[ecrea] CFP for Unintelligible: Noise Against Capture--Graduate Student Conference

Call for Papers____

*“Unintelligible: Noise Against Capture”**____*

*APRIL 20-23, 2018**____*

*University of California, Santa Cruz**____*

*Keynote: Jeramy DeCristo (Assistant Professor in American Studies, UC 
Davis)**____*

Since the 1970s, numerous scholars have engaged the discipline of Sound 
Studies through critical frameworks exploring race, class and gender. As 
Kara Keeling and Josh Kun suggest in their 2012 anthology /Sound Clash,/ 
this developing interest in the field of Sound Studies exists alongside 
a larger project in the humanities “to dismantle hierarchies of 
knowledge production and critical thought,” especially among scholars 
working in cultural studies, feminism, queer studies, and critical race 
and ethnic studies (447). Our goal with this conference is to cultivate 
an interdisciplinary understanding of the field of Sound Studies, as 
well as actively contribute to the development of critical research that 
unsettles dominant discourses inside the field.____

To that end we are taking up the ubiquitous sonic trope of /noise/, 
considering its counter-productive character, and asking how it can be a 
tactic for critique against the capture of individuals and communities 
of resistance. Jennifer Lynn Stoever describes noise as a “shifting 
analytic” that “renders certain sounds—and the bodies that produce and 
consume them — as Other” (67). This conference will look at how such 
“Others” are produced by noise—or conversely how noise is an index of 
that process—and how culturally specific forms produce counter-public 
spheres. Can we understand subjects, objects, ideas, and events that 
destabilize normativity to be a kind of noise? Can noise understood as a 
negation in its many derogatory connotations (“disruptive,” “illegible,” 
“unintelligible”) still be productive as a counter-hegemonic device? 
What is the consequence of obscuring the materiality of noise, and how 
do we resist (or at least slow) the impulse to turn noise into a 
metaphor?____

This conference is organized by /Counter-Production: Noise as Critical 
Research, /a UCHRI-funded interdisciplinary working group of sound 
scholars from across the University of California system. We invite 
proposals for 20-minute presentations from graduate students involved in 
multi/trans/interdisciplinary work that approach /sound/ as an area of 
study and that use /noise/ as a tool for critically engaging the arts, 
social-sciences, and humanities. ____

Presentations might explore:____

  * Bodies as forms of noise and disruption.____
  * Cultural, social or physical excess.____
  * How noise can be understood productively in the context of critical
    theories of race, ethnicity, gender, bodies, citizenship, language,
    art, semiotics, psychoanalysis, etc.____
  * “The Sonic Color Line” and other auditory markers.____
  * Recordings of noise in literature, history, or media.____
  * How noise counters essentialist assumptions that people can be
    recognized, comprehended, or understood.____
  * Transnational differences in sounding and hearing.____
  * Noise as a productive process or source in composition.____
  * The way in which language and communication is made noisy, and as
    such is a form of resistance or critical engagement with the world.____
  * Materialisms of Noise (Historical, Feminist, New)____
  * The relation between noise and a politics of consent.____

We encourage scholars from all disciplines to apply with the following:____

  * Brief Biography____
  * 250 word abstract + keywords____
  * Any media requirements____

We especially encourage queer, trans, people of color, working class, 
disabled and other underrepresented scholars in the field of Sound 
Studies to apply, and scholars whose work addresses related structural 
inequalities.____

Please email proposals to: (unintelligiblenoise /at/ gmail.com) 
<mailto:(unintelligiblenoise /at/ gmail.com)>____

We ask for submissions by January 7, 2018.____

We will contact applicants no later than February 1, 2018.____

/////____

/Works Cited:/____

  * Keeling, Kara and Josh Kun, editors. /Sound Clash: Listening to
    American Studies/. Baltimore, Johns   Hopkins, 2012.

  * Stoever-Ackerman, Jennifer. "Splicing the Sonic Color-Line: Tony
    Schwartz Remixes Postwar Nueva York." /Social Text 102/, vol. 28,
    no. 1, Spring 2010, pp. 59-85.____


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