[Commlist] CFP - International Conference Powers of Sound

POWERS OF SOUND:

1st INTERNATIONAL CONFERENCE ON SONORITIES RESEARCH

June 5th to 7th, 2019

Universidade Federal de Santa Catarina, Florianópolis, Brazil

www.sonoridades.net <http://www.sonoridades.net/>

A man with a loudspeaker is more imperialistic than one without

because he can dominate more acoustic space”

(R. Murray Schafer, The Soundscape)

The 1st International Conference on Sonorities Research - Powers of 
Soundis an initiative by the Image, Sonorities and Technology Studies 
Group (GEIST), formed by researchers from six Brazilian institutions: 
UFSC, UFES, IFRS, UFRGS, UNISINOS and UFF. The initiative seeks to 
promote and develop discussion of sound and its intersections with 
related fields – Technology, Audiovisual Media, Music, Anthropology, 
History, Philosophy, Communication, Economy, etc – through a 
multidisciplinary perspective, in different countries, expanding the 
reach of the Sound Studies field in Brazil in dialog with foreign 
institutions and researchers.

The possibility of sounds that never stop sounding or sounds that are 
heard without us being able (or needing) to identify their origins 
transforms the act of listening to and creating sounds into a relation 
of power. Contemporary society not only fills the environment with an 
incalculable number of new and powerful sounds, but simultaneously 
inserts these sounds into modes of producing sense. In a moment of 
ideological hardening where the state and society have seen often 
violent disputes, sound has been shown to be an efficient instrument of 
control and of the infliction of damage upon people and objects. Sounds 
work with identities, whether in groups or individually; sounds 
configure relations of power, among individuals or institutions; sounds 
unveil historical structures of production; sounds are essential 
components of the entertainment industry; sounds cause pain and death 
and pleasure.

More than an object of research, sound should be thought of as an 
instrument and as a method of investigation, as a mediator among 
different models of listening and the relations of power, economy, 
culture, aesthetics etc. that are constructed from those previously 
mentioned phenomena. With this breadth in mind, the Powers of 
Soundconference emphasizes materialities of sound — those that mobilize 
practices of listening and sounding, or the artifacts and devices, 
technological or not, that shape and make potent what can be 
accomplished with sounds. For this first edition of the conference – to 
be held at UFSC, Brazil, from June 5th to 7th, 2019 – we invite 
researchers from across the globe for a three day discussion, arranged 
in working groups with specific research themes, roundtables with 
invited experts and international keynote speakers, and the exhibition 
of sound performances relevant to the main theme of the conference.

Presentations will be organized according to the following themes:

a) Sound media archaeology

b) Sound, affect and signification

c) Sound technologies and sociocultural practices

d) Sound and culture

e) Sound art

Researchers, professors and undergraduate and graduate students can 
participate as attendees or presenters. The abstracts must have: up to 
300 words; 3 to 5 keywords; affiliation and degree of the authors; 
suggestion of the theme it fits within (see below); written in 
Portuguese, Spanish or English. They are to be received by February 8th, 
2019, and submitted to (cipspoderesdosom /at/ gmail.com) 
<mailto:(cipspoderesdosom /at/ gmail.com)>. Detailed information about 
registration and submission can be found on the eventwebsite 
<http://sonoridades.net/>.

Streams descriptions:

Sound media archeology:This perspective takes a careful look at “sonic 
objects” and its materialities. It includes the study of sound devices 
in their machinic specificity and within the creation of a logic 
inherent in the context in which they are used, problematizing 
sociocultural approaches that tend to abstract or refuse aspects of the 
physicality of objects. This streamwill accept proposals that deal with 
different technological configurations, different sound apparatuses and 
their particular existence in a given mediatic ecology.

Sound, affection, and significance: This stream concentrates researches 
that investigate the sounds both as text and force, aiming for 
possibilities of convergence between their somatic and cognitive 
dynamics. Thus, it intends to understand the interfaces between what a 
sound can do and what it can mean, with an emphasis on its aesthetic 
dimension. We accept papers that promote analyzes of musical and sound 
works, both from a hermeneutic perspective, and those that elicit the 
effects of sonic vibrations on the bodies of their producers and listeners.
Sound technologies and sociocultural practices:Technologies can be 
understood as a set of solutions developed and crystallized in different 
objects designed to perform certain tasks. This definition may be 
extended to incorporate the protocols and pragmatics cultivated in 
certain human activities that, although not depending on specific 
machines, propose an organization of actions and a certain logic 
internal to those processes. Technologies are not dissociated from 
sociocultural phenomena, but sometimes propose an autonomous and 
uncritical discourse about their own functioning. This stream intends to 
discuss different aspects of these relations.
Sound and culture: Sounds are mediators of social and cultural 
processes. This stream deals with sounds as processes and dynamics of 
circulation and symbolic consumption, as well as a means with which 
socialization, transformation, maintenance, cohesion and organization of 
social groups and their respective cultural paradigms takes place. It 
receives papers on sociocultural phenomena from a perspective that 
focuses on sonorities as a central tool for these practices.

Soundart: This stream is concentrated on the emerging field of sound 
art, be it in its aspects of production or experiencing of sonic pieces. 
It receives theoretical papers that critically analyze the tasks and 
experiences related to the making and auditioning of installations and 
sound performances, experimental pieces made from the use of sound 
recordings, radiart, electroacoustic music, as well as poetic works that 
focus the word as sonority, instead of its semantic aspects, etc.


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