The team at Sonic Scope journal hope you are all well and safe. Due to the COVID-19 situation, we have extended the submissions deadline for both full submissions and our call and response section.
The submission deadline for our first issue is now
1st June 2020
SONIC SCOPE: NEW APPROACHES TO AUDIOVISUAL CULTURE
An e-journal for student voices to challenge, energise and diversify engagement with audiovisual media
Sonic Scope invites fresh, intrepid and dynamic student voices to re-imagine and revise critical, interdisciplinary approaches to audiovisual media. Today’s accelerated media landscape offers an unprecedented range of audiovisual experiences, from dynamically reactive video games and ultra HD sports events, to live-streamed political rallies and YouTube vlogs. Within this expanding landscape, the relationship of music and sound to image has undergone radical cultural and aesthetic upheaval. Sonic Scope intervenes in this shifting media terrain by engaging with audiovisual events as they happen. At the same time, it uses contemporary debates to revitalise discourse on traditional audiovisual forms, such as film, opera, theatre, the sounding visual arts and intermedial music.
We invite students to join our online community by submitting papers for peer-review (any length up to 10,000 words), video essays (up to 10 minutes) and practice-based research (in any form), but also to participate in interactive discussion spaces and blog debates. Each issue will begin with a Call and Response. Our first question has been proposed by Henry Jenkins (pasted below) and we invite students to respond in any form: text, drawing, animation, sound, video, performance, poetry, comic-strip, anything!
Sonic Scope welcomes submissions in all areas of audiovisual culture, but we are particularly interested in the relationship between sound and image in the following:
- Online cultures, social media and YouTube
- Soundscape and sound design
- Transmedial storytelling
- Video game sound and music
- Multimodal and interdisciplinary approaches to opera, theatre and film
- Augmented, virtual and hyper realities
- Work created by the LGBTQ+ communities
- Music video
- Theoretical engagements with gender, race, sexuality and disability
- Music and the visual arts
- Film music analysis and history
- Visual music and experimental culture
- Global histories and perspectives
- Video art and expanded cinema
- Live audiovisual performance
Sonic Scope is edited by postgraduate students from the Department of Music at Goldsmiths, University of London: Regan Bowering, Calum White, Hugo Craft-Stanley and Raymond Sookram. Our editorial board is formed from students in the UK, the US, Australia, New Zealand and all over Europe.
The journal is managed by Dr Holly Rogers and published by Goldsmiths Press.
Submissions and general queries: email@example.com
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CALL AND RESPONSE QUESTION FOR ISSUE 1: Henry Jenkins
Often, media studies is preoccupied with texts which are abstracted from their materiality, yet we live in a world which is awash in stuff. Here, I want you to focus on artefacts rather than texts, on memorable objects with which you may reflect on why you became interested in studying media in the first place. Here, we are tapping into recent work in anthropology and sociology which explores how humans map meaning onto their possessions, how our belongings often express a sense of belonging, how the exchange of things helps to shape our relations with other people in our lives. In this tradition, certain objects are seen as telling — that is, they yield stories that help us to better understand the people around us. When we are asked to show off things that are meaningful to us, we engage in a process of self-fashioning — we construct and perform our identities through the stuff we share (both the objects themselves and the emotional baggage they carry for us). So, what kinds of stuff do we meaningfully and memorably accumulate as students and fans of audiovisual media? How might we trace the ways they entered our lives, the roles they play in constructing identity, forming relations, and managing memory, the forms of value and worth they hold for us? What do they tell us more generally about the ways larger groups of people have experienced media?