THEMES FOR ACADEMIC PRESENTATIONS

Academic papers engaged, but were not limited to, the following indicative topics and themes. The papers, performances, and presentations addressed them from a variety of perspectives, including: visual-art practice; visual-art history, theory, and aesthetics; sound-art practice; sound-art history, theory, and aesthetics; music; performance, TV, theatre, and film studies; pedagogical studies; cognitive science, psychology, and medicine; archivism and museum and gallery studies; and technology:

°       sound art and audience reception

°       developing a common language for a discourse between sound and visual practice

°       ekphrastic responses to and by visual, sound, and text-based arts

°       no discipline has a monopoly on itself

°       analogues: silence and blankness

°       sound and ‘the dematerialization of the art object’

°       sound and language

°       sound art and ecology

°       sound as a sculptural ‘material’

°       sound as image/image as sound

°       teaching and researching sound art

°       the distinctive ways in which visual artists use sound and musician and sound artists use images

°       the installation, presentation, and performance of intermedial art works

°       the visual dimension of musical performance

°       the visuality of musical instruments

°       capture and archiving: recording and conserving sound art works, performances, and presentations.

°       Duchamp and Cage

°       musician-painters, musician-poets, and poet-painters

°       sound-art practitioners

°       sound art and gender

°       sound art and women artists/composers

°       image and sound/deafness and blindness

°       synaesthesia

°       sound art and the body

°       the motivations and obstacles to, and the psychology of, intermedial and bi- and tri-medial practices

°       the relationship between visual and auditory perception.

°       early electronic and electromechanical devices

°       sound in performance art and other ‘established’ forms

°       image and sound in cinema

°       integrations of visual and sound-based practices prior to modernism

°       revisiting the ‘sister arts’ in the twenty-first century

°       socio-political perspectives on sound art

°       sound in art schools since the 1960s

°       sounds inspired by images/images inspired by sounds

°       the industrial and digital revolutions

°       adapting old and inventing new instrumentation

°       software programs to facilitate, integrate, and teach sound-art practice

°       collage as method and metaphor

°       phonography and photography

°       returning to feedback

°       static sound/kinetic images

°       sound and space

°       the challenges and limits of learning and adapting to a new discipline

°       the relationship between contemporary sound-art practices and other forms of audio-visual fusion,
        such as cinema, television and video, theatre, music theatre, and opera

°       visual cartography and sound mapping

°       when an image or a sound or a text, alone, is not enough.