[Candrama] Call for Papers: OUTSIDE RADIO: 24 H OF WORLD PHONOGRAPHY

[Sebastian Samur]

Shared on behalf of the Canada Research Chair for Sound Dramaturgy

Call for Papers: OUTSIDE RADIO: 24 H OF WORLD PHONOGRAPHY

This international research-creation event is part of the objectives of the
Canada Research Chair in the Dramaturgy of Sound in Theatre at the
Université du Québec à Chicoutimi (UQAC). Since 2010, in an
interdisciplinary and intermediate approach, we have been trying to give
sound a scenic space that is separate from dramatic action and that
surpasses the stage. This liberation allows us to redefine the dramaturgy
of sound: it refers to changing writing practices that make way for the
qualities that are specific to sound and inspire collaborations between
artistic forms and approaches, confronting participants with uncertain
processes and unprecedented forms.

In fact, our approach to the dramaturgy of sound is to remove ourselves
from the theatre space to relocate our listening and reveal a more
unpredictable, more eventful sound world. This in situ sound exploration
can be understood as an experiment in the movement of public space
(Behrendt 2015) during which the listening artist moves with the subject
and creates form in the movement (go out, follow someone, record, edit,
broadcast).

To give body and share this prompting gesture to encounter the musicality
of the sounds of the world (Ripault, 2007), the Outside Radio: 24 H of
World Phonography event will combine two emerging practices: phonography
and web radio.

On the one hand, phonography resembles field recording in that it allows
the sound environment to join the recording medium and on the other, it
focuses on the perception of sound recorders, their experience and ability
to listen rather than on technique (Ripault, 2007). In this sense, although
phonographists are interested in sound ecology, contrary to documentarists,
they consider their affection for the sounds they capture and place the
subject’s fallibility at the heart of the sound event (wandering times,
technical glitches, improper manipulations, unexpected comments…). This is
what Chris Delaurenti claims when he writes: “As a phonographer, I seek to
liberate the forbidden elements of field recording” (Delaurenti, 2005).

The territory of phonographists is broad and pluralistic: it shows a
reciprocal construction of the world and the “promeneur écoutant”
(listening walker) (Chion, 1993). A sound mobility that corresponds to both
a spontaneity of “sounds [that] travel through networks, memories, between
people and places, from performers to audiences, through time as much as
space, both live and as sonic potential stored in mechanical and electronic
recordings, digital files and musical instruments” (Chapman, 1993;
www.mobilities.ca) and a mobility narrative as practised by the laboratoire
sur les récits du soi mobile (mobile laboratory on self-narratives) of the
Université de Montréal (www.lrsm.ca).

A dramaturgical commitment in a geographical and sound territory that
involves a modulation of our listening, a renewal of our creative gestures
and a transformation of sound aesthetics.

We will be reproducing the phonographist gesture on web radio, a medium
that has become an even more mobile interface in itself, capable of linking
both the natures and sound cultures of the world. Web radio directly feeds
the intermediate and collaborative quality of sound. In addition to sharing
radio listening, the audience accesses images, live exchanges, text … the
many interactivities that make web radio a space for experimentation and
intermediation. Finally, the exploration potential is associated with
freedom from reception conditions for the audience. Andrea Cohen notes that
with Internet radio, there is no longer necessarily a correlation between
the time of the broadcast and listening time (Cohen, 2015).

Spread over 24 hours to live and hear the gap between the different
countries, this web radio broadcast produced in Chicoutimi will then
constitute a sound path that is accessible both in a linear and collective
way (despite the time difference, many listeners listen at the same time)
and in a discontinuous (podcasting) and autonomous way.

Thus, in order to bring the diversity of this ability to listen across the
world on the air and online, we will call on research-creations dealing
primarily with exploring the dramaturgy of sound based on the environment,
mobile technology and body
experience.

To participate in this event, your proposal must meet certain requirements:

- Be an original work that focuses on the concept of the dramaturgy of
sound;
- Be designed outside the studio and from an in situ experience, which can
be in a
closed space or outdoors;
- Consider the specificity of the web radio space;
- Be limited to a set duration: 1 to 30 minutes;
- Be live or recorded (however, if the work is live, you must ensure the
feasibility
at the time of the broadcast or plan a rescue proposal).

In terms of content, your proposal may explore the principles of
phonography and the
dramaturgy of sound through:

- Theatre;
- Performance;
- Poetry;
- Documentary drama;
- Miniseries (with a very limited duration per episode);
- Music (concert, rehearsal, improvisation…);
- Reporting;
- Interview.

The relationship to text and language is important to consider in a sound
project. However, if the literary object is central to understanding the
sound creation, a translation must be published on the site.

This proposal is aimed both at researchers (professors, students) and
artists. According to the proposal, a modest budget may be allocated for
expenses, knowing that a fee will not be paid for this event. Participants
from different countries will dispose of either 30 consecutive minutes or
30 minutes spread over 24 hours.

SCHEDULE

- April 15, 2017: Submission of your proposal (approximately 300 words) + a
biography (100 words) to the following address: Dramaturgie_sonore at uqac.ca
- Early May: Selection of proposals by a committee.
- Mid-August: Due-date for recordings and/or adjustments for live projects.
- End of September: Pre-programming (it is expected that each creation be
preceded by a short interview with the artist or artists).
- October 13 to 14: Broadcast of the event in Chicoutimi (Québec-Canada).

This project is supported by the Université du Québec à Chicoutimi (UQAC)
and the
Research Chair of Canada in the Dramaturgy of Sound in Theatre.


We look forward to receiving your proposal,

The organizing committee

Frédéric Dallaire
Julien Éclancher
Jean-Paul Quéinnec
Diego Santamaria
Guillaume Thibert
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