ARTEFILOSOFIA renova a chamada para o dossiê "Filosofias do som e do audível"
PHILOSOPHIES OF SOUND AND THE AUDIBLE
Call for papers – ArteFilosofia
Edited by Igor Reyner (UFRJ) and Ricardo M. Nachmanowicz (UFOP)
Deadline for submission: June 30th/2024
Roberto Casati, Jérôme Dokic and Elvira Di Bona (2020) claim that what makes sound worthy of philosophical analysis is not only its centrality to the perceptual scene but also the idiosyncratic ways in which it presents itself as a philosophical subject. Reassessing sonic categories that have already been established as philosophical themes, such as noise and the sound object, recent publications, such as Cecile Malaspina’s An Epistemology of Noise (2018), the collection edited by James A. Steintranger and Rey Chow, Sound Objects (2019), Lawrence Kramer’s The Hum of the World: A Philosophy of Listening (2019), François Noudelmann’s Penser avec les oreilles (2020), and Naomi Waltham-Smith’s Shattering Biopolitics: Militant Listening and the Sound of Life (2021), have ushered in heterogeneous new ways of thinking about sound and philosophy. In recent decades, the expansion and institutionalization of Sound Studies — that is, ‘the interdisciplinary ferment in the human sciences that takes sound as its analytical point of departure or arrival’ (Sterne, 2012) — and the introduction of the concept of sonotropism (Scherzinger, 2012), which refers to philosophy’s ‘aspiration towards the condition of music’, have revealed the potential of sound and its classical forms — the voice, music, and noise — to be treated as philosophical objects. These trends are, moreover, evidence of a widespread desire to give listening and the sonorous centre stage in theoretical inquiries.
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