Tuning Speculation III, November 20-22 2015
Tuning Speculations III, November 20-22 2015
Plenary Speakers: Anna Munster (University of New South Wales) and Rebeka Sheldon (Indiana University)
Insofar as the technical operations of twenty-first century media describe a level of imperceptible micro-temporal activity that nevertheless impinges on quotidian human life, they can be understood to render/fabricate an insensible world of potential that needn't obey the imperatives of human perception to become practically articulable. Thus, it seems, a shift in the scale of media corresponds to new phenomenological encounters and, indeed, to new understandings of phenomenology itself. Does sound open a particularly promising field of possibilities in this context? Size, after all, is neither an obvious nor consistent notion in sonic economies, and 'higher' and 'lower' orders of complexity are often less relevant than relations of resonance that are as much qualitative as they are spatial or even temporal.
Building on our last two meetings, this conference approaches the techniques of such things as art, play, and even (day)dreaming as radically scalable practices that dramatize the conditional gap between what a life "is" and what it "could be." In other words,when taken as speculative-pragmatic ways of being rather than simply impassive aesthetic activities, certain creative techniques can be understood to articulate imaginary magnitudes of existence that refuse not only a single scale of relation but a single relation of scale. In this respect, the ludic urge that informs art, play, and daydreaming links itself to registers of activity that are more evidently intensive then they are extensive, more expressive and contingent than substantive and determinate.
Thus, we seek contributions from artists and intellectuals who employ their own speculative-pragmatic techniques in order to both interrogate the occult economies of abstraction and to advance forms of critical enquiry that scale between conditional and factual modes of being. While several approaches can catalyze such speculations, we propose to concentrate on sounding art—broadly understood—in order to leverage the fated semiotic parasitism, differential production, relational expression, and perceived multiplicity that informs such practices. However, alongside such concentrating we also welcome various reflections on sonodistractions, phonochaosmosis, rhythmanalysis, harmelodicprescience, audio pragmètics, chronoportation, h/Hypermusic and other invocations of impossible, imaginary, and/or inaudible aural (dis)encounters.
Please send an abstract (maximum 250 words) and short bio to email@example.com by 15 August 2015. Notification of acceptance will be given in early September.