CLOSED SUBMISSIONS

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Submission of abstracts can be carried out before payment of the registration fee.

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Deadline for submission of papers

 

From 12/19/2018 to 02/25/2019.

 

Disclosure of approved works from 8/03/2019.

 

Authors with approved papers must confirm their participation by paying the fee by 03/22/2019, without fail.

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Guidelines for submitting papers

 

Authors submitting papers to this conference must agree to the following terms:

 

a) The authors maintain the copyright on the work, allowing the conference to publish the abstracts online, on a dedicated website, or in the abstract booklet of the event;

 

b) Some works may be selected by the scientific committee for publication in full in a book organized by the conference coordinators, to be submitted to the publishing houses of the organizing universities.

 

Formatting of works

 

The submission file must be sent in the formats .DOC and in PDF (Portable Document Format) to cipspoderesdosom@gmail.com. 

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Proposals must present textual correction and adequate use of formal language. Use the provided summary templatein this link.

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Abstracts must have up to 300 words; 3 to 5 keywords; name, title and affiliation of the authors; indication of thematic axis (see below). Texts will be accepted in the following languages: Portuguese, Spanish and English

 

The presentations will be organized according to the following themes:

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a) Archeology of sound media

b) Sound, affect and significance

c) Sound technologies and sociocultural practices

d) Sound and culture

e) sound art

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Description of the axes:
 

Archeology of sound media: Perspective that takes a more careful look at “sound objects” and their materiality. This axis proposes the study of sound devices in their machinic specificity and in the creation of a logic inherent to the context in which they are used, problematizing sociocultural approaches that tend to abstract or refuse aspects of the objects' physicality. Works dealing with different technological configurations, different sound apparatuses and their particular existence in a given mediatic ecology will be accepted.
 

Sound, affect and significance: Concentrates works that investigate sounds both as a text and as a force, seeking possibilities of convergence between their somatic and cognitive dynamics. Thus, it is interesting to understand the interfaces between what a sound can do and what it can mean, with emphasis on its aesthetic dimension. Works that promote analyzes of musical and sound works are accepted, both from a hermeneutic perspective, and those that seek to understand the effects of sonic vibrations on the bodies of their producers and listeners.
Sound technologies and sociocultural practices: Technologies can be understood as a set of solutions developed and implemented in objects to perform certain tasks. This definition can be expanded to incorporate the protocols and pragmatics cultivated in certain human activities that, even not depending on specific machines, propose an organization of actions and an internal logic to those processes. Technologies are not detached from sociocultural phenomena, but sometimes propose an autonomous and uncritical discourse about their own functioning. This axis intends to discuss different aspects of these relationships.

 

Sound technologies and sociocultural practices: Technologies can be understood as a set of solutions developed and implemented in objects to perform certain tasks. This definition can be expanded to incorporate the protocols and pragmatics cultivated in certain human activities that, even not depending on specific machines, propose an organization of actions and an internal logic to those processes. Technologies are not detached from sociocultural phenomena, but sometimes propose an autonomous and uncritical discourse about their own functioning. This axis intends to discuss different aspects of these relationships.

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sound and culture: Investigates sounds as mediators of social and cultural processes. It addresses sounds as processes and dynamics of circulation and symbolic consumption, as well as a means from which socialization, transformation, maintenance, cohesion and organization of social groups and their respective cultural paradigms take place. It contains articles on sociocultural phenomena from a perspective that focuses on sonorities as a central tool for these practices. 
 

sound art: This axis concentrates works on the emerging field of sound art, whether in its aspects of production or fruition of works. Theoretical works or works that critically analyze the actions and experiences related to the creation and audience of installations and sound performances, experimental pieces made from the use of sound recordings, radio art, electroacoustic music, as well as poetic works that focus on the word as sound will be accepted. , in favor of its semantic aspects, etc. 

 

Co-authored works

 

An author may submit more than one work, as long as it is co-authored with another researcher or student in any of the thematic axes. The presentation, however, must be carried out by the main author.

 

Assessment

 

Papers submitted by 02/25/2019  will be evaluated by the Scientific Committee and by ad hoc evaluators, invited by the organization.

 

The evaluation period is from 8/02/2019 to 2/03/2019.

 

The final publication of accepted papers is scheduled for 03/8/2019.

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The Scientific Committee must, obligatorily, judge the papers blindly, regarding the authors and their institutions, in a standardized form for this purpose, valuing, above all, the scientific merit of the papers submitted to the conference.