points for
historical research as well as inviting new creative uses, rediscoveries
and (re)mediations. They also add to the ever-growing archives of past
objects, whether stored in ‘physical’ or digital forms. Music’s material
traces serve as vital ways of mediating memory, whether in private
collections or public exhibitions. Furthermore, the use of musical
‘ephemera’ such as record sleeves, programmes, flyers and posters as a
primary means for putting the popular musical past on display in museums
and galleries has highlighted the ways in which such objects are not so
ephemeral after all.

The persistence of musical artefacts and musical materialities following
the period of their initial use value poses interesting questions. What
is the fate of musical artefacts once they become obsolescent? What
becomes of music and its objects once relegated to archives? What is the
role of musical artefacts in helping us to understand the past? What is
the relationship between the physical and the digital in terms of
music’s objects? To what extent does a focus on music’s objects
challenge the idea of music as a social process? Conversely, what role
does musical materiality play in the maintenance and development of
rituals long associated with music? What rituals reformulate musical
materiality? What does the remediation of the musical past via ‘media
archaeology’ have to tell us about present desires, anxieties and needs?
What is the role of museums, galleries, sound archives and libraries in
these processes?

Working from the premise that musical materiality matters, the aim of
this two-day interdisciplinary conference (welcoming papers from media
studies, music studies, cultural studies, museum studies, memory studies
and other cognate disciplines) will be to reflect upon the materialities
of music objects/technologies in the digital age, with an emphasis on:

- Processes of remediation
- Residual media of ‘dead media’
- Cultural waste
- Media archaeology (and particular manifestations relating to sound and
music, e.g. ‘vinyl archaeology’)
- The recycling of memory and material culture
- The digital archive
- The future of music creation and consumption
- Nostalgia and ‘retromania’
- Music as ‘thing’ and/or ‘process’
- Commodification

The contexts of reception, production and circulation of digital objects
as well as existence of residual media and formats (playback devices,
vinyl records, etc.) could be examined. We would welcome papers focusing
on theoretical approaches (considering for instance the meanings and
implications of digitisation), but also papers on particular
case-studies (for instance on specific formats and devices i.e. MP3s,
iPods, etc. or specific creative and consumptive practices). A broader
contextualisation of the historical and technological scapes within
which the issues of materiality and remediation emerge would also be
very useful.

The conference organisers welcome individual papers, proposals for
panels and round table discussions, and proposals for practical
demonstrations/performances related to the themes of the conference. For
individual papers, demonstrations and performances, abstracts of no more
than 300 words should be submitted. Panels and round table proposals
should include a session overview, participant biographies and
description of individual contributions. Abstracts and proposals (as
well as event queries) should be sent to Dr Richard Elliott 
(R.Elliott@sussex.ac.uk) by 14 March 2014.

Conference organisers
Richard Elliott, University of Sussex
Elodie Roy, Newcastle University

Dr Richard Elliott
Lecturer in Popular Music
School of Media, Film and Music
University of Sussex

T: 01273 877271
E: R.Elliott@sussex.ac.uk


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