CFP: Improvisation and the politics of everyday sounds: Cornelius Cardew and beyond (Stephen McAdams )

Subject: CFP: Improvisation and the politics of everyday sounds: Cornelius Cardew and beyond From: Stephen McAdams <smc@xxxxxxxx> Date: Sat, 8 Mar 2014 08:31:32 -0500 List-Archive:<http://lists.mcgill.ca/scripts/wa.exe?LIST=AUDITORY> --Apple-Mail-3--633534638 Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=windows-1252 Call for Contributions: Colloquium =93Improvisation and the Politics of Everyday Sounds: Cornelius Cardew = and Beyond=94* =20 Montr=E9al June 10-12, 2014 =20 * L=92appel =E0 contributions en fran=E7ais sera disponible = prochainement. Veuillez noter que nous acceptons des propositions de = contribution en anglais et en fran=E7ais. =20 The Colloquium =93Improvisation and the Politics of Everyday Sounds: = Cornelius Cardew and Beyond=94 takes the work of British composer = Cornelius Cardew (1936-1981) as a point of departure for a reflection on = the aesthetic, ethical, and political entailments of forms of art and = activism that engage with improvisatory creative practices. In his work = with groups such as the Scratch Orchestra and AMM, Cornelius Cardew = explored modes of music making that emphasized social and aesthetic = notions of freedom and gave pride of place to improvisatory, = intermedial, and experimental poietic procedures, among them the use of = chance, the recourse to everyday sounds, the exploration of = unconventional music notation techniques, the incorporation of = non-trained performers to music making processes, and the interplay of = different forms of aesthetic perception and representation. What aspects = of the creative process did these procedures call attention to, and how = did they attempt to unsettle naturalized forms of aesthesis? To what = extent did such practices contribute to the reconfiguration of = established modes of music making, and in what ways did they probe the = boundaries between distinct aesthetic realms and social formations (e.g. = between high art and mass culture, between music and grassroots = activism)? What political commitments and concerns underpinned these = improvisatory, intermedial modes of poiesis, and what forms of freedom = did they actualize? In what ways are these poietic procedures (and their = attendant iterations of freedom) in dialogue with the improvisatory = forms of art and activism rehearsed in other geographical, cultural, and = historical contexts? =20 This colloquium aims to bring together artists, activists, and scholars = to explore these and other related lines of inquiry. Potential topics = include, but are not limited to: =B7 The role of multi-arts collectives, such as the Scratch = Orchestra, in the configuration of an ethos of liberation in the 1960s = and 1970s =B7 The cultural and historical specificities of the forms of = freedom imagined and enacted through improvisatory modes of poiesis =B7 The role of musicians=92 unions and other professional = associations in the development of alternative modes of music making and = in the transformation of institutionalized hierarchies of aesthetic = production and reception =B7 The theories of aesthetics, culture, and politics that subtend = improvisatory creative practices =B7 The uses of improvisatory political and aesthetic practices in = contemporary social movements =B7 The ethical implications of the uses of improvisatory music = making as a paradigm for theorizing egalitarian, dynamic, and dialogic = social relations =20 We welcome proposals, in English or French, for papers, roundtables, = workshops, and artist/activist interventions. Abstracts of no more than = 300 words, accompanied by a brief biographical statement (maximum 250 = words), should be submitted to Eric Lewis <eric.lewis@xxxxxxxx> and = Illa Carrillo Rodr=EDguez <illacarrillo2@xxxxxxxx> by March 30, 2014. = Proposals for roundtables, workshops, and artist/activist interventions = should include the following information: 1) format and duration of the = proposed event; 2) details about the materials and technical support = required for the event; and 3) biographical statements of all event = participants. Selected applicants will be notified by the end of March. =20 The colloquium will be held in Montr=E9al, from June 10 to 12, 2014, as = part of the Suoni Per Il Popolo Festival. It will feature, among other = events, a concert by pianist John Tilbury and a performance of = selections of Cornelius Cardew=92s The Great Learning by the Bozzini = Quartet. =20 =20= --Apple-Mail-3--633534638 Content-Transfer-Encoding: quoted-printable Content-Type: text/html; charset=windows-1252 <html><head></head><body style=3D"word-wrap: break-word; = -webkit-nbsp-mode: space; -webkit-line-break: after-white-space; ">    <span= lang=3D"EN-CA" style=3D"font-size:12.0pt; font-family:"Times New Roman";mso-bidi-font-family:"Times = New Roman"">Call for Contributions: Colloquium<o:p></o:p>=93Improvisation and the Politics of Everyday Sounds: Cornelius Cardew and = Beyond=94*<o:p></o:p><o:p> </o:p>Montr=E9al <o:p></o:p>June 10-12, 2014<o:p></o:p><o:p> </o:p>* = L=92appel =E0 contributions en fran=E7ais sera disponible prochainement. Veuillez = noter que nous acceptons des propositions de contribution en anglais et en fran=E7ais. = <o:p></o:p><o:p> </o:p>The Colloquium =93Improvisation and the = Politics of Everyday Sounds: Cornelius Cardew and Beyond=94 takes the work of British = composer Cornelius Cardew (1936-1981) as a point of departure for a reflection on the = aesthetic, ethical, and political entailments of forms of art and activism that = engage with improvisatory creative practices. In his work with groups such as = the Scratch Orchestra and AMM, Cornelius Cardew explored modes of music = making that emphasized social and aesthetic notions of freedom and gave pride of = place to improvisatory, intermedial, and experimental poietic procedures, among them the use of = chance, the recourse to everyday sounds, the exploration of unconventional music notation techniques, the incorporation of non-trained performers to = music making processes, and the interplay of different forms of aesthetic = perception and representation. What aspects of the creative process did these = procedures call attention to, and how did they attempt to unsettle naturalized forms of aesthesis? To what extent did such practices contribute to the = reconfiguration of established modes of music making, and in what ways did they probe = the boundaries between distinct aesthetic realms and social formations (e.g. between high art and mass culture, between music and grassroots = activism)? What political commitments and concerns underpinned these improvisatory, = intermedial modes of poiesis, and what = forms of freedom did they actualize? In what ways are these poietic procedures = (and their attendant iterations of freedom) in dialogue with the = improvisatory forms of art and activism rehearsed in other geographical, cultural, and = historical contexts? <o:p></o:p><o:p> </o:p>This colloquium aims to bring together = artists, activists, and scholars to explore these and other related lines of inquiry. = Potential topics include, but are not limited to:<o:p></o:p>=B7      = The role of multi-arts collectives, such as = the Scratch Orchestra, in the configuration of an ethos of liberation in the 1960s = and 1970s<o:p></o:p>=B7      = The cultural and historical specificities = of the forms of freedom imagined and enacted through improvisatory modes of poiesis<o:p></o:p>=B7      = The role of musicians=92 unions and other = professional associations in the development of alternative modes of music making and = in the transformation of institutionalized hierarchies of aesthetic production = and reception<o:p></o:p>=B7      = The theories of aesthetics, culture, and = politics that subtend improvisatory creative practices<o:p></o:p>=B7      = The uses of improvisatory political and = aesthetic practices in contemporary social movements<o:p></o:p>=B7      = The ethical implications of the uses of = improvisatory music making as a paradigm for theorizing egalitarian, dynamic, and dialogic = social relations <o:p></o:p><o:p> </o:p>We welcome proposals, in English or French, = for papers, roundtables, workshops, and artist/activist interventions. Abstracts of = no more than 300 words, accompanied by a brief biographical statement (maximum = 250 words), should be submitted to Eric Lewis <<a href=3D"mailto:eric.lewis@xxxxxxxx">eric.lewis@xxxxxxxx</a>> and Illa Carrillo Rodr=EDguez = <<a = href=3D"mailto:illacarrillo2@xxxxxxxx">illacarrillo2@xxxxxxxx</a>> by March 30, 2014. Proposals for = roundtables, workshops, and artist/activist interventions should include the = following information: 1) format and duration of the proposed event; 2) details = about the materials and technical support required for the event; and 3) = biographical statements of all event participants. Selected applicants will be = notified by the end of March. <o:p></o:p><o:p> </o:p>The colloquium will be held in Montr=E9al, = from June 10 to 12, 2014, as part of the Suoni Per Il Popolo Festival. It will feature, = among other events, a concert by pianist John Tilbury and a performance of = selections of Cornelius Cardew=92s The Great Learning = by the Bozzini Quartet.<o:p></o:p><o:p> </o:p><o:p> </o:p> </body></html>= --Apple-Mail-3--633534638--

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Electrical Engineering Dept., Columbia University