Call for Papers


This second edition of SONOLOGIA: International Conference on Sound Studies proposes the theme I/O. An acronym which, metaphorically mobilized, provides a powerful way of addressing the diverse and problematic relations between the “I” and the “other”, as well as “inside” and “outside”. By focusing on matters of alterity, subjectivities, limits, boundaries and crossings – either cultural, territorial or disciplinary – we invite papers devoted to particular and contingent relations that take to task hegemonic theories and practices in sound studies. Although the pairing of categories may indicate opposing notions, by retaining the slash [/] we intend to focus on inquiries that disrupt the limits of each category and suggest possible continuities, exchanges and intertwinements between the terms of the relation.

  • Politics of sound and sound making. Institutionalization of artistic practices and research. Sound activism. Violence, war, control tactics and sonic torture.
  • The role of technique and technology in listening and sound making. Critical perspectives on the repurposing of technology, precariousness, experimental lutherie.
  • Discourses on listening and sound practices. Aspects of legitimacy, politics, place, alterity, gender or race, from the perspective of non-binary, non-normatives, post-colonial or counter-hegemonic epistemologies.
  • Identity and alterity in sound practices in Latin America. Discussions regarding hybridity, interculturalism, miscegenation, transnationality.
  • Sound materiality and immateriality. Critical inquiries regarding sonic materialisms and the limits of aurality. Ontological debates about sound and audio culture.
  • Sound and territoriality. Politics of space and poetics of memory and forgetting within practices such as site-specific art, installations, soundscapes, sound walks, field recording, sonic cartographies.
  • Crossovers between sound, voice, body and visuality. Studies on presence, performances and artistic practices related to theatre, dance, audiovisual, performance and literature, regarding its contingencies and particularities.
  • (In)disciplines of sonic creative processes. Limits and ruptures in collective or individual creative practices. Human/non-human interaction. Alternative proposals of documenting and sharing creative processes.

Language and format

The official language of the event is English. However, inspired by the theme of the conference – I/O – we encourage that participants strive to relate in a flexible and inclusive manner with the language issue during the conference. In line with this perspective, we invite submissions of extended abstracts in either English, Portuguese or Spanish. Afterwards selected participants shall submit their complete papers, and present them in the conference, in English.

We accept alternative formats of papers that reflect critical and creative necessities of theoretical, practice-based or artistic research. However, the use of special technical resources needs to be evaluated jointly with the organizing committee. Paper presentations should last 20 minutes followed by up to 10 minutes of questions.

Submission guidelines

Please submit your extended abstract (in Portuguese, Spanish or English) of a max. 800 words, and a short bio (50 words) no later than November 1st, 2018 by 11:59pm Pacific Standard Time (GMT -3) to Please allow 24-48 hours for confirmed reception.

Selected presentations will need to submit camera-ready papers (in English) by February 25th 2019 with a provided (by us) ODT/ MS Word templates (max. 7000 words in A4 format). The papers will be published online in the conference proceedings.

Important Dates

  • Deadline for the submission of abstracts: October 1, 2018
  • Extended Deadline: November 1, 2018
  • Selection results: December 17, 2018
  • Camera-ready paper deadline: February 25, 2019