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Subject: call for contribution
From: micz <h0444ygr@rz.hu-berlin.de>
Date: Fri, 01 Aug 1997 18:37:41 METDST

* * * * *

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'SOUND SYSTEM / SYSTEM SOUND'

- call for contributions - call for participation -

[27.8.-1.9.97]
- luxus cont. at the Hybrid WorkSpace, documenta x, Germany
- http://www.documenta.de/workspace

[august/september 97]
- 'contd' - electronic magazine - issue 2

*participate / reply / forward / redirect *

-------------------------------------------------

Guy Deborg suggested the 'spectacle' to be a synonym for product and
process of the cultural industry. Well, that should also go for
'sound', an essential carrier for pop in an otherwise visual dominated
cultural production.

At the outside, since 'techno'(being generally held as a synonym for
music using sound generating devices) reached the cultural
mainstream, John Cage's efforts to deconstruct the boundaries between
music and noise suddenly and technically materialised. *Music* has
been expanded and covers the complete audible spectrum and
subsequently broadens traditional notions of production and
definition. On top of the wave of sampled and electronically generated
sounds, self-referential and *ill-coded* sounds made their way from
clubs of the inner city through personal stereos into art academies as
an accepted alternative to the visual and textual.

At the same time sound enters the cross-fire of scientific and
economic strategies: industrial norm of *noise pollution*, sound
ecology, and professional sound design (also a vital part of research
and design departments in the car industry).

*SOUND SYSTEM / SYSTEM SOUND* is open for *any* contribution, thought
and question dealing with the economy and ecology of sound. changes in
the current economy of listening, principles of sound generation, and
the perception of social and technological micro and macro systems are
all possible angles.

#"what does reference actually mean?"
Use and attribution of sound are under question. "What does reference
actually mean?" And what can be deduced or extracted from it? The
application of samples and loops has developed to a level which allows
it to be used as a category by which to describe agreements and
differences in pop-culture: 'bring da noise?'. At the same time: how
does sound imply possibility and coercion of social interaction?
("this stuff is everywhere!")

#"around the world"
Visualisation in video clips and software surfaces are trademarks of
cultural notation. Measurable and negotiable perception oscillates
between the concrete (Top 40) and the abstract (pattern recognition).
How does noise blend into HI-FI, and: "how is sound organised?". To
what extent are cultural agreements already built into gadget design?
And how are machine sounds turned into hummable and danceable codes
(303/404/707/808)?

#"data object"
Can strategies of cultural production derive from concepts of negative
interaction, distortion or acoustic deception? You may now think about
a musical 'data object' in terms of analogue and digital. Or: how do
conventions constitute themselves in media (cd/ improvisation/ live
stream...)? The air conditioning system on tape says home and refers
to sound design and principles: under what conditions is sound used
functionally (muzak, classic, ultrasound, infrasound)?

#etc.

-------------------------------------------------

Since spring 1997 luxus cont. has quarterly been editing
the electronic magazine 'contd' in the world wide web. The project
situates
itself as a structurally open module, planned for the minimum duration
of one year. In 1998 a book is planned as a re-edited compilation of
the texts that have been submitted to 'contd'. Given the continuation
of 'contd' the publication should be perceived as an interim balance
sheet for the off-line-public.

'contd' consists of three passages:
#Themenpark, #Panoramabus, #Luxusliner

*Themenpark* (theme park) hosts texts generated, developed or
installed on the basis of a predetermined theme. These contributions
are more 'intense' in form and size and generally more 'discursive'
than texts of the following passages. More info about the structure:
http://www.b.shuttle.de/art-bag/contd/cv/ the other sections
*luxusliner* and *panoramabus* are thematically open.

The topic of *themenpark* in issue 2 is 'SOUND SYSTEM / SYSTEM SOUND'
and is closely tied to the presence of luxus cont. and guests at the
Hybrid WorkSpace at documenta x. The web pages of luxus cont. at the
WorkSpace are open for any contribution between info and discourse,
manifesto and dismissal, text, sound and pictures. Contributions are
open to the public throughout this time and editorial and circular
feedback will assist to eventually close the deadline and publish the
issue under:
http://www.b.shuttle.de/art-bag/contd

'contd' is open to text, sound and picture material.

"no system without noise" (niklas l.)

-------------------------------------------------

'contd': http://www.b.shuttle.de/art-bag/contd
hws: http://www.documenta.de/workspace
newsgroup : theme_follows_function
http://www.icf.de/hws-
bin/discuss/list?grp=workspace.theme_follows_function

27.8.-1.9 please contact the Hybrid WorkSpace at dx:
fon 0561/1088890
fax 0561/1088891

before that:
t:+49.30.4622831 f:+49.30.4622831
t:+44.171.6134743 f:+44.171.6134052
e-mails always: luxus@contrib.de

The copyright of texts published digitally by 'contd' remains with the
authors. (see also: http://www.b.shuttle.de/art-bag/contd/cv). At the
moment texts in German, English, French, and Swedish language can be
taken on. Important: we are currently not able to pay any fees.

----------------------------------------



................................................................
[luxus cont.] [
[ ] [luxus@contrib.de
[ ] [electronic magazine : 'contd'
[ ] [http://www.b.shuttle.de/art-bag/contd/
[ ] [
[ ] [gerichtstrasse 86
[ ] [d-13347 berlin
[ ] [tel/fax:+49.30.4622831
[ ] +
[ ] [22 walton house
[ ] [old nichol street
[ ] [gb-london e2 7et
[ ] [tel +44.171.7296014
[ ] [fax +44.171.6134052
................................................................