Huddersfield July 8th -9th 2017
Submission deadline: February 24th 2017 (registration will open in early February)
Conference website: https://inclusivesoundspaces.wordpress.com/blog/<http://inclusivesoundspaces.wordpress.com/blog/
Conference email: AISSinfo@hud.ac.uk<mailto:AISSinfo@hud.ac.uk
This conference invites critical discourse on the activation of sound spaces in relation to gender, race, culture and identity. We will host performances, sound installations, short position papers and critical scholarly works that explore how industrial, non-industrial and individual music/sonic practices appropriate and shapes sound and technology.
A significant amount of data (presented on festivals, labels and clubs, union membership, academic conference attendance, and course application statistics) concretely demonstrates that our music and sound industries are predominantly male and ethnically homogeneous (white). Research has shown how assumptions are made about who is associated with digital music and sound production practices, raising fundamental questions about how our environments and communities influence and shape our music and sound practices and industries.
Special guest speakers include Professor Pamela Burnard and Mira Calix.
For those with access to institutional funding, the delegate fee is £50
This event is free to anyone without access to institutional funding due to support from Athena Swan (The University of Huddersfield).
In addition to this, if you do not have institutional support you can apply for a travel/accommodation/child care bursary. Funds are limited and so we encourage postgraduates and post docs to seek institutional support first.
The event will include sound installations, performances, sandpit conversations and paper sessions in order to bring together a range of voices for meaningful exploration of issues, leading to a special edition publication and new research collaborations.
We encourage submissions from:
– Independent practitioners: anyone creating/producing/performing sound works.
– Activists engaged in strategies for influencing change.
– Scholars (musicologists, sociologists, pedagogists) who offer an academically critical perspective, framed by gender studies, queer theory, and race.
– Educators engaged in music technology curriculum delivery or development
– Industry (Sound and music interface development, festivals, clubs, studios, media production, audio development, music journalism).
Understanding challenges to diversity and access to music and sound technology institutions: documenting evidence of inclusive and exclusive spaces
Strategies that disrupt institutional spaces
Defining institutions and spaces of music and sound technology
Feminist perspectives on music technology paradigms
Men and masculinity in sound and music technology
Creating social change and mobility for better access to all fields of music and sound technology
Performances – 15 to 30 minutes:
Please submit a 200 word introduction to your practice and a brief 200-500 word outline of your performance work (with examples) and a summary of your technical requirements. These word limits are guidelines but we do ask that you communicate your intentions concisely with associated links.
Though we cannot pay for performances, thanks to Athena Swan funding we will offer expenses of £100 for up to 5 performers (in addition to the bursary outlined above).
Fixed sound installations – to run continuously for two days.
We invite fixed and interactive media installations/electro acoustic works for 1 to 8.1 speakers (or other equipment you provide). Please submit a 300 word abstract (word count not including references) and technical details for performance. Works that responds directly to or engage with the following thematic points will be prioritised.
Papers– a) 20 minute academic papers or b) 10 minute position papers (which might be grounded in personal practice or activism).
Please submit a 300-500 word abstract (word count not including references) stating clearly if you are submitting a or b.
Work that responds directly to or engage with the following thematic points will be prioritised:
– how do individuals and communities disrupt, transform or subvert established spaces/practices, and facilitate intersectionality, inclusivity and emancipation;
– are social structures shaping a gendering of music technology and sound fields, if so how?
– have music and sound technology institutions become gendered, and if so in what ways?
– what can be offered through a critical perspectives on men and masculinities in sound and music technology fields.
– how do individuals and communities navigate gendered spaces in these practices.
– how does a gendered environment influence personal, institutional, technological, cultural and sonic change;
– how can music production and education institutions influence diversity, impact on the range of people that access and in turn, shape them?