[Dancecult-l] Dancecult-l Digest, Vol 27, Issue 4

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On 7/16/07, dancecult-l-request at listcultures.org <
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> Today's Topics:
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>    1. SCMS 2008 Philadelphia: call for papers for a panel       on
>       "designing musical media." (James Tobias)
>
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Sun, 15 Jul 2007 22:15:31 +0200
> From: James Tobias <jamestobias at mindspring.com>
> Subject: [Dancecult-l] SCMS 2008 Philadelphia: call for papers for a
>         panel   on "designing musical media."
> To: Dancecult-l at listcultures.org
> Message-ID: <1F32D7A8-7F2E-406E-9E70-EF6A29F7CF28 at mindspring.com>
> Content-Type: text/plain; charset="iso-8859-1"
>
> Dear friends and colleagues:
>
> Below I've pasted in a bulletin board announcement for the March 2008
> Society for Cinema and Media Studies conference in Philadelphia,
> where the "theme" is design and media.
>
> I'm filling out a panel proposal on "designing musical media," which
> I'm hoping will be a productive opportunity to revisit notions of
> musicality in the context of media transitions, the analytics of
> corporeality, sense, or sensation, and contemporary problems in
> biopolitical analysis.  I'll leave a proper bibliographic treatment
> aside, in the interest of soliciting a wide variety of treatments of
> "musicality" on (or as) the audiovisual screen or interface.
>
> The usual "motley cr?e" -- so to write -- of critical approaches are
> welcome: historical-empirical; critico-theoretical; cultural; ethico-
> aesthetic; political-philosophical; popular cultural; popular music
> cultures; gender, sexuality; race, ethnicity; class; globalization;
> deconstructive; post-Deleuzian; "new (old) media" or media
> transitions; historical-speculative; and also, significantly in this
> case, design critique; etc.
>
> The common denominator will be that proposals are centered around the
> problematic of musicality, media reception, and "the screen" broadly
> understood.  And I'm hoping for challenging approaches rather than
> conventional ones.
>
> My apologies for cross-posting; and feel free to pass on.
>
> I'd need abstracts/proposals (250 - 1000 words, short bibliography)
> by August 10.  Note that you'd have to be a member of SCMS by January
> 2008 in order to participate.
>
> And my email reply info is below.
>
> Warm regards,
>
> James Tobias, Ph.D.
> Assistant Professor, Cinema and Digital Media Studies
> English Department/Department of Media and Cultural Studies
> University of California, Riverside
> james.tobias at ucr.edu
>
>
>
>
> Subject: SCMS Bulletin Board Post
>
>
> Type of Posting: Panel
>
> Proposed Panel/Workshop Subject: Designing Musical Media: From
> Biomechanical to Bioinformatic Screens
>
> Organizer Name(s):
>
> James Tobias
>
> E-Mail Address: james.tobias at ucr.edu
>
> Summary: What does it mean to put music on the screen?
> From early cinema to contemporary digital media, we observe repeated
> efforts at designing the projected image as a musical display. As
> varied as they have been challenging, these efforts propose the
> musical screen as a device for regulating viewer mood, as visual
> music animation, as avant-garde experiment or conceptual
> intervention, as commercial spectacle, as critical engagement, as
> "immersion," as parody, as television theme-song, as advertisement,
> as promotional music clip (in film or video), as musical game, as
> playback device, or aesthetic-scientific prototype.
> While given short shrift in critiques of narrative or of the avant-
> garde, considered as symptomatic of spectacular culture in commercial
> production, or written off as unnecessarily duplicating the
> soundtrack or attempting to impose attributes of the auditory on the
> visual, the design of musical media taken as a problematic rather
> than as a margin of artistic or commercial production actually
> exhibit three crucial characteristics which allow a re-configuration
> of screen studies within contemporary transmedia logics. First,
> divorcing the "musical" from the "auditory," musical media designs
> question the relationships of perception or cultural context to
> technological exhibition; these attempts are often affective and
> ethical, as much as technological, interventions in media practices.
> Second, designs for musical media point to the complexity of any
> "single" medium, so even a "visual" medium becomes multi- or
> transmedial, with broad implications for contemporary "convergent"
> digital media. Third, across media, musical design as problematic
> emphasizes the relations of synchronization necessarily determining
> audio, visual, or haptic meaning. In this sense, musical media offer
> a rich yet specific account of media situations.
> This panel seeks presentations exploring the design of musical media,
> whether in the context of the "biomechanics" of early cinema, or the
> "bioinformatics" of contemporary digital transmedia. Papers might
> explore late 19th and early 20th century devices for the projection
> of musical images, visual music animation, narrativized musical
> presentation in commercial film or TV, artist video, musical video
> games, or MP3 interfaces. How does the media object attempt "musical"
> presentation of the visual screen or interface? The goal is to reveal
> historical and contemporary problematics of transmedia exhibition and
> situational use of synchronized media.
>
> Send individual topics & summaries to organizer(s) by: E-Mail
>
>
>
>                   Bulletin Board Policies - Please Read
>
> 1. All chairs/organizers must notify individuals whether bulletin
> board submissions have been accepted or rejected by August 15, 2007.
>
> 2. All individuals must be registered users of the website before the
> proposal process can begin.  If you are unsure you have registered or
> if you have forgotten your username and password, please contact the
> SCMS office at office at cmstudies.org.  To avoid duplicate entries and
> data errors, please do not re-register.
>
> 3. Individuals whose submissions are accepted must provide the
> required information for completion of the proposal form to the chair/
> organizer prior to September 1, 2007.
>
> 4. Chairs/organizers of panels or workshops are responsible for
> submitting the entire panel or workshop form by September 1, 2007.
>
> 5. SCMS membership is a requirement to participant in the
> conference.  Chairs/organizers are responsible for notifying panel/
> workshop participants (if accepted) that they must be or need to
> become a member of SCMS, register for the conference and pay the
> registration fee by: January 4, 2008.
>
> 6. To request a conference registration fee waiver and/or membership
> waiver for any panel or workshop participants, a waiver application
> must be completed at the following link:
>
>   http://www.cmstudies.org/index.php?
> option=com_content&task=view&id=39&Itemid=93
>
> and e-mailed to the SCMS office by September 1, 2007.   (Note:
> Waiver requests may be granted in exceptional circumstances for
> artists, filmmakers, or renowned scholars from other disciplines
> whose contributions would illuminate the panel or workshop topic.
> Open call participants do not qualify for these waivers).
>
>
>
>
>
>
>
>
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