1st Biennial International Conference on Acoustics and Vibration (ANV) 2020


1st Biennial International Conference on Acoustics and Vibration (ANV)

ANV 2020

November 23-24, 2020

Dear Sir/ Madam,

We are pleased to announce that The IoT Research Center and Defense Technology, Direktorat Riset dan Pengabdian Masyarakat in cooperation with the Vibration and Acoustic Laboratory of  Institut Teknologi Sepuluh Nopember Surabaya (ITS) will organize The 1st Biennial International Conference on Acoustics and Vibration  (ANV 2020) with theme “Sound of Indonesia”. In response to the COVID-19 virus outbreak, ANV 2020 will be held online on November 23-24, 2020


The organizer of the ANV 2020, would like to cordially invite potential original- and unpublished works, that are related to acoustics and vibration. Applications that are clustered under this area include, but not limited to:

· Acoustical Oceanography

· Animal Bio-acoustics

· Architectural Acoustics

· Biomedical Acoustics

· Education in Acoustics

· Engineering Acoustics

· Industrial Track

· Musical Acoustics

· Noise

· Psychological Acoustics

· Signal Processing in Acoustics

· Speech Communication

· Underwater Acoustics

· Machinery and Vibration Control

· Material for Noise and Vibration Control

· Nonlinear Vibration

· Structural Acoustics and Vibration

· Vibration of Shell and Plate

· Artificial Intelligence

· Big Data

For Further Information please visit this link:  https://anv2020.com/conference/online  

–          Open Abstract Submission: 13 July 2020
–          Closed Abstract Submission: 22 September 2020
–          Notification Acceptance: 29 September 2020
–          Early Bird Before 05 October 2020
–          Deadline for Full Paper: 8 November 2020

Please kindly distribute this information to your partners who interested with conference. Thank you very much for your cooperation. If you have question about this program, please contact the organizer. We really appreciate your help.

Conference Secretariat:
The Organization team of the ANV 2020 remains at your disposal for all information on the Conference:
Vibration and Acoustics Lab
Department of Engineering Physics – Faculty of Industrial Technology
Institut Teknologi Sepuluh Nopember (ITS)
Gedung Teknik Fisika (Gedung E)
Kampus ITS Sukolilo, Surabaya 60111
Tel: +62-31 – 5947188
Fax: +62-31 – 5923626
Email: vibrastic.ep@its.ac.id
For Further Information please visit this link:   https://anv2020.com/conference/

Sounds of the Pandemic

International online Conference

University of Florence – December 16th, 2020

CFP deadline: October 18th, 2020

The outbreak of the Coronavirus pandemic has had a strong impact on the sound of the places we live in, particularly as a consequence of the measures taken to stem the contagion. First of all, the lockdown and the suspension of most activities marking our everyday lives have produced a crucial drop in noise pollution, due to an almost total reduction of traffic: this has caused silence to emerge powerfully in the aural conscience of individuals. In the meanwhile, the lockdown has produced new sonic environments, putting in the foreground new aural experiences and acoustic elements that are usually covered by “noise”: on one hand, these include the case of musical flash mobs taking off in many countries (especially in Italy), and on the other the emergence of animal sounds in urban settings. 

At the same time, many activities being transferred online has significantly changed our lifestyle, giving greater relevance to the Internet as the primary environment for music production and consumption, and more broadly as Sounds of the Pandemic a receptacle and vector of sonic accounts of the lockdown experience: from live streaming “homemade” concerts, to field recordings collected in a variety of online projects and sound maps. 

Moreover, new aural conditions emerged once activities resumed, subject to restrictions due to the need to keep the health crisis under control. For many, lockdown silence is by now an odd memory, and traffic wraps most cities once again in its keynote: nonetheless, in many contexts, limitations are still enforced, especially in the world of the performing arts, sports and public education. Some sonic peculiarities are then to be found in the so-called “phases” after lockdown. 

The conference aims to be a forum for sharing perspectives about sound in the time of pandemic, the modifications of sonic environments and the transformations in sound production/listening behaviors, not only in the musical field, but generally speaking in all human practices which are strongly characterized by sound. Both scholarly contributions and accounts by sound artists and cultural operators are welcome. Presentation of sound recordings is strongly encouraged, but not compulsory. 

The conference is part of Come suona la Toscana, a project by Università di Firenze led by Prof. Maurizio Agamennone, in the framework of the PRIN 2017 initiative “Heritage, Festivals, Archives. Music and performing practices of oral tradition in the XXI Century”. 

A few starting points for reflection: 

  • Has lockdown “leveled out” the distinctive sounds of the world’s cities? Does lockdown make all places sound the same? Or, on the contrary, does the suspension of activities cause sonic peculiarities to surface? 
  • What kinds of emotional response has the modifications of sonic environments generated? For example, is it possible to interpret the spread of “high sonic density” flash mobs as a way to fight the anguish of silence? 
  • Which are the features of musical creativity on the Internet as it flourished at every level, from amateur to professional practices, during lockdown? Is it possible to foresee long-lasting transformations in expressive, listening and consumption habits? What kind of impact are social distancing measures having in the gradual reopening of theaters and concert halls, and, in general, in the cautious restart of live musical practices? How can the challenges entailed by these measures be turned into new opportunities?

Practical info 

The conference will be held entirely online. The web platform will be communicated in due time.
Talks must be strictly between 15 and 20 minutes long, including time for presentation of sound recordings or multimedia content.
General updates will be provided on the web page of the conference and on the Facebook page of the project “Come suona la Toscana”

How to submit a proposal 

Talks in EnglishItalian or French are accepted. 
You can submit a proposal by sending a 250-word abstract.
The deadline for submitting your proposal is October 18th, 2020.

Proposals must include the following information:
– Title of the talk
– Name
– Affiliation (if applicable)
– Contact details
– Short CV (150 words maximum)
– Indication of possible sound recordings or multimedia content to be presented

Please send your proposal to Dr. Daniele Palma (daniele.palma@unifi.it)

36th Annual Conference on Music in 18th-Century Britain

The 36th Annual Conference on Music in 18th-Century Britain will take place on Friday 27th November 2020, hosted virtually from the Foundling Museum, London.

Offers of contributions to the programme are invited.  We encourage proposals for presentations focusing on all aspects of music in 18th-century Britain.  As well as formal papers we can accommodate reports on work-in-progress. Proposals should be approximately 250 words.  The length of the paper or presentation is normally 30 minutes, although shorter formats will be considered.  Collaborative or related topic papers are also welcomed.

Please submit your abstract by e-mail to handel@foundlingmuseum.org.uk ; be sure to include your name, address or institution, telephone, and email address in the body of the message.  All submissions will be acknowledged by a return email.

Closing date for submissions is Thursday 24 September 2020.  Please alert interested parties or those not necessarily on email.

Full conference details will follow shortly afterwards.

Music and Power in the Long Nineteenth Century

Siena, Accademia Musicale Chigiana

2-4 December 2021

Call for papers

The use of the arts, including music, as an instrument of representation and exercise of power, is widely debated within the context of the society of the ancien régime and the twentieth century, with frequent emphasis on absolutism and dictatorships. This conference aims to investigate this issue in the “long nineteenth century” (c. 1789-1914): the age of the Industrial Revolution, liberalism and social conflicts, nationalism and colonialism.

The geographical scope considered is the Western world (Europe and the Americas), including those extra-European territories subject to or influenced by colonial rule. The entire field of musical experience will be considered, without limitations on genre, from sacred to instrumental music, from musical theater to song and beyond.

“Power” is understood not only in a strictly political sense, such as state power, or as the domination of one nation or ethnic group over others; instead, in light of contemporary and emerging historiographical and philosophical debates, the scope of the concept extends broadly to all aspects of social life in which relations of dominion/submission are significant. By way of example, the following types of relationships might be considered: those between social classes, between economic powers, between religious affiliations, between genders, within the family, and others, in all possible combinations and permutations.

Proposals to further broaden the field of investigation are welcome; preference will be given to those that combine a breadth of conceptual horizons with a rigorous presentation of unpublished sources.

Possible topics for consideration include, but are not limited to, the following:

  • Musicians and power
  • Musical practices as instruments of power and organizations of consent
  • The language of power in musical material
  • The use of music and entertainment in celebration
  • Symbolic representations of power relationships in opera
  • Sacred music as an expression of power
  • Song and choral music as a means of exercising and negotiating power
  • Folk, popular, and dance music within an increasingly powerful music industry
  • Negotiations of power in discourses about music
  • Domain relationships in musical education

The official languages of the conference are English and Italian. A selection of the conference papers will be published in the 2021 volume of Chigiana. Journal of Musicological Studies (https://journal.chigiana.org/).

Please send proposals to chigiana.journal@chigiana.org by 30 November 2020.

Proposals should include:

  • Title of paper
  •  Name of speaker(s)
  •  A proposal of c. 300 words

Papers should not exceed 30 minutes in duration.

Scientific Committee: Esteban Buch, Fabrizio Della Seta, Markus Engelhardt, Axel Körner, Massimiliano Locanto, Fiamma Nicolodi, Antonio Rostagno, Carlotta Sorba.

Organizing Committee: Susanna Pasticci, Stefano Jacoviello, Anna Passerini, Nicola Sani.

We are aware that the current scenario presents many uncertainties; we are constantly monitoring the situation and the measures that the Italian and other governments have put in place and we hope that by December 2021 it will be possible to travel, so that the conference may go ahead as planned and we can meet in Siena. However, if necessary, we will be running the conference online.

CALL PDF English: https://journal.chigiana.org/wpcontent/uploads/2020/09/Chigiana_Call_PDF_Eng_2021.pdf Italian: https://journal.chigiana.org/wpcontent/uploads/2020/09/Chigiana_Call_PDF_Ita_2021.pdf

Thanatos in Contemporary Music: from the Tragic to the Grotesque

The Association “Transylvania Art and Science”, Cluj-Napoca, Romania

in collaboration with

Gheorghe Dima National Music Academy Cluj-Napoca

is pleased to announce the International Conference

Thanatos in Contemporary Music:

from the Tragic to the Grotesque

October 30th and 31st, 2020 (ZOOM platform, each day from 11 a.m. to 2 p.m., Romanian time)

The event is organised within the Festival

A Tribute to György Ligeti in his Native Transylvania

3nd edition

supported by:

A.F.C.N. Romania and the Town Hall of the city of Cluj-Napoca

Festival director: Dr. Bianca Ţiplea Temeş

The present edition of the festival reflects the ways in which the subject of death is approached in contemporary music and Ligeti serves as an ideal focus for both the conference and its accompanying concerts. In the context of the current global pandemic, this might be said to be rather darkly appropriate, especially at Halloween in Transylvania.

Between the volatile, sublime ”Lux aeterna”, the dramatic ”Requiem”, the evocation of Romanian folk laments in the Piano Étude ”Automne à Varsovie” and the strong grotesque flavour of the opera  ”Le Grand Macabre”, Ligeti´s music explores a wide range of funebral nuances. Through his music, researchers are invited to explore the music of many other composers whose work occupies similar emotional terrain.

The conference brings together contributors from leading European and American Universities, aiming to outline the many masks of Thanatos, as a kaleidoscope made by pieces of Béla Bartòk, Arnold Schönberg, György Ligeti, Bruno Maderna, Ștefan Niculescu, Myriam Marbe, Zoltán Jeney, Violeta Dinescu, Doina Rotaru, Zygmunt Mycielski, Roman Palester, Dan Dediu, Kaija Saariaho, etc.

The conference concludes with the presentation of the new volume A Tribute to György Ligeti in his Native Transylvania, edited by Bianca Țiplea Temeș and Kofi Agawu at MediaMusica, Cluj-Napoca.  

We welcome participants from around the world to attend this event via ZOOM, by filling in the FREE REGISTRATION FORM, by October 25th:


The festival will be streamed online,

between October 28th to November 1st, 2020, at www.ligetifestival.ro

Conference program:

Hermann Danuser (keynote speaker) (Humboldt University Berlin)

Memorial-Topic in the 20th Century, or: Schoenberg’s Modernist Genealogies

Wolfgang Marx (University College Dublin)

“a long time spent in the shadow of death”. Death and Mourning in Ligeti’s Music                           

László Vikárius (Bartók Archives, Institute for Musicology, Research Centre for the Humanities Budapest      

“This is my death song”: Between “funèbre” and “grotesque” in Béla Bartók’s Compositions of 1908

Zoltán Farkas (Béla Bartók Memorial House, Budapest)

Zoltán Jeney’s Funeral Rite

Amy Bauer (University of California, Irvine)

“Are you dead, like us?” The liminal status of the undead in the music of Ligeti

Beata Bolesławska-Lewandowska (Institute of Art, Polish Academy of Sciences, Warsaw)

Zygmunt Mycielski’s “Rescue” songs to words by Czesław Miłosz and Roman Palester’s “Requiem” – two ways for reflecting death in Polish music shortly after WW2 

Benjamin Levy (University of California, Santa Barbara)

Death in Hamburg? Memorial Aspects of Ligeti’s Late Concerto

Olguța Lupu  (National University of Music Bucharest)

From Thanatos to Elysian Fields in Dan Dediu’s Music

Elena Maria Șorban (Gh. Dima National Music Academy Cluj-Napoca) 

Exercises on Dying? Reflexions on Ligeti’s Unpublished Early Latin Cantatas

Pavel Pușcaș.(Gh. Dima National Music Academy Cluj-Napoca)

Bruno Maderna’s Requiem

Bianca Țiplea Temeș (Gh. Dima National Music Academy Cluj-Napoca)

The sound of tears falling: the Dawn Song (Cântecul zorilor) in Romanian composition

CFP: ‘Shakespeare and Music: New interdisciplinary perspectives’, 10-11 December, 2020

Call for Papers

Shakespeare and Music: New Interdisciplinary Perspectives

10–11 December 2020, Online Conference hosted by Universities of Manchester and Huddersfield and Shakespeare and Music Study Group

Extended deadline for proposals: 30 September 2020.

‘When were you wont to be so full of songs, sirrah?’ (King Lear, I/4)

We are delighted to announce the inaugural conference of the ‘Shakespeare and Music’ Study Group. The Conference will be conducted online and hosted on Thursday 10 December 2020 by the University of Manchester and on Friday 11 December by the University of Huddersfield. In view of the change of format to online only, we have extended the deadline particularly in order to encourage proposals from outside the UK.

The ‘Shakespeare and Music’ group was founded in affiliation with the Royal Musical Association to provide a distinct forum for researchers and practitioners across disciplines and cultures. In line with the mission of the group, the conference aims to promote and foster research, collaboration and exchange of ideas in two complementary aspects: music in Shakespeare’s time, including various aspects of music in Shakespeare’s works; and music inspired by Shakespeare’s works, whether composed to Shakespearean themes or directly for Shakespeare plays.

In lieu of a keynote address, the conference will feature a world premiere performance of John Casken’s The Shackled King, a dramatic cantata to the composer’s own libretto derived from Shakespeare’s King Lear, with Sir John Tomlinson CBE in the title role and Rozanna Madylus (mezzo-soprano) as Cordelia, Goneril, Regan and The Fool. The concert will be filmed and (live-)streamed to delegates.

Apart from at least one confirmed session on ‘Shakespeare, Music and Gender’, other possible threads for papers (20 minutes), lecture-recitals (30 minutes) and composition/ sound installation presentations (30 minutes) include but are not limited to:

  • Music imagery and imagination in Shakespeare
  • Original melodies for Shakespeare songs and their afterlives
  • Shakespeare and opera
  • Incidental music for Shakespeare productions past and present
  • Analysis and contextualising of individual Shakespeare-inspired works
  • Setting Shakespeare’s words to music
  • Shakespeare in instrumental music
  • Shakespeare and film music
  • The role of Shakespeare in the musical imagination and creative output of composers
  • Shakespeare and musical nationalism
  • Shakespeare in non-classical music (jazz, musicals, pop)
  • Performing Shakespeare’s music
  • The afterlife of Shakespeare-inspired music

Please send an abstract of no more than 300 words accompanied by a short (150-word) biographical note to Michelle Assay m.assay@hud.ac.uk and David Fanning David.fanning@manchester.ac.uk by 30 September 2020.

Generously supported by the RMA and Society for Renaissance Studies

4th Tbilisi International Musicological Conference (TIMC) – National and International in Music

Dedicated to the 150th anniversary from the birth of Zakharia Paliashvili

22-24 April, 2021

V.Sarajishvili Tbilisi State Conservatoire, Tbilisi, Georgia

Call for papers

The Tbilisi International Musicological Conference is a biennial conference on recent developments and future trends in Musicology. The 4th conference is dedicated to the 150th anniversary from the birth of one of the founders of Georgian national composer school– Georgian composer, conductor, teacher and public figure Zakharia Paliashvili.

We welcome submissions that focus on any one or combination of the following: 

  1. National composition schools
  2. Cultural memory and contemporary music
  3. Multiculturalism in music.

The theme of the round table: Music education in the post COVID-19 era

Academic committee:

Beata Bolesławska-Lewandowska (Institute of Art of the Polish Academy of Sciences), Tamar Chkheidze (V. Sarajishvili Tbilisi State Conservatoire), Christopher Dingle (Royal Birmingham Conservatoire), Marina Kavtaradze (V. Sarajishvili Tbilisi State Conservatoire), Marika Nadareishvili (V. Sarajishvili Tbilisi state Conservatoire), Manolis Vlitakis (Berlin University of the Arts).

The official languages of the conference are English and Georgian. The selected papers will be invited for publication in the online journal Musicology and Cultural Science (http://gesj.internet-academy.org.ge/en/title_en.php?b_sec=&section_l=muz).


Proposals from all areas of musicology and related music studies are invited for the following:

  • Individual papers – will be twenty minutes in duration, to be followed by ten minutes for questions and discussion.
  • Round table sessions – will be 90-120 minutes in duration, including time for discussion. Roundtable sessions will comprise a panel of up to four people, each presenting a position paper (no more than 10 minutes), followed by a discussion.

All proposals (as attachment in MS Word  format) should include:

  • Title
  • Indication of format
  • Proposer’s name, affiliation,  short bio – maximum 100 words
  • Abstract  – maximum 300  words,
  • Contact  e -mail
  • AV requirements


Closing date for online registration  , sending abstract and short bio:  10 January, 2021.

Notification of acceptance: 20 January, 2021.

The deadline for submission of full text of papers   (maximum 7 pages – font Times New Roman, size 12, with 1.5 spacing, margins 2 cm) – 1 March, 2021.

Conference: 22-24 April, 2021

All materials should be sent to e-mail: science@tsc.edu.ge

Conference Fees:

50 EUR – for scholars

25 EUR – for PhD students

The fee includes attendance to the conference sessions, conference material, coffee breaks, concert and cultural program.

Contacts and other information

For any additional information, please contact:

e-mail: science@tsc.edu.ge

Phone: +995 322 98 71 88

website: www.tsc.edu.ge

facebook : TSC Research Department

Vibrant Practices: Material Agency and Performative Ontologies

University of Leeds, 16–17 April 2021.

The call for papers is here (PDF), please share widely across disciplines.

Deadline for submissions is Dec. 1st 2020, see call below for details.

Keywords: contingency, materiality, agency, performative ontology, sound, music, responsiveness, intra-action

The Garden of Forking Paths (GFP) project approaches musical composition through a framework of contingent materiality, material agency, listening, and responsiveness. Going further than appending these elements to existing compositional approaches, it situates both (1) players’ responsiveness to contingency, and (2) the material agency of instruments, as the conditions for sound-making and composition; music is emergent from the ‘intra-action’ (Barad) between player and instrument.

In this symposium we would like to facilitate discussion and reflection between a diverse array of practitioners and researchers (not only Music) who work with responsiveness to material contingency and agency. In the language of Andrew Pickering, practices that negotiate a ‘dance of agency’ between humans and the more-than-human. We are keen not to emphasise particular practices or disciplines, but rather discuss how dances of agency are diversely engaged and negotiated, and the nature of what they give rise to.

The GFP project, for example, adopts compositional strategies for the clarinet where performances unfold as a ‘dance of agency’ across a performer-instrument apparatus, through recursive open-form works where decisions in-the-moment can be the responsibility of the human OR the instrument. Following Pickering, the project is based on a performative ontology of ‘revealing rather than enframing’. For example, in GFP there are no fixed musical pitches in advance of performance, pitches are an emergent phenomena from the exploratory intra-action of the material configuration of the clarinet (what holes are open and closed, what reed strength etc.) and the performer’s techniques (breath pressures, mouth shapes etc.), as afforded through listening and responsiveness.

This symposium is interested in hearing from researchers and practitioners who similarly engage with contingency and agency as a way of ‘revealing […,] being open to what the world has to offer us instead of always trying to bend it to our will’ (Pickering). We are interested in projects that propose performative models of engagement to foreground the formative struggles between people and things, and that engage conditions of decenteredness; where ‘the non-human world enters constitutively into the becoming of the human world and vice versa’. We see these dances as processes of collaboration (Tsing) through which agency emerges, as well as alternate ways of knowing and being. The symposium will explore how these insights may provide means of ‘going on in the world at the ground level’ (Pickering), ‘staying with the trouble’ (Haraway), or ‘becoming earthly’ (Latour).

‘The symposium will maximise opportunities for conversation and discussion: papers will be short, grouped in themed discussion sessions, and circulated in advance. Performances and workshops will be scheduled as precursors for discussion sessions. We invite proposals for any of the following categories:

  • Workshop with participants
  • Demonstration/performance
  • Short paper (10 mins) submitted in advance. This can be a written paper, annotated documentation, video presentation, or any format in which you can evidence and support a point/argument/perspective.
  • Topic or provocation for discussion.

Please send an up-to 1-page abstract/submission (please specify category as above, and include indicative references) to Dr Alex De Little <A.P.DeLittle@leeds.ac.uk>

Sinn und Präsenz in Improvisation

6th symposium at the exploratorium berlin
29.–31. January 2021
Organizer: Mathias Maschat, mm@exploratorium-berlin.de

Symposium: Sinn und Präsenz in Improvisation

Deadline for submissions: 2020, October 25
Call for Papers (German only)

The DENKRAUM IMPROVISATION will host, mostly in German language, from 29.–31. January 2021 the symposium Sinn und Präsenz in Improvisation (“Meaning and Presence in Improvisation”). The focus here is on the terms meaning and presence as independent entities, as opposing moments as well as overlapping and complementary aesthetic categories.

Whether and to what extent sound can be a bearer of meaning, or whether sound can represent meaning, has historically been the subject of numerous aesthetic considerations and debates around music. The question about it culminated, for example, in the dispute between program music and absolute music or in the demand for an abstract hearing of concrete sounds in the musique concrète. Before any ascription of meaning, however, sound is first of all there, present, immediate and phenomenal. If one leaves aside the grounding of any music in cultural contexts for a moment, the category of presence is without a doubt a strong moment of musical experience in general. Following this, the question arises to what extent meaning and presence in connection with improvisation or improvised music can be treated as independent categories, to what extent they must be negotiated as mutually exclusive opposites or, on the contrary, as aspects of improvisation or improvised music that are necessarily related.

Both meaning and presence are ambiguous terms that are used differently in different contexts. On the one hand, meaning stands for the referential meaning of language and signs in a semantic, semiotic or symbolic reading. On the other hand, meaning encompasses the reason, aim, intention, fulfillment, or higher purpose of an action. Presence can spatially refer to a being-there and at the same time temporally to a being-in-the-moment. The term functions as a description of a characteristic of a purely phenomenal world, quasi as a reference to the assumption of something non-representational. In addition, presence can refer to an auratic or to charisma.

The focus of the symposium on the pair of terms in their combination stems from the philosophically introduced, sometimes criticized juxtaposition of meaning and presence as separate or at least tense spheres of experience and interpretation of the world. In precisely these discussions, presence opens the gates into a world of direct experience, into a world behind or next to that which can be explored through interpretation and hermeneutics – beyond any concrete content. With regard to improvisation, all of the horizons of meaning mentioned can certainly shed light on relevant perspectives. Overall, however, the moment of presence experience in a predominantly abstract art form such as contemporary improvisation appears to have priority over conveying and deciphering meaning. But what happens in other forms of improvisation that combine concrete content with specific musical structures and conventions? What happens in contemporary improvisation when elements of the linguistic are integrated? Or when freely improvised pieces are given titles afterwards? What happens when improvised music is combined in an interdisciplinary manner with other art forms and abstract sounds come into relation with more concrete forms of artistic expression? What about the referential character of art or levels of intertextuality?

While presence should be questioned in its full range, with regard to meaning, the question of elements of clear referential meaning is in the foreground. In addition, however, the constitution of meaning can also be questioned and described as a fulfilling meaningfulness of improvisational activity.

In addition to the accepted contributions, three keynotes will be held at the symposium:
Christian Grüny: Diagrammatische Improvisation und der Sinn des Heterogenen
Nicola L. Hein: Das Paradigma der Präsenz und Modi der Temporalität in den Critical Improvisation Studies
Mathias Maschat: Präsenz als improvisationsästhetische Kategorie

The symposium starts on Friday evening (January 29) at 8 p.m. with the performance Aspect Seeing – An Artistic Re-Reading by Nicola L. Hein (guitar, electronics), Christian Grüny (text, philosophy), Simon Rose (baritone saxophone) , Claudia Schmitz (moving image on sculpture) and Maria Colusi (dance). It takes place as part of the exploratorium berlin’s Sound & Lecture series, which combines performances with artist talks moderated by Mathias Maschat.

The Call for Papers/Abstracts can be found here; proposals for the symposium will be accepted until October 25th. Please note that the conference will predominantly be held in German.