School of the Art Institute of Chicago - Sound Art Theories Symposium 2011
The Sound Arts Theories Symposium (SATS) presents a selection of current theoretical work in the area of sound art. Recent work in sound art theory is multi-faceted, which is why the title above is in the plural. The symposium is particularly interested in presenting papers that focus on critical approaches to sound art that are not necessarily nor primarily related to music. These could include, among many other possibilities, philosophy, gender studies, politics, semiotics, relational aesthetics, narrativity, as well as relationships to studies in the visual arts, architecture, cinema, literature, digital media, etc.
There are four invited presenters:
Christoph Cox, Professor of Philosophy at Hampshire College and a faculty member at the Center for Curatorial Studies, Bard College.
PRESENTATION TOPIC: “Hearing-Things: Sound Art, Phonography, and Materialism”
An argument that sound art begins with the invention of the phonograph and the recognition that hearing is a machinic activity that ought to be extended beyond human beings to encompass inanimate things.
Seth Kim-Cohen, Visiting Artist in the Sound Area at the School of the Museum of Fine Arts, Boston.
PRESENTATION TOPIC: “Burden Bangs Joy: Rock and Roll Aesthetics vs. Sound Art”
Let’s remove the “vs.” between rock and roll and sound art. Better yet, let’s discount and decanonize the categories themselves.
David Grubbs, Associate Professor in the Conservatory of Music at Brooklyn College, CUNY.
PRESENTATION TOPIC: “‘Remove the Records from Texas’: Parsing Online Archives”
What does it mean for listeners to encounter sound archives — and for many listeners, to feel that they have come to know this work — in the form of streaming or downloadable audio? How are digital collections such as these affecting our experience of the category of “archive”?
Salomé Voegelin, Senior Lecturer in Sound Arts and Design, London College of Communication.
PRESENTATION TOPIC: “Sonic Possible Worlds”
Treating sound and music as ‘possible worlds’ in the sense put forward by modal philosophy and explored in literary criticism. Both regard possible worlds as theoretical entities that are used as a point of departure from assumed states of affairs. Their consideration allows an exploration of how things might be rather than how they are.
Allen S.Weiss, the Departments of Performance Studies and Cinema Studies at New York University.
PRESENTATION TOPIC: “Sonic Danse Macabre”
The invention of sound recording technologies inaugurated the possibilities of both hearing the voices of the dead and manipulating the voices of the living beyond their physical limits; whence the origins of modern sonic monsters, and the exponential increase in the forms of monstrosity.
See the “Presenter Bios” tab for more information about our invited presenters.
SATS 2011 takes place over two days, November 5 and 6, 2011. There will be three presentation panels per day, with Q&A and roundtable discussions. Complete schedule will be posted soon. Several ancillary programs by Chicago artists and organizations will also be available to attendees.
SATS 2011 is organized by adjunct professor Lou Mallozzi for the Sound Department of the School of the Art Institute of Chicago.
Click here to register!