Von: Martin Supper
Datum: 3. Oktober 2012 12:37:56 MESZ
Organised Sound: An International Journal of Music and Technology
Call for submissions
Volume 19, Number 1 (publication date April 2014)
Issue thematic title: Sonification
Guest editors: Margaret Schedel (gem@schedel.net) and
David Worrall (worrall@avatar.com.au)
Submission deadline: 1 June 2013
In recent years auditory display, sonification and audification have entered the public consciousness. Examples of effective data sonification can be found in research fields as diverse as seismology, traffic control and biomedicine. The recent publication of The Sonification Handbook[1] provides a contemporary introduction to an interdisciplinary practice that frequently crosses the boundaries between sound design, music composition, cognitive psychology and, more recently, analytical and computational musicology.
Many of the sonifications covered in the popular press reduce the data by forcing the sonification to conform to western scales and regular rhythm. For instance the BBC covered the sound of the newly discovered Higgs Boson particle (http://www.bbc.co.uk/news/science-environment-18785232) which is a simple piano solo. Timbral, or electoacoustic music can perhaps represent the data much more accurately.
This current themed issue of Organised Sound aims to explore and document current musical practices and innovations in this new sonic space. Most publications have focused on how sonification is performed or why sonification works. However, whenever there is mapping from one kind of data to another, aesthetic decisions are being made. Have composers been sonifying all along? If so, have audiences been listening as if that’s the case? How can electroacoustic music studies advance this interdisciplinary field?
Topics for investigation might include, but are not restricted to:
* Aesthetic differences between auditory display, sonification and audification and (electroacoustic) music
* Conceptual/perceptual frameworks for current and continuing research
* Music cognition, sonification and embodiment
* Aesthetics/philosophy of sonification
* Is sound design sonification?
* Can data be music? Can music be data?
* New tools and techniques that are being used and explored (e.g., from an aesthetic viewpoint)
* Emerging hybrid art forms
* Challenges in combining science and art, e.g., finding a common language
* Balancing artistic desires with clarity of data presentation
* Composition, performance, reception of works involving data sets
As always, submissions related to the theme are encouraged; however, those that fall outside the scope of this theme are always welcome. Submitted papers may be supported with audio and audio-visual material, which, if selected will be presented as part of the journal’s annual DVD-ROM and online.
SUBMISSION DEADLINE: 1 June 2013
SUBMISSION FORMAT
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: os@dmu.ac.uk , 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
Organised Sound
Clephan Building
De Montfort University
Leicester LE1 9BH, UK.
Editor: Leigh Landy
Associate Editors: Ross Kirk and Richard Orton
Regional Editors: Joel Chadabe, Ricardo Dal Farra, Lonce Wyse, Eduardo Miranda, Jøran Rudi, Margaret Schedel, 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, Mary Simoni, Martin Supper
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[1] http://sonification.de/handbook/
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