Quiet-List 1997

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Acoustic ecology conference in Stockholm 98



>X-From_: owner-acoustic-ecology@sfu.ca Wed Nov 12 13:32:29 1997
>Date: Wed, 12 Nov 1997 13:23:22 -0500 (EST)
>X-Sender: cschryer@pop.web.net
>Mime-Version: 1.0
>To: acoustic-ecology@sfu.ca
>From: cschryer@web.net (Claude Schryer)
>Subject: Acoustic ecology conference in Stockholm 98
>Sender: owner-acoustic-ecology@sfu.ca
>Precedence: bulk
>
>I have the pleasure to announce to "acoustic-ecology" a call for papers for
>the upcoming acoustic ecology conference in Stockholm in June 1998. For
>more information or to get receive a printed flyer (NB all of the
>information in the flyer is included below) contact Eva Tornqvist at
>eva@musakad.se.
>
>General Information, October 1997
>
>>STOCKHOLM Hey, Listen!
>June 9-14, 1998
>
>An international conference on acoustic ecology organized by the Royal
>Swedish Academy of Music in partnership with the World Forum for Acoustic
>Ecology (WFAE) and Stockholm - Cultural Capital of Europe 98
>
>>>>>
>The Royal Swedish Academy of Music welcomes all friends of sound to the
>conference "Stockholm, Hey Listen!" on 9th-14th June 1998.
>
>Two years ago the Academy published a Manifesto - the first in its 225-year
>history - calling for a better acoustic environment. This was the beginning
>of a determined effort to heighten Swedish awareness of sounds and the
>acoustic environment. The reason is simple and obvious: undamaged hearing
>and good acoustic environments are essential in order to avail oneself of
>interesting musics and sounds, of all genres, that are being created.
>
>Our point of departure in this endeavour is that sounds are primarily to be
>regarded not as a problem area but as a positive resource to be used in the
>best possible way. This makes it natural to work for a rapprochement
>between the technological, humanistic, humanitarian and artistic aspects of
>sound and the acoustic environment. The sounds around us should be regarded
>in the holistic perspective in which ordinary people experience them and
>should be ascribed the same essential importance as air, light and water.
>
> It gives the Academy great pleasure, as the peak of its acoustic
>environment activities in recent years, to be able to welcome composers,
>researchers, environmentalists and all other interested persons to this
>first international conference on acoustic ecology to be held in Sweden. It
>has a supremely important purpose, namely that of trying, on the basis of
>the immense body of knowledge and resources which has now been accumulated
>in various countries and disciplines ˝ spearheaded by the World Forum for
>Acoustic Ecology ˝ to arrive at strategies and paths for achieving concrete
>results: from awareness to action!
>
>We hope that the magical white light of an early Nordic summer and the
>distinctive acoustic environment of Stockholm will give you unforgettable
>memories to take back home with you.
>
>The Royal Swedish Academy of Music
>
>Bengt Holmstrand, General Secretary
>Henrik Karlsson, Research Secretary
>
>Objectives
>
>The past few years have witnessed a significant growth of general awareness
>concerning the acoustic environment throughout the western world, but the
>progress actually made has been small and barely noticeable, because the
>number and level of sounds are rising all the time. This provides the
>starting point for the conference "Stockholm, Hey Listen!", subtitled "From
>Awareness to Action".
>
>One of the "anchor themes" characterising the programme for Stockholm
>Cultural Capital of Europe 98 is sound and light in the city. And so the
>place and time are very amply chosen for drawing attention to the sounds in
>our environment.
>
>The conference will focus mainly on three problem areas:
>
>(1)     The use and abuse of sounds
>        Social and ethical aspects of the acoustic environment.
>        Changes in listening habits.
>        New technology and new media.
>
>(2)     The design of artificial sound
>        Design of signals and sounding objects.
>
>(3)     From Awareness to Action
>        Information and educational programmes.
>        Strategies and action plans for change.
>        Reports from successful actions.
>        Research programmes.
>
>The aim of the conference is:
>- to create networks and new contacts,
>- to establish mutual understanding between disciplines and professions -
>between activists in the scientific, social and artistic communities,
>- to change attitudes,
>- to help to focus attention on the acoustic environment and give it a
>legal and political status on par with other endangered environments,
>- to work out various strategies and action plans for change,
>- to formulate programmes for education and research.
>
>
>Programme
>
>Preliminary programme
>
>Tuesday 9th June
>Opening (Key-note lecture, concert, reception)
>
>Wednesday 10th June
>"Where Are We Now..."?;
>>current issues
>
>Thursday 11th June
> Sound Design; Round tables on acoustic design of physical objects
>
>Friday 12th June
>Virtual Sound; New technologies and its acoustic world
>
>Saturday 13th June
>"...And Where Do We Go?"; Analyses, strategies, action plans
>
>Sunday 14th June
>Public presentations and workshops
>
>The conference is for fee paying, pre-registered participants, except for
>Sunday 14th June, which is planned to contain a number of "open" events for
>the general public. The mornings of 10th-12th June will be devoted to
>discussions and lectures in round table form for all participants. During
>the afternoons there will be a choice between parallel presentations of
>papers and projects, partly in seminar form and partly in the "Soundscape
>Village" (see below).
>
>Language
>All conference proceedings will be in English. We realise that this can
>create problems and obstacles for a small number of participants, but we
>are prevented by practical and financial constraints from providing an
>interpreting service. Presentations and papers, therefore, are also to be
>in English.
>
>Soundscape Village
>One or more rooms will be available to those wishing to present projects of
>their own in the form of video or cassette tapes, music compositions, sound
>sculptures, sketches of ideas, exhibitions or other objects. Space
>reservations in Soundscape Village will have to be made in advance and will
>be of limited duration. Soundscape Village takes the form of an open forum
>or "market place" where participants will also be able to arrange their own
>discussion groups. Authors and publishers will also be able to sell their
>documents here.
>
>Musical/Sound Events
>A special musical event will be arranged on every evening of the
>conference. Some of these events (e.g. an Acoustic Night Walk in the
>National City Park) are for conference participants only. Other events,
>such as a concert for all church bells in the city (Saturday 14th June),
>will form part of Stockholm Cultural Capital of Europe and can be listened
>to by everybody. Please note that, the focus of the conference being
>primarily on social and scientific aspects of the acoustic world, there
>will be only limited scope within "Stockholm, Hey Listen!" available for
>music performances, sound sculptures and other installations. All those who
>are mainly interested in performing soundscape compositions of their own
>are referred to the Amsterdam festival in 1999 (see below), which will
>focus on the artistic aspects.
>
>Conference fee
>The conference fee has not yet been fixed, because fund raising for the
>conference is still in progress, but it will be kept to a modest level. The
>fee will include all conference events, together with lunch, refreshments
>and all papers. Participants will pay for their own dinner, hotel and
>travel expenses. For overnight accommodation, reference will be made to
>hotels in various price brackets and to student accommodation. Please note
>that the conference will not be responsible for hotel reservations
>(cancellations).
>
>Papers & Presentations
>Participants in "Stockholm, Hey Listen!" are now invited to present their
>own research projects, essays and results during the conference. To save
>the conference from becoming just one more conventional meeting, we wish to
>create a more dynamic process by means of the following arrangements:
>
>(a) Papers/presentations on the main themes of the conference are
>especially desirable, but other subjects within the wide field of
>"soundscape" will also be accepted, as long as the subject is of general
>interest and has not been presented at earlier conferences.
>
>(b) All papers are to be distributed in print to the participants before
>the conference. Thus the participants will be expected to have studied all
>papers in advance. At the conference, therefore, authors are not to read
>their full manuscripts. Instead they are asked to provide a brief summary
>or commentary>followed by a discussion seminar on the subject. The seminar moderator will
>also be required to act as first opponent and to lead the dialogue between
>author and participants. In this way the author will get the biggest
>possible response and benefit from the seminar.
>
>(c) Paper abstracts must reach us not later than 15th January and must not
>exceed 700 words. Authors will be subsequently informed as to whether or
>not their papers have been accepted.
>
>(d) Camera-ready copy of papers/presentations must reach us not later than
>15th March 1998 and shall not run to more than six A4 pages as printed.
>Please note that this six-page limit includes all graphs, figures and
>references. If a paper is longer than this, only the first six pages will
>be printed.Please send all papers/presentations on both A4 paper and
>standard 3.5 inch computer diskette (either Macintosh or Windows). Entries
>can also be sent by email attachment using the MIME format.
>
>(e) It is essential that the social and scientific consequences be brought
>out in every paper and presentation. Every authorÝs text (or verbal
>presentation) should therefore end with a set of concrete proposals,
>demands and suggestions concerning the practical, economic or social
>consequences of the project, related if possible to a methodological
>framework
>
>(f) Up to 30 minutes has been allowed for every presentation (including
>author's comments + discussion), and this cannot be extended. Please bear
>this time limit in mind when arranging your subject. It may be more
>constructive in the discussion to focus on a few main issues, problems or
>results instead of dwelling on many details which can be read in the
>printed version. There will also be an opportunity for supplying additional
>facts and details in the form of handouts during the actual seminar.
>
>(g) Papers not received in camera-ready copy before 15th March cannot be
>included.Only papers by authors who have enrolled for the conference and
>paid the conference fee will be printed.
>
>Please note that this arrangement guarantees printing of the author's paper
>and participation in the conference itself. Authors whose papers have been
>printed are also expected to attend and take part in the proceedings.
>
>The Stockholm Acoustic Environment
>All conference participants are invited during the conference to suggest
>improvements to the Stockholm acoustic environment. These suggestions will
>be collected and presented to the City of Stockholm as a gift from the
>conference.
>
>Soundscape Competition
>A competition will be held for the design of new environmental signals in
>the City of Stockholm (the underground, pedestrian crossings, entrances to
>the city, boat sirens and motor vehicle horns, time signals, emergency
>vehicles etc.) or signals for such things as lifts, microwave ovens,
>doorbells, computers, alarm clocks etc. Further details will be presented
>in the programme in December.
>
>"Soundscapes voor 2000"
>During the first week of September 1999 the Netherlands Programme Service
>will be organising a festival in Amsterdam. This will consist of
>exhibitions, conferences and concerts focusing on the soundscape repertoire
>as a musical phenomenon and on sound perception and special projects for
>children. "Soundscapes voor 2000" and "Stockholm, Hey Listen" are
>collaborating by deliberately supplementing one another's programmes.
>Artists interested exclusively in compositions and performances should
>therefore contact NPS, P.O. Box 29160, NL 1202 MJ Hilversum, The
>Netherlands.- E-mail:ph@nps.nl.
>
>Next announcement
>A detailed programme, containing an registration form and showing
>participants, the conference fee and hotel services, should be ready in
>December 1997. You are welcome to enrol here and now (without commitment),
>in which case you will be included on our mailing list and automatically
>supplied with information as and when it becomes available.
>Visit the WFAE www site in 1998 for regular updates at:
> http://interact.uoregon.edu/MediaLit/FC/WFAEsc.html
>
>World Forum for Acoustic Ecology (WFAE)
>For the period ending June 1998, an interim governing body of the WFAE has
>received a special mandate to draft aims, statutes, membership rules and
>other details of a permanent international organisation. The intention is
>for the WFAE to be definitively constituted and a regular governing body
>elected during the Stockholm Conference. Only members of the WFAE
>(organisations and individual members) will be entitled to take part in
>proceedings and voting. Those wishing to take part should therefore have
>paid the annual subscription for 1998 well in advance of the conference.
>        World Forum for Acoustic Ecology (WFAE)
>        Simon Fraser University, School of Communication
>        Burnaby, BC, Canada, V5A 1S6.
>        Fax (604)291-4024. E-mail wfae@sfu.ca
>
>>Hor upp! STOCKHOLM Hey, Listen!
>
>June 9-14, 1998
>
>Producer
>Henrik Karlsson, Research Secretary of the Royal Swedish Academy of Music;
>Secretary
>Eva Tornqvist
>
>Advisory Group
>Jean-Francois Augoyard, France; Marc Crunelle, Belgium; Bernard Delage,
>France; Michael Eigtved, Denmark; Heleen Engelen, The Netherlands; Thomas
>Gerwin, Germany; Helmi Jarviluoma, Finland; R. Murray Schafer, Canada;
>Claude Schryer, Canada (also WFAE representative); Hans-Ulrich Werner,
>Germany; Justin Winkler, Switzerland
>
>The Royal Swedish Academy of Music
>Blasieholmstorg 8
>S-111 48 Stockholm/Sweden
>Tel. +46-8-611 57 20 (from December 6, 1997: 407 18 00)
>Fax +46-8-611 87 18
>E-mail: h.karlsson@musakad.se
>http://interact.uoregon.edu/MediaLit/FC/WFAEsc.html>>>>
>Claude

_______________________ . . . Take a Virtual SOUNDWALK Through Downtown Toronto

                                                by visiting

                           http://www.inforamp.net/~windeyer/TOsoundwalkMAP.html

RICHARD WINDEYER
composer & soundscape designer
#1-429 Wellesley St. East, Toronto, Canada, M4X 1H5
(416) 923-8506
                        


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