Openings and Drifts of Sound Art
Aperturas y derivas del Arte Sonoro
"Laocoonte" Revista de Estética y Teoría de las Artes
Published on Monday, February 15, 2021
Abstract
Over the past three decades, the uses and limits of the expression “Sound art” have been the subject of a considerable number of controversies about its definition, its position in relation to the other arts and the art market, its links with emerging technologies and its geopolitical and discursive development. Sound art has been a symptom of some of the fundamental transformations happened in the artistic, aesthetic and sociopolitical field. Without leaving these controversies, this number of the journal Laocoonte poses to follow these topics from the present moment and stressing the openings that are emerging.
Announcement
Argument
Over the past three decades, the uses and limits of the expression “Sound art” have been the subject of a considerable number of controversies about its definition, its position in relation to the other arts and the art market, its links with emerging technologies and its geopolitical and discursive development. Sound art has been a symptom of some of the fundamental transformations happened in the artistic, aesthetic and sociopolitical field.
Without leaving these controversies, this number of the journal Laocoonte (edited by the Spanish Society of Aesthetics and Theory of the Arts) poses to follow these topics from the present moment and stressing the openings that are emerging.
Thus, we want to offer a space in which to generate a thought, trying not to repeat the (pre) dominant discourses and topics so associated to some geographies, in order to respond to the growing role of sound practices. Examples of this are the recent and ambitious exhibitions in great museums, its relevance in art exhibitions and biennials, the proliferation of specialised international festivals or its increasing presence on different virtual platforms.
This sound prominence in the artistic and social field is closely related to the emergence of a materialist ontology- epistemology that moves away from Aristotelian assumptions. From this new materialism, the anthropocentric paradigm is radically questioned and notions such as listening, sound or the development of a new sound community are rethought.
Main topics
The proposals to contribute to this issue of the journal may be adapted to the following topics:
- Discourses on sound art and discursive geopolitics: the predominance of the English-speaking world; discourses of other geographies: Spain, Portugal, Mexico, Colombia, Chile, Argentina, Brazil, Germany…
- The ocular and objective behaviours of the art market and exhibition spaces
- Sound as medium
- Cartographies of the sound environment
- Thinking about the technologies of recording, reproduction and creation of sound: Benjamin, Simondon; Westerkamp…
- The attention to the inaudible: other living things, other organisms, the technological: Christina Kubisch, Jana Winderen….
- The listening to other voices: ‘hybrid’ collectivities and sound ecology
- Sound art in public space: political, aesthetic and artistic practices
Submission guidelines
Submissions/ february 15th – junie 15th 2021
https://ojs.uv.es/index.php/LAOCOONTE/about/submissions
Editors
- Susana Jiménez Carmona (Universidad de Barcelona) susanalyk@gmail.com
- Carmen Pardo Salgado (Universidad de Girona) carme.pardo@udg.edu
Subjects
Date(s)
- Tuesday, June 15, 2021
Contact(s)
- Jiménez Carmona Susana
courriel : susanalyk [at] gmail [dot] com - Pardo Salgado Carmen
courriel : carme [dot] pardo [at] udg [dot] edu
Reference Urls
Information source
- Susana Jimenez Carmona
courriel : susanalyk [at] gmail [dot] com
License
This announcement is licensed under the terms of Creative Commons CC0 1.0 Universal.
To cite this announcement
« Openings and Drifts of Sound Art », Call for papers, Calenda, Published on Monday, February 15, 2021, https://doi.org/10.58079/1613
