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Apologies for crossposting.
Call for Papers: Drawing: Research, Theory, Practice
Special Issue: 'Listening - Drawing - Sounding'
Volume 10, Issue 1
Deadline: 1 May 2024
View the full call here>>
https://www.intellectbooks.com/drawing-research-theory-practice#call-for-papers
There is a wonderfully rich and complex intertwining of drawing/image-making and music/sound, forming a rhizome that comprises (but is not limited to) traditional European musical notation, graphic scores, scientific sound analysis, contemporary and modern art, dance and digital imaging techniques.
Graphic music notation is often associated with composers of the 50’s and 60s such as John Cage, Alison Knowles, and Cathy Berberian, but it has also moved into contemporary art practice with artists such as Samson Young’s Sound Drawings that consider the banality of the sounds of conflict; or Christine Sun Kim’s large-scale drawings which question how sound operates in society. Other forms of technical drawing have been used to portray sound as a means of analysis (the front cover of Joy Division’s Unknown Pleasures (1979) album, for example) with contemporary digital drawing of sound such as wave form visualisations and spectral analysis becoming part of an established ‘look’ of sound.
As well as the material explorations of mark making and sound, contemporary theory also draws on this relationship. Gilles Deleuze and Pierre-Félix Guatarri’s A Thousand Plateaus (1987) starts with an illustration of Sylvano Bussoti’s score for Five Pieces for Piano for David Tudor before discussing assemblages and lines of flight. Henri Lefebvre's Rhythm Analysis (1992) looks at the ‘verticality-horizontality’ of written music as a spatial expression of sound and Salome Voegelin explores the relation between voice and hands in her recent book Uncurating Sound (2023).
This special issue seeks to initiate a contemporary survey of the multiplicity of ways of working between drawing and sound and invites contributions from all disciplines and fields of research and practice that investigate, expand, and complicate these relationships, as well as those that propose new ways of exploring drawing and sound. The issue will be accompanied by an exhibition/performance of work and contributors are invited to propose scores and performances alongside their submissions.
Drawing: Research, Theory, Practice places particular emphasis on original papers on drawing theories, practices, methods, processes, and research that adopt inventive interpretations of drawing. Papers should not be under consideration by other publications.
Submissions can take the form of:
Articles (5000 words, 1–6 images)
Research Projects or Project Reports (3000 words, 1–4 images)
Critical Essays (3000 words, 1–4 images)
Profiles (1500 words, 1–2 images)
Exposés (1500 – 2000 words, 1–2 images)
Featured Drawings (1–2 images and 1000 words)
Papers can be uploaded via the Drawing: Research, Theory, Practice Intellect webpage, and a copy of the submission should be emailed to the principal editor.
Please submit the following:
an anonymised PDF Document with embedded images (72 dpi), captioned, as Name_Surname.doc.
a Word Document without images as Name_Surname.doc
Guest-editor: Ben McDonnell, Norwich University of the Arts (NUA)
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