At the turn of the century sound art reached a new level of
visibility with a cluster of high-profile shows and countless
below-the-radar initiatives. Meanwhile, new thinking about sound
has led to an extraordinary proliferation of practices, and in
recent years a phalanx of sound recordists and sonic artists has
emerged to stage a revolutionary coup on behalf of sound, demanding
its right to exist both in and of itself, free of the competing
agendas of music or the visual arts.
The emergence of this new world of audio was accelerated by the
dual technologies of microphony and digital processing, and can be
heard in the examples of acoustic ecology and anthropology; desktop
synthesis; the form-destroying praxes of Noise makers;
Reductionism's amplification of previously occult sound events;
frequency experiments with waveforms and pure tones; and more.
A cluster of recent books on this area has showcased the range
of thinking behind...
Volatile Frequencies: Topologies of Authority,
Technology and Production in Contemporary Middle Eastern Music
Practices : call for papers and performances
NB: Due to request,
the deadline for the submission of
abstracts has been extended to 1 October 2010 and for full paper
submissions to 1 November 2010
The Volatile Frequencies conference seeks to collate research that
translates, mediates and frames practices specific to sonic
disciplines (music, sound art, musicology) arising in relation to
the Middle East and North Africa, and to critically connect with
wider academic currents. It will emphasise current post-graduate
research and scholarly approaches to new sonic practices,
prioritising practice that favours experimental and exploratory
approaches.
Volatile Frequencies will be in conjunction with the first
edition of the MazaJ Festival of Experimental Middle Eastern Music
and is co-produced by Zenith Foundation, Sound And...
The man (men?) in the marshes above is performing a very rare
Position Normal live date at The Outer Church tonight: well worth
checking out I'd say – their self-titled last album, originally
released on tape, was one of The Wire's Top 50 Records of 2009. Our
own Joseph Stannard will be DJing, and best of all, it's free.
And a small competition: if you can identify where
the photo in the great Lila Hunnisett flyer above was taken, email
myself at The Wire, and you'll get some on-the-hoof field
recordings done by myself at an appropriate location.