“Time, Archive, and Memory in Sound Art and Experimental Music”
The Second Sound Art Research Workshop “Rebecca Collins” is conceived as a collective space for encounter, dialogue, and reflection, dedicated to sharing, presenting, and debating thenotions of “time, archive, and memory in sound art and experimental music.” The aim of the workshop is to present completed or ongoing research, as well as the questions and blind spots that emerge from them, so that they may be enriched through interdisciplinary exchange with other researchers.
Proposals are invited for the following modes of participation:
- Academic papers (20 minutes + 10 minutes for discussion)
- Performance papers (combining theoretical presentation with artistic demonstration)
- Commented listening sessions (presentation of sound works accompanied by critical analysis)
- Presentations of research projects currently in progress or recently completed
- Proposals addressing documentation, archiving, and preservation of sound art and experimental music
Proposals may address, among others, the following themes:
Musical and Sonic Temporalities
- Temporality in experimental music and sound art
- Theories of musical time: linearity and non-linearity, virtual time, absolute time
- Meter and rhythm as temporal constructions
- Experiential time and the phenomenology of listening
Archive, Documentation, and Sonic Time
- Sound archives as devices of collective memory
- Archival practices in experimental music and sound art: problems and methodologies
- Documenting the ephemeral: epistemological and technical challenges
- Time, mourning, and listening: sonic memory in contexts of crisis
- Digital archives and new temporalities in sound studies
- Listening to history: historiographic methodologies based on audition
- Preservation and conservation of the intangible: sound as cultural heritage
- Sound recording as a form of memory: virtual temporality and evanescent inscription
Sound Studies and Musicology: Interdisciplinary Intersections
- Dialogues between academic musicology and sound studies
- Listening, temporality, and sound recording and reproduction technologies
- Sound, memory, and cultural experience
- The temporal dimension of sound: from physics to phenomenology
- Political and social constructions of sonic time
- Graphic notation and forms of representing sonic time
Art, Science, and Temporality
- Collaborations between sound artists and scientists: shared methodologies
- Temporality in physics and temporality in music: interdisciplinary dialogues
- Scientific uncertainty and sonic experimentation
- Sonic detection: from particle physics to sound art
- Geological time, cosmic time, and musical time
- Musical evolution and temporal experience
Gender, Listening, and Time
- Feminist temporalities in experimental sound practices
- Listening as a situated and embodied methodology
- Reproductive time, productive time, and sonic creation
- Alternative temporal narratives in gender and sound studies
Philosophy and Ontology of Time
- Conceptions of time: past, present, and future from a philosophical perspective
- The reality of time: historical and contemporary debates
- Time in the philosophy of physics and temporality in music
FORMAT OF THE PROPOSALS
Proposals must include:
– Name, and, where applicable, academic affiliation
– Email address
– Title
– Abstract (maximum 500 words)
Languages: Proposals may be submitted in Spanish, English, or French.
Submission by email to artesonoro@cchs.csic.es
Deadline: February 7, 2026