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Currents in Electronic Literacy (2011) - Writing with Sound
full name / name of organization:
Digital Writing and Research Lab - The University of Texas at Austin
Currents in Electronic Literacy (ISSN 1524-6493) solicits submissions related to the theme below. Submissions are due on Monday, January 10, 2011.
Spring 2011 issue: Writing with Sound
Today we live in a society defined--in many senses, and by almost all the connotations associated with the word as well--by the word 'current'.... The old hierarchies of linear thought, sublime (and sublimated!) engagements with art, poetry, music, science, and history are no longer needed to do the ideological work now conducted again along the lines of 'current.' (Miller 32)
This call for projects begins with a sample, with the echoing of a familiar call to listen to a new kind of logic. The sample comes from Rhythm Science by Paul Miller (a.k.a. DJ Spooky that Subliminal Kid), who encourages us to go with the flow, to find a good mix, and to listen for new ways of thinking and linking. In conjunction with Miller's appearance as part of the Digital Writing and Research Lab’s annual Speaker Series, we are excited to announce that the Spring 2011 issue of Currents will focus on writing with sound.
The issue will open with a compelling radio piece by Avital Ronell in which she--along with the flute accompanying her--insists that Nietzsche was a DJ. Remixing, it seems, is everywhere. For some time now, sampling and remixing has been a powerful metaphor for writing in digital culture; indeed, the College Composition and Communication Convention took remixing as its theme in 2010. The challenge now is to literalize the metaphor, to allow audio technologies to enter into the field’s descriptions of “the writing process(es),” which will change not just the way we think about and teach writing, but our processes, and so our “products,” as well. In order to encourage and embrace these changes, Currents invites—along with traditional academic submissions—audio essays, podcasts, oral histories, interviews, and other audio recorded genres, as well as webpages, videos, animations, slide presentations, etc., that address sound-related issues. Videos may be uploaded to YouTube.com and shared with email@example.com. (Other video hosting sites may be used. However, YouTube.com meets more accessibility standards than sites like Vimeo.) Audio may be uploaded to SoundCloud.com and shared with firstname.lastname@example.org. Both YouTube and SoundCloud allow for private sharing. During the submission process, please make your audio and video materials available to a limited audience. Audio/video/visual submissions should also include a 500-word document explicating method and performance.
Some potentially interesting lines of inquiry include but are by no means limited to the following:
* How does the mixing of audio recording and writing create new genres? How do soundscapes and text work together?
All submissions should adhere to MLA style guidelines for citations and documentation. Submissions should state any technical requirements or limitations. Currents in Electronic Literacy reserves all copyrights to published articles and requires that all of its articles be housed on its Web server. It is the policy of Currents that all accepted contributions must meet Section 508 accessibility standards (e.g., captioning for video and transcripts for audio). While all Currents articles are accessible, readers are advised that these same articles may contain links to other Web sites that do not meet accessibility guidelines.
Please direct all submissions and questions to: email@example.com
To view this CFP on our website, please visit: