Von: Martin Supper
Datum: 30. Mai 2012 10:00:29 MESZ
Organised Sound: An International Journal of Music and Technology
Call for submissions
Volume 18, Number 3
Issue thematic title: Re-wiring Electronic Music
Date of Publication: December 2013
Publishers: Cambridge University Press
Issue co-ordinators: John Richards (firstname.lastname@example.org)
A new community of ‚makers‘ has emerged in electronic music. These makers are not content with using off-the-shelf ‚instruments‘, but seek to create their own devices and systems to generate sound. Initially this would seem to have transpired through the need to personalise and critique our relationship with ever increasing esoteric and corporate technologies. There is a focus on the handmade, a DIY (do-it-yourself) ethos, working directly with materials and craft, raw analogue and hybrid electronics, and found sound and noise.
But the electronics are only part of a bigger picture. Doing it yourself requires knowledge and inadvertently this has created forums to exchange and share ideas and information. It is more a case of DIT (doing-it-together). The Internet has provided a depository of ‚HowTos‘, whilst the workshop has physically brought like-minded people together from a range of disciplines to foster a new artistic practice. The boundaries between instrument making, composing and performing have become increasingly blurred to reveal an overriding process and participatory approach that is as much about socio-political concerns as electronic music. The bringing together of practitioners into a realm of shared experiences has highlighted the importance of collective music making and has encouraged the rise of the large electronic music ensemble. This in-the-momentness has also placed an emphasis on the live as opposed to the recording. By starting from the ground up, in the very essence of how a sound is made, there is also a predisposition towards exploration and invention resulting in a truly experimental practice.
Running parallel with the ephemerality of the live performance, shared experiences and sound making are the physical things that are left behind: sound artefacts, instruments, circuits and assemblages where sound and the plastic arts meet. Are these devices like musical scores or documents of the artistic process, or works of art in their own right? This issue of Organised Sound thus encourages a broad submission from artists and theorists whose work relates to and investigates, amongst others, the following topics:
· DIT (do-it-together)
· Craft through electronics
· Workshop practice
· Composing ‚inside‘ and ‚outside‘ electronics (post-Tudor)
· Found sound and noise
· DIY approaches
· Large group electronic music
· Sound objects and materialism
· Electronic music as social practice
As always, submissions related to the theme are encouraged; however, those that fall outside the scope of this theme are always welcome.
SUBMISSION DEADLINE: 1 February 2013
Notes for Contributors and further details can be obtained from the inside back cover of published issues of Organised Sound or at the following url:
http://journals.cambridge.org/action/displayMoreInfo?jid=OSO&type=ifc (and download the pdf)
Properly formatted email submissions and general queries should be sent to: email@example.com, not to the guest editors.
Hard copy of articles and images (only when requested) and other material (e.g., sound and audio-visual files, etc. – normally max. 15′ sound files or 8′ movie files) should be submitted to:
Prof. Leigh Landy
De Montfort University
Leicester LE1 9BH, UK.
Editor: Leigh Landy
Associate Editors: Ross Kirk and Richard Orton
Regional Editors: Joel Chadabe, Lonce Wyse, Eduardo Miranda, Jøran Rudi, Barry Truax, Ian Whalley, David Worrall
International Editorial Board: Marc Battier, Hannah Bosma, Alessandro Cipriani, Simon Emmerson, Kenneth Fields, Rajmil Fischman, Rosemary Mountain, Tony Myatt, Jean-Claude Risset, Margaret Schedel, Mary Simoni, Martin Supper