Von: Martin Supper
Datum: 15. September 2011 08:59:12 MESZ
Organised Sound: An International Journal of Music and Technology
Call for submissions
Volume 18, Number 1
Issue thematic title: Audiences and Participants
Date of Publication: April 2013
Publishers: Cambridge University Press
Issue co-ordinator: Lonce Wyse, National University of Singapore (firstname.lastname@example.org )
With roots that can be traced back at least as far as Cage’s composition classes in the late 1950’s, composers and sound artists now systematically design ways for audiences to participate aurally, visually, and physically – welcoming them in to playing an active role in their own (and their neighbour’s) experience of sounding artwork.
The „open“ forms composers explore to share decision making responsibilities with performers already challenge notions of a work’s identity, push notation into new realms, and question the primacy of virtuoso performance. Audience participation is even more disruptive to musical traditions given the absence of rehearsal, the lack of trained skills in reading notation, in listening, and in collectively creating form and structure that „naïve“ audiences introduce to the participatory work.
>From sensor-enhanced audiences to participatory scoring, from Deep Listening (and playing) to artist-led workshops, from installation works to sound toys and circuit-bent devices, from web-mediated engagement to urban sound walks, audience-navigated experiences of sound are now ubiquitous features of the sonic arts landscape. A variety of active listening skills are being shared and developed, and an understanding of important audience competencies and methods for making these participatory activities successful is growing.
In her recent book Sounding New Media, Fran Dyson motivates a sono-centric approach to understanding ’new media art‘ because of its characteristically immersive and interactive qualities (not to mention the fundamental role of sound). The convergence of visuality, aurality, physicality, and interactivity push new questions about the theory, aesthetics, and experience of sound.
Networks and communications devices engage audiences in new „acousmatically dislocated“ ways. Max Neuhaus’s „Broadcast works“ used sounds collected from the audiences calling in to create musical content during radio broadcasts as early as 1966 emphasising dialog and connections beyond „sounds themselves“, themes that he and other artists have pushed much further with the arrival of the Internet. Social networks facilitate both real-time and non-real-time involvement of participants. In Jason Freeman’s Graph theory, for example, the on-line community helps to compose works that are then punctuated with performances in concert halls.
Mobile phones have been instrumental in engaging audience members whether collocated in the concert hall as in Golan Levin’s Telephone Symphony, or geographically dispersed as in Atau Tanaka’s Net_Dérive. „Locative“ audio and media in public places involves audiences at least to the level of physical navigation, and often in deeper ways such as contributing location stamped sound recordings. Equipped with accelerometers, gyroscopes, GPS, touch screens, the ability to collect as well as deliver sound, and always within reach of their skilled users, these devices are changing the way audiences experience and participate in sonic artworks.
Electroacoustic music is perhaps most distinguished by its openness to all sound. However, it is now situated in a media art and performance context through which other revolutionary winds have swept which cannot be ignored in its theorisation. The question might be posed: is the term, audience, actually the right one in these new contexts? Scholars in media and sonic arts are encouraged to contribute research on any of the following topics (or other related ones):
• Aesthetics and phenomenology of engagement
• Developing audiences
• Audience sensing and instrumentation (video, biophysical, mobile devices, lasers, instruments)
• ‚Naïve‘ performers and musical behaviour
• Sonic Device art
• Balancing predetermined and improvisational aspects
• Historical roots
• Repeatability – listening to the same piece twice
• Multiple audiences: participating and non-participating, present and non-present, collocated and dispersed
• Private vs. public experiences
• Audiences and space (auditoriums, galleries, cities, the web)
• Installations and locative work
• Musical games
• Guided walks, performances, and workshops
• User-generated content
• Social media and non-real-time web-based audience involvement
• Design principles for audience interaction
• Communicating with the audience: Open form, real-time scores and notation
• Computer Supported Collaborative Play
• Democratisation and control
• Acoustic ecology and community
• Analysis of audience interactive works
As always, submissions related to the theme are encouraged; however, those that fall outside the scope of this theme are always welcome.
Deadline for submissions is 15 June 2012. Submissions consist of papers, with optional supporting short compositions or excerpts, audio-visual documentation of performances and/or other aspects related to your submission that can be placed onto a DVD and the CUP website for „Organised Sound“. Supporting audio and audio-visual material will be presented as part of the journal’s annual DVD-ROM which will appear with issue 18/3 as well on the journal’s website.
SUBMISSION DEADLINE: 15 June 2012
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:
(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, Margaret Schedel, Barry Truax, Ian Whalley, David Worrall
International Editorial Board: Marc Battier, Hannah Bosma, Alessandro
Cipriani, Simon Emmerson, Kenneth Field, Rajmil Fischman, Rosemary
Mountain, Tony Myatt, Katharine Norman, Jean-Claude Risset, Mary Simoni, Martin Supper, Daniel Teruggi