Histories, Theories and Practices of Sound Art

Traditionally, the curator has been affiliated to the modern museum as the persona who manages an archive, and arranges and communicates knowledge to an audience, according to fields of expertise (art, archaeology, cultural or natural history etc.). However, in the later part of the 20th century the role of the curator changes – first on the art-scene and later in other more traditional institutions – into a more free-floating, organizational and ’constructive’ activity that allows the curator to create and design new wider relations, interpretations of knowledge modalities of communication and systems of dissemination to the wider public. Focusing on: Curating Interfaces for Sound + Archives Methodologies of Sound Art Curating Histories of Sound Art Curating Theories of Sound Art Curating Practices and Aesthetics of Sound Art Sound in Performance Sound in Relation to Visuals Aims of the Conference: The aim of the conference is to bring together artists, theorists , scholars, sound engineers, historians and curators. The conference speakers will present papers that respond to the themes of sound art and sound curating including their histories and practices in areas that span from the fine arts to contemporary media arts, cultural representations and archiving practices. The conference is also opened to areas of conceptualization, aesthetic and philosophical analyses of sound art and sound curating. Venues and Dates: 15 - 16 May, Goldsmiths, University of London 17 May, Courtauld Institute of Ar