The Loud-speaker is probably the greatest common denominator in all our lives to-day. Video, multimedia, car radios, mobile phones are all crafting a new life for sound. In all domains sound is an objet of research, of reflexion. It is essential to open up creative, imaginative spaces for sound. And to encourage people to listen.

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 Today, where the tension and exchange between digital and biological existence is becoming ever more evident, a new situation of art emerges. Today, where the tension and exchange between digital and biological Evolving in-between the atoms and the bits, in the words of Roy Ascott, art performs in ’wet’ interfaces. Using the term ’moist’ media, he addresses the occasion where technological innovative art is moving out of the boundaries of ’digital art’, and away from the screens and ’interactivity’. Instead, art finds itself in a new situation, where a tension between techno-aesthetic and bio-logical (perceptual) systems are central.

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SDH 2010 Date: Tuesday 19th and Wednesday 20th October 2010 Venue: Technical University of Vienna, Austria NEERI 2010 Date: Thursday 21st October 2010 Venue: Technical University of Vienna, Austria Digital technologies have the potential to transform the types of research questions that we ask in the Humanities, and to allow us to address traditional questions in new and exciting ways. Supporting the Digital Humanities will be a forum for the discussion of these innovations, and of the ways in which these new forms of research can be facilitated and supported.

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 The Standing Committee for the Humanities (SCH) Working Group on Research Infrastructures (RIs) set up by the SCH in 2009 to envisage a pro-active strategy for in the Humanities in Europe, defined its role and mid-termpriorities in a meeting which took place in February 2010 in Pisa.

Among the outcomes of the meeting was the decision of the Working Group to organise a strategic workshop, so as to inform a forthcoming SCH policy publication on RIs with real case studies. The workshop on “Research communities and research infrastructures in the humanities” will take place on 29-30 October 2010 in Strasbourg straight after the SCH plenary meeting. Its aim is to gather different research communities’ perspectives on scholarly-driven design and use of research infrastructures in the humanities by attracting contributions from European scholars across a wide range of disciplines (e.g. linguistics, history, literature, archaeology, media studies, library and archival studies, digital libraries studies, musicology, art history, textual scholarship, manuscript studies, semiotics, data modelling), representing different research languages and interests over RIs related issues around five thematic sessions:

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company logo Conference at the Norwegian University of Science and Technology (NTNU) Trondheim, Norway 5-7 May, 2011 Contemporary cultural expression can perhaps more than ever before be characterized as transaesthetic phenomena. Western media culture, modern technology and the processes of globalization have caused an increase in the occurrence of transmedial and multimodal hybrids, the blending of public and private spheres, and have undermined the traditional academic boundaries between the arts. The relational, digital and performative nature of much contemporary literary expression poses theoretical and methodological challenges to the study of literature and calls for an increased dialogue between scholars affiliated with various academic fields.

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The Ghost in the Machine: Technologies, Performance, Publics 2-3 February 2011 a conference hosted by: Schulich School of Music,Institute for the Public Life of Arts and Ideas &Improvisation, Community and Social Policy (SSHRC-MCRI)McGill University, Montreal, QCOur mandate is to invite recent research and analysis into the diverse ways in which technological change has and continues to effect the meaning and experience of music in the long twentieth century — not so much in a practical or legal sense but in an aesthetic, philosophical and political sense. We are keen to involve as rich a diversity of disciplinary and interdisciplinary frameworks as possible.

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Interference is a biannual online journal in association with the Graduate School of Creative Arts and Media. It is an open access forum on the role of sound in cultural practices, providing a trans-disciplinary platform for the presentation of research and practice in areas such as acoustic ecology, sensory anthropology, sonic arts, musicology, technology studies and philosophy. The journal seeks to balance its content between scholarly writing, accounts of creative practice, and an active engagement with current research topics in audio culture.

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XVIII International Film Studies Conference Udine, April 5 – 7, 2011 It was Jacques Derrida who reminded us that the word archive (Archè) combines the idea of beginning and that of command: the place where things get started, and where the sources reside, but at the same time the place where the Law arises and where it finds its dwelling. In the regime of the image the archive is – in a single concept – the storage of recorded and transmitted images, but also what Jacques Rancière defines as «the organization of the sensible» (le partage du sensible); that instance which regulates, institutes and organizes the places and positions of access to the experience of the visual. Nevertheless the archive is not a one-dimensional concept: it is not only made by objects and concreteness, but also by void spaces, missing elements, silences, which preserve not only the transmittable history but also the trace of what could have been but was not and nevertheless continues to persist in the present times.

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Date: 7-8 October 2010. Location: Casa del Cinema. Largo Marcello Mastroianni 1, Rome, Italy. The EUscreen best practice network is hosting a two-day international conference on content selection policies and contextualisation in the audiovisual domain. It will be held in Rome on 7 and 8 October 2010. The conference will focus on contextualisation of audiovisual material. Attendance is free, but pre-registration is compulsory as the number of seats is limited. The complete programme is published here

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Camillo 2.0: Technology, Memory, Experience is an initiative of Theatre Studies at Utrecht University and the theatre festival Festival aan de Werf, in cooperation with the Faculty of Theatre at the Utrecht School for the Arts (Hogeschool voor de Kunsten Utrecht – HKU). Camillo’s theatre of memory was a wooden construction meant to allow the spectator access to all existing knowledge, as well as providing the possibility to orate about this ‘as if he were Cicero himself’. Though world renowned in the 16th century, Camillo’s theatre was forgotten after the death of its inventor, only to make an impressive comeback in the second half of the 20th century as an initiator of the computer and the World Wide Web (Eco, Bolzoni, Winkier, Davis). Camillo’s theatre is simultaneously a kind of external memory as well as a representation of the way in which memory functions, including the way in which the relation to the spectator is constituted. The construction displays the Ars Memoria: the techné of memory (Yates). This move makes Camillo’s theatre of memory unto an emblem and a historic point of reference which resonates in the subject of this conference, namely: the performing arts as providing a perspective on and embodiment of the relation between technology, memory and experience.

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