CFP AAA 2011 "Sound Studies, Sound Traces"

CFP AAA 2011 "Sound Studies, Sound Traces: Critical Engagements with Sound Inquiries, Modes, and Methods"

CFP 2011 AAA “Sound Studies, Sound Traces: Critical Engagements with Sound Inquiries, Modes, and Methods”
Abstract deadline: March 31, 2011

110th Annual Meeting: Traces, Tidemarks and Legacies
November 16 – 20th, 2011
Montreal, QC, Canada

CFP: 2011 American Anthropological Association/Music and Sound Interest Group
“Sound Studies, Sound Traces: Critical Engagements with Sound Inquiries, Modes, and Methods”

Sound is ephemeral and material, affective and semiotic, internal and external. Sound sometimes appears rational and abstract, colluding with images, languages, and speech. Other times, sound seems particular and entangled, residing alongside nose, tongue, and skin, akin more to music and dance than to reason, argument, or text. The claims and methods of sound scholarship reflect this duality. For some, sound accesses the inner worlds of emotions, minds, and bodies. For others, it lays bare the exteriors of spaces and places, of politics and social structures. The history of sound and its scholarship – with its faint traces, shifting tidemarks, and divergent legacies – is particularly suited to this year’s conference theme, to revealing the sensory histories and epistemological claims that define anthropology and its varied sub-disciplines.

This panel aims to critically engage the varied inquiries, modes, and methods of sound scholarship today. It aims to examine the legacies of the material and the immaterial aspects of sound and to trace these legacies across disciplinary lines, engaging, for example, the role of sound in visual anthropology, ethnography, linguistics, or even archeology. It aims also to explore the variety of methods used to investigate sound, including sound recording, film and video, musical notation, field notes, interviews, and so on. And, it hopes to explore the ontological and epistemological divisions between sound, music, speech, noise, and silence.

Listening will be an important part of this panel. In addition to paper presentations, submitted abstracts may include sound in a variety of forms, such as audio recordings, musical compositions or performances, taped interviews, film or video, or other multimedia projects or performances.

Possible themes include (but are not limited to):
• Sound as knowledge versus sound as affect
• Sound as live performance versus sound as representation
• Sound as ethnography, archeology, documentary, politics, or art
• Sound recording, notation, transcription, and translation
• Sound history and its relation to other senses and sensory histories
• Sound as medium; sound's relation to other media – music, film, dance, etc.
• Sound as voice, testimony, or witness in oral history, ethnography, and documentary
• Sound as space, scape, or geography versus time, duration, or temporality

Please submit a 200-word abstract to Jen Heuson (jlh473@nyu.edu) no later than March 31, 2011. 

Jen Heuson, PhD Candidate 
Dept. of Media, Culture, and Communnication 
New York University
Email: jlh473@nyu.edu
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