[Commlist] CFP: Sound Affects: A User’s Guide (A co-edited collection)

Dr Sharon Mee and Mr Luke Robinson are seeking keyword-essays for our 
proposed book: Sound Affects: A User’s Guide Sound Affects is a 
collection of sonically charged concepts ranging from the onomatopoeic 
(buzz, creak, knocking, rustle), to the material (groove, hum, vibrate), 
to the spectral (echo, feedback, the nearly inaudible, the 
not-so-quiet), to the bodily (cackle and snort, cry). Taking Yve-Alain 
Bois and Rosalind E. Krauss’s Formless: A User’s Guide (1997) as a 
model, Sound Affects invites the reader to reflect on the ways that 
sounds produce affects and the ways that affects can operate as sound. 
Each of the essays in Sound Affects will develop a particular 
perspective on sound and affect through a close analysis of audio-visual 
and/or sonic objects. The object chosen needs to not only illustrate the 
concept in question but also demonstrate how the object encourages us to 
rethink the relationships between sounds and affects. Influenced by the 
sound theory of Eugenie Brinkema (2011), the concepts of Sound Affects 
plot the shift in volume from the nearly inaudible to the audibly near, 
from the audibly near to the deadly silent. Sound Affects is an 
intellectual adventure for those who theorise and listen. The book can 
also be enjoyed as a narrative of sounds, its absences, and its shifting 
intensities. We are seeking potential contributors to submit a proposal 
which includes a 300-350 word abstract to (sound.affects.guide /at/ gmail.com) 
by the 15th August 2020. Selected contributors will be asked to write a 
5000-6000 word essay (including bibliography) on their chosen keyword. 
The essay is to be submitted to the editors by 1st March 2021. A major 
publisher in sound and affect theory has shown an interest in the 
co-edited collection. We have already received proposals for knock, 
crack or rustle, buzz, distortion, acoustic shadow, scream, pulse, and 
disembodied voice so we would encourage interested scholars to think 
beyond these concepts. We welcome contributions from scholars with 
expertise in theories of sound and affect, and hope to include 
contributors from scholars from diverse cultural backgrounds that are 
underrepresented in academia. Please submit proposals as Word document, 
with title, 300-350 word abstract, researcher’s full name, title, 
institutional affiliation (if possible) and short bio (max 100 words). 
The abstract should: •       Clearly state the keyword of your essay
 
•       Articulate how the keyword invites a reader to reflect on how 
sounds produce affects and also the ways that affects can operate as 
sound
 •       Identify the audio-visual and/or sonic object(s) chosen 
for the essay
 •       Describe how the audio-visual and/or sonic 
object(s) chosen not only illustrates the keyword in question but also 
demonstrates how the object encourages us to rethink the relationships 
between sounds and affects
 •       Explain how and why this particular 
keyword is essential for a critical understanding of theories of sound 
and affect
 We look forward to reading your proposals. If you have any 
questions about the co-edited collection, please contact Dr Sharon Mee 
or Mr Luke Robinson at (sound.affects.guide /at/ gmail.com) or via our Facebook 
event page at: https://www.facebook.com/events/190546168948909/ 
Co-editors Dr Sharon Jane Mee is an Adjunct Lecturer at the University 
of New South Wales, Australia. Author of the forthcoming book, The Pulse 
in Cinema: The Aesthetics of Horror (Edinburgh University Press, 2020), 
Sharon’s research interests include poststructuralism and biopolitics; 
rhythm, movement, and affect in early cinema and horror cinema; and 
aesthetics and ethics. Mr Luke Robinson is a PhD student and sessional 
lecturer at the University of New South Wales, Australia. He is also the 
treasurer of the Sydney Screen Studies Network (SSSN) and a video artist 
working with Move in Pictures. Luke’s research interests include classic 
Hollywood film, theories and politics of visibility and invisibility, 
death and disappearance, approaches to film materiality, and theories of 
film sound.
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