Call for Submissions

Abstract proposals accepted for submission until the 24th of June, 2018 at 8:00 pm CEST via our Easychair link:  https://easychair.org/conferences/?conf=tgc2018. In case of acceptance after being reviewed, you will be notified, given a deadline and asked to upload your scientific and artistic papers and posters via Easychair.
 

From October 4-7, 2018, “The Global Composition 2018: Sound, Ecology, and Media Culture*” will be hosted at the Media Campus in Dieburg. It is organized by Hochschule Darmstadt’s Research Center for Digital Communication and Media Innovation (DKMI) in collaboration with GFTN e.V./Darmstadt, h_da’s Master’s program International Media Cultural Work (Faculty of Media), and the World Forum for Acoustic Ecology. 

Our committees will review papers, posters, discussion panels, workshops, and artistic productions, focusing on the theme of “Sound, Ecology and Media Culture.” Next-generation researchers under 35 years of age are especially encouraged to submit and will be provided a special space to highlight their presentations.

The selection process is based on the principle of double-blind peer review. Therefore, you are kindly asked to make sure your name and identifying references are left out of the text of your submission.

Within the framework of this conference, we welcome submissions from the whole field of media culture, including the topic of facilitation and education. We encourage the latter to go beyond notions which identify education merely as the instruction of a subject mastery, but instead understand it as implying to a large extent individual and communal maturation aspects as well as aspects of the formation and strengthening of a personality, group or culture. In this sense, the Latin root of education, educere, means to lead forth; the Latin root of culture, colere, means to plant and foster. Both have sustainability in mind. 

 

We’ll also be inquiring about the major aspects of the generational change in Acoustic Ecology and Soundscape studies as well as the role of new audio technologies and Augmented/Virtual Reality as facilitators of auditory awareness.

The broad spectrum of our call is supposed to bring together a diversity of approaches to the following suggested topics and beyond:
1. Ecological awareness and the furthering of listening
2. Listening, and the ecology of the senses
3. Media critique and listening
4. Methods and notions of listening
5. Educational approaches based on soundscape listening
6. Intercultural and diversity based approaches to soundscape and Acoustic ecology facilitation
7. Acoustic Ecology, media culture and gender
8. Further developments of soundscape and Acoustic Ecology facilitation in order to meet recent or future necessities and desiderata
9. Experiences with official curricula of soundscape and/or acoustic ecology education
10. Auditory media aesthetic education for the elderly/for socially marginalized groups
11. Soundscape education/facilitation for youths between the age of 12 and 20
12. Sound(scape) design in media and urban space, and its influence on the furthering of a listening culture
13. Soundscape’s role in media culture and cultural media
14. Strategic cultural aspects of listening in media aesthetic education
15. Aspects of politics in soundscape education/facilitation
16. New audio technologies and Augmented/Virtual Reality as facilitators of auditory awareness
17. Critique and perspectives of the technologization of listening/soundmaking in respect to an auditory media culture

We found the following hints helpful for writing a good proposal: https://www.uaces.org/resources/how-to-write-a-good-abstract-for-a-conference-paper

We are looking forward to your submissions and for having you as our conference guests. Please consider spending some leisure time in Dieburg too, as the region is really lovely and early October should still be mild and sunny.

If you want to get in touch with us, please contact us via http://international-media-culture.eu/global-composition-2018/contact

Background

Soundscape Studies’ and Acoustic Ecology’s history has been connected to media cultural and educational concepts since its beginning. Schafers seminal publication „The Tuning of the World“ (1977) unfolds a cultural history of listening and a history of listening cultures, addressing especially the relationship between listening and media. A central thesis raised in R. Murray Schafer’s Acoustic Ecology is that a society’s willingness and ability to listen correlates to the quality of its sonic environment including its audio media, signifying the overall relevance a community assigns to the realm of the auditory and its cultivation.

Educational and facilitation concepts are therefore at the ‘logical’ core of Acoustic Ecology, especially in the age of media: They aim to broaden and sensitize auditory perception and apperception as well as sustain an auditory culture in general. By this they stimulate a sound oriented critical faculty, ingenuity, and sustainability.

Schafer’s “Ear Cleaning”, his concept of “Soundwalks”, his workshops combining listening and sound creation, especially for schoolchildren, became the starting points for numerous further educational and culturally enlightening concepts within the realm of soundscape. Practically all of them seek to emancipate the contemporary ear from the restricted and deprived auditory patterns of the everyday or the specialized, and sometimes normative listening methods of musical fashions and traditions. Many, if not most of them received tremendous responses from their participants. These active and experiential exercises have been gaining more and more acknowledgement; not only for auditory empowerment but for reclaiming sensual awareness, engaging a broader public leading to an overall increase in aural acuity.

Media and its specific auditory cultivations, from audio media to the audiovisual up to interactive media and virtual reality, play a crucial role in almost any listening practice and methodology.

*Our website’s long-term followers might have noticed that our previous subtitle, which was pointing to media cultural education, is now directed to media culture in general. We consider it reasonable and more inclusive to undertake this small change, as we understand education an inherent part of culture, which especially within Soundscape Studies can hardly be separated from each other. Therefore, besides the subtitle’s wording, there was no change or readjustment necessary of the call’s topics and themes. 

The Global Composition Conference 2018, University of Applied Sciences Darmstadt, Oktober 04-07, 2018

All content © 2018 The Global Composition. Website by Robin Wiemann.