[ecrea] The New Soundtrack Journal: Call for Papers | Special Issue: "The Theory of Practice"

/The New Soundtrack/ Journal: Call for Papers | Special Issue: The Theory of

Practice


Are 'tensions' between theory and practice overstated, over-determined,

useful or insightful? In contrast with more traditional theory-focussed

approaches to film studies, film sound studies has usually engaged with the

practical aspects of film and moving image media. For instance, the initial

academic attention to cinema's conversion to sound in the late 1920s and the

early 1930s meant an attention to the interface of technology, 
economics, and

to a lesser extent aesthetics. Key film sound studies publications, such as

Weis and Belton's /Film Sound: Theory and Practice/ (1985), addresses the

deficit of attention to soundtrack aesthetics in film studies, yet (as its

title indicates) still maintains a crucial attention to practice and the 
work

of practitioners. Overall, a significant proportion of subsequent academic

work relating to film sound has paid some attention to the practice and the

production contexts of the soundtrack.


For this special issue, /The New Soundtrack/ seeks writing that accounts for

shifts in thinking and practice about thinking and practicing sound and

soundtracks. Possible themes and topics could include (but are not limited

to):


Theorising practice - articulating new ideas behind the practice of making

and shaping a soundtrack


'Listening' forward - how might new practices (afforded by new technologies)

update our understanding of sound theory?


'Listening' back - how might new theories update our understanding of

historical sound practice?


What does it mean to 'do' theory and to 'think' practice in relation to 
sound

design?


Teaching and pedagogy - is teaching sound theory really different to 
teaching

sound practice, and in what ways? Is separating theory and practice helpful

or not? How? Why?


We are looking for papers of between 6,000 - 8,000 words, which will be

subject to peer review. We are also interested in shorter pieces of writing

(between 2,000 and 3,000 words), taking the form of interviews, reports,

creative writing pieces, manifestos, 'think pieces' and provocations.


Please send short proposals (150-500 words) by 11th of July 2016 to Dr Nessa

Johnston ((nessa.johnston /at/ edgehill.ac.uk) 
<mailto:(nessa.johnston /at/ edgehill.ac.uk)>) and Dr Philippa Lovatt

((philippa.lovatt /at/ stir.ac.uk) <mailto:(philippa.lovatt /at/ stir.ac.uk)>). Please 
indicate in the proposal what length and

form the proposed piece will take.


Subject to acceptance, the deadline for completed pieces will be 1st of

October 2016.


--------------


The next issue, 6.2 published in September 2016, features


Photographic Sound Art and the Silent Modernity of Walter Ruttman's 
/Weekend/ (1930)

Andy Birtwistle


The Spatial Politics of the Voice in Patrick Keiller's/Robinson in 
Ruins/ (2010)

Paul Newland


The Undersea World of the Sound Department: The Construction of Sonic 
Conventions in Sub-aqua Screen Environments

David Malcolm Chapman


The Magic of the Space: An Interview with Niall Brady and Steve Fanagan 
about /Room/ (2015)

Nessa Johnston


Spontaneous Composition for Screen: linear and non-linear improvisation 
for instruments and electronics

Yati E. Duran


Sound, Space, Gravity: A Kaleidoscopic Hearing (Part 2)

Dong Liang


For more information about subscribing or submitting articles, go to

http://www.euppublishing.com/journal/sound


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