[ 16. Mai 2020 ]

DEGEM News – NEWS – Organised Sound 26/3 – Call for submissions ‚Collective and Network Sound Practices‘

Von: Martin Supper
Datum: Thu, 14 May 2020
Betreff: Organised Sound 26/3 – Call for submissions ‚Collective and Network Sound Practices‘


Call for Submissions – Volume 26, Number 3

Issue thematic title: Collective and Networked Sound Practices
Date of Publication: December 2021
Publishers: Cambridge University Press

Issue co-ordinators: Garth Paine (garth.paine@asu.edu)
Frederic Bevilacqua (Frederic.Bevilacqua@ircam.fr)
Benjamin Matuszewski (Benjamin.Matuszewski@ircam.fr)

Deadline for submission: 18 January 2021

In modern parlance it is generally acknowledged that the word ’network‘ refers to the digital infrastructure that facilitates intercommunication between computers within an institution, and expands out across the Internet to the rest of the world. This network is perceived as an enabling technology, making possible file sharing, email and the World Wide Web.

Beyond this common acceptance, we focus here on the network as applied in sound-based music or sonic art in its broadest sense. Within this context, this call focuses on the notion that the network is a critical material of the work itself, that is to say that the materiality of the network is so deeply enmeshed with and integral to the entire behavior of the musical practice or artwork, that it cannot be separated out as merely enabling technology or infrastructure. This allows new potentials to emerge that address distributed creative practices, music making or community engagement, reflecting not simply another form of distribution and of communication, but entirely new forms of musical practice and expressivity.

Many artists and researchers working in sound have explored the concept of ‚the network‘, and built on top of it a wide range of musical practices, such as tele-presence performances, telematics artwork, network jamming, streaming and multiuser interactive environments, including large-scale gaming environments. However, this call focuses not on the technical problem, the technology or the software but rather on the emergent phenomenology that arises when engaging the network through a deep enmeshment as a substrate of music making, composing and performing. In this case the network is not only about remote access, but can also be entangled in co-located experiences and emergent musical properties.

We might for example reference Marshall McLuhan’s famous statement about how new technology consumes the forms of the past, and in doing so, transforms them; his proclamation that „the content of a medium is always another medium“; or rethink his ‚hot and cool media‘ within networked artworks which produce the simultaneous experience of wider participation in a high resolution medium.

We might also question notions of rhizome, of flat power structures within large networks, actor network theory or other critical frameworks that discuss interdependence and emergent properties of creation and enactment. One might reflect upon the relations, tensions and emergent behaviors in multiple dimensions of the network, using approaches such as second order cybernetic, systemic or complexity sciences when discussing formal compositional structure or even sound design.

We also welcome contributions that mobilise aesthetic approaches such as systems aesthetics and relational aesthetics, or that develop artistic paradigms about situated, co-located or collective musical interaction where the interface, or the very idea of interaction, may be reconsidered through the relational sound making that emerges from the enmeshed properties of the network.

In summary, we welcome all contributions that consider the network as inherent to the artistic practices and artworks discussed, rather than a simple demonstrator of technological phenomena, and seek submissions that rethink the network as an artistic material, that renounce purely technological discourse in favor of critical discourse about the phenomenology of emergent relations, new forms of collective engagement and new forms of music making.

Topics might include:

Collective music making/performances, utilising networks to undertake

Community smartphone concerts and other embedded computing
Distributed open access concerts
Flash mob concerts
Participatory concerts

Emergent properties of musical networks
Systems aesthetics of network music making
Relational aesthetics of network music making
Artistic research related to collective music practices
Aesthetics related to the material properties of a network in

tele-presence performances,
telematics artwork,
network jamming,
multiuser interactive environments including large-scale gaming environments

AI and emergent properties of a musical network
Critical theory engaged with the evolution of new mediums and emerging practices
Spatial audio techniques using large-scale diffusion over networked devices
Novel relationships between users, environments, and digital media content
Collaborative mobile interfaces and authoring tools
Accessibility or democratisation of concert presentation through mobile technologies
Open ended forms using networks
Non-temporal composition using network features
New forms of interactive installations or VR or augmented reality experiences
Network and embodied interaction / Embodiment

Furthermore, as always, submissions unrelated to the theme but relevant to the journal’s areas of focus are welcome at any time.



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 and other material (e.g., sound and audio-visual files, etc. – normally max. 15′ sound files or 8′ movie files), both only when requested, should be submitted to:

Prof. Leigh Landy
Organised Sound
Clephan Building
De Montfort University
Leicester LE1 9BH, UK.

Accepted articles will be published online via FirstView after copy editing prior to the paper version of the journal’s publication.

Editor: Leigh Landy
Associate Editors: Ross Kirk and Richard OrtonÝ
Regional Editors: Ricardo Dal Farra, Jøran Rudi, Margaret Schedel, Barry Truax, Ian Whalley, David Worrall, Lonce Wyse
International Editorial Board: Marc Battier, Manuella Blackburn, Joel Chadabe, Alessandro Cipriani, Simon Emmerson, Kenneth Fields, Rajmil Fischman, Eduardo Miranda, Rosemary Mountain, Tony Myatt, Garth Paine, Mary Simoni, Martin Supper, Daniel Teruggi