Date & Location: 28 May 2017 in Victoria 303
Organizer and Chair: Eric Schmaltz (York)
Panel I: Constructive Interferences (8:45am-10:15am)
- Stephen Cain (York), “Schafer and Cage: Soundscapes & Psychogeography”
- Joshua Chong (York), “Written in a Minor Key: Sonic Resonances in Ishmael Reed’s Mumbo Jumbo and Samuel Beckett’s The Unnamable”
- Karl Jirgens (Windsor), “Interference Patterns in the Vibratory Nexus”
- Phil Miletic (Waterloo), “Tender Vibrations: The Vibrational Nexus of Gertrude Stein’s Tender Buttons”
Panel II: Alternate Tunings (10:30-12 noon)
- Lauren Fournier (York), “Conceptual Feminist Vibrations [theorypop]: Auto-Theory as Sonic Practice”
- Oliver Jones (York), “Music for Airport Security”
- Christine Wertheim (California Institute of the Arts), “the s(w)Ounds of viOwlents”
- David Checchetto (York), “An( )Alibic Aurality”
Panel Description: In his book Sonic Warfare (2009), Steve Goodman describes what he refers to as a vibrational nexus, explained thusly: “Vibrating entities are always entities out of phase with themselves. A vibratory nexus exceeds and precedes the distinction between subject and object, constituting a mesh of relation in which discreet entities [ap]prehend each other’s vibrations.” The vibrational nexus is the point at which the sonic engages a plethora of ontological and political terrains. The sonic dimension has profound material and affective impacts on human and nonhuman life. Poets like Lillian Allen, Jaap Blonk, Angela Rawlings, and Jordan Abel; DJs and producers such as A Tribe Called Red, Holly Herndon, and Kode 9; as well as sound artists like Ann Southam, Janet Cardiff, and John Cage have cultivated practices that explore this interdimensional meeting point. Attuned to these various artistic channels, this panel features papers on the material, psychological, and political dimensions of sound and vibration in the arts.
For more information on the conference visit the ACCUTE website.