<html><head><meta http-equiv="Content-Type" content="text/html; charset=utf-8"></head><body style="word-wrap: break-word; -webkit-nbsp-mode: space; line-break: after-white-space;" class=""><br class=""><div><br class=""><blockquote type="cite" class=""><div class=""><i class="" style="font-family: Calibri, Helvetica, sans-serif; font-size: 12pt;">Peço a vossa disseminação pela vossa rede de contactos, em especial aqueles a quem possa interessar mais este número especial. A data de submissão foi estendida para 10 de janeiro de 2021.</i></div><div class=""><div dir="ltr" style="caret-color: rgb(0, 0, 0); font-family: Helvetica; font-size: 12px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-stroke-width: 0px; text-decoration: none;" class=""><div id="x_divtagdefaultwrapper" dir="ltr" style="font-size: 12pt; font-family: Calibri, Helvetica, sans-serif;" class=""><div class=""><br class=""></div><div class="">Junto envio o Call for Papers para <b class="">o número especial do JSTA </b>(Journal of Science and Technology of the Arts) sobre "<b class="">Audible (Art): The invisible connections between sound, music, and sound art</b>".</div><div class=""><br class=""></div><div class="">O JSTA é uma publicação científica do CITAR - Centro de Investigação em Ciência e Tecnologia das Artes, da Escola das Artes da Universidade Católica Portuguesa. Está indexado na Scopus.</div><div class=""><br class=""></div><div class="">++++++++<br class=""></div><div class=""><br class=""></div><div class=""><b style="font-size: 12pt;" class="">Audible (Art): The invisible connections between sound, music, and sound art.</b><br class=""></div><div class=""><div class=""><b class="">Deadline: </b><b class=""><u class="">NEW DATE - January 10, 2020</u></b></div><div class="">Editors: José Alberto Gomes, Miguel Carvalhais, Henrique Portovedo</div><div class=""><br class=""></div><div class="">Submissions: <a href="https://revistas.ucp.pt/index.php/jsta/about/submissions" target="_blank" rel="noopener noreferrer" id="LPlnk871975" class=""><span id="LPlnk871975" class="">https://revistas.ucp.pt/index.php/jsta/about/submissions</span></a> </div><div id="LPBorder_GT_16062326408890.701963108993199" style="width: 652px; margin-bottom: 20px;" class=""><table id="LPContainer_16062326408870.059412716761016005" width="90%" cellspacing="0" style="width: 586.796875px; margin-top: 20px; padding-top: 20px; padding-bottom: 20px; border-top-width: 1px; border-top-style: dotted; border-top-color: rgb(200, 200, 200); border-bottom-width: 1px; border-bottom-style: dotted; border-bottom-color: rgb(200, 200, 200);" class=""><tbody class=""><tr class=""><td colspan="2" valign="top" style="padding: 0px;" class=""><div id="LPRemovePreviewContainer_16062326408870.7959459320420008" class=""> </div><div id="LPTitle_16062326408870.46323001102116224" class=""><font size="3" color="#0078D7" style="font-family: wf_segoe-ui_light, "Segoe UI Light", "Segoe WP Light", "Segoe UI", "Segoe WP", Tahoma, Arial, sans-serif, serif, EmojiFont;" class=""><span id="LPTitle_16062326408870.46323001102116224" style="font-size: 21px;" class=""><a href="https://revistas.ucp.pt/index.php/jsta/about/submissions" target="_blank" rel="noopener noreferrer" id="LPUrlAnchor_16062326408870.272032454486582" style="text-decoration: none;" class=""><span id="LPUrlAnchor_16062326408870.272032454486582" class="">Submissions | Journal of Science and Technology of the Arts</span></a></span></font></div><div id="LPMetadata_16062326408880.825829880711199" style="margin: 10px 0px 16px;" class=""><font size="2" color="#666666" style="font-family: wf_segoe-ui_normal, "Segoe UI", "Segoe WP", Tahoma, Arial, sans-serif, serif, EmojiFont;" class=""><span id="LPMetadata_16062326408880.825829880711199" style="font-size: 14px;" class=""><a href="http://revistas.ucp.pt/" class="">revistas.ucp.pt</a></span></font></div><div id="LPDescription_16062326408880.3862816518028329" class=""><font size="2" color="#666666" style="font-family: wf_segoe-ui_normal, "Segoe UI", "Segoe WP", Tahoma, Arial, sans-serif, serif, EmojiFont;" class=""><span id="LPDescription_16062326408880.3862816518028329" style="font-size: 14px;" class="">Este portal disponibiliza revistas científicas publicadas pelos Centros de Investigação e Unidades de Ensino da Universidade Católica Portuguesa. Tem como objetivo aumentar a visibilidade e alcance das publicações e promover a qualidade editorial.</span></font></div></td></tr></tbody></table></div><br class=""><div class=""><br class=""></div><div class="">This special issue of CITAR’s Journal of Science and Technology of the Arts is especially devoted to artistic expression through sound.</div><div class=""><br class=""></div><div class="">Musical arguments characterize the sound network richness through representational signals that need to be interpreted. Since the 1970s, the singularity impulse of the moment in music has shaped new paths and disciplines with its new grammars and wills. Art through sound, as a practice, takes advantage, describes, analyzes, executes and interrogates the condition of the sound and the processes by which it operates. Thus, any remaining musical argument is negated by a predominant extravagance of unintentionality, multiplicity, silence or noise. At the same time, the role of technology in this evolution is undeniable. The development and use of computational tools and media have become a constant and the majority of the art through sound is affected by it, in a symbiosis with technology that radically transforms the landscape for the practice of the arts.</div><div class=""><br class=""></div><div class="">As explored in Sonic Warfare by Steve Goodman, sound today represents much more than a musical element or even an acoustic and physical phenomenon. Travels through philosophy, science, fiction, aesthetics, popular culture. It can be deployed to produce discomfort, express a threat when at the same time, artists and musicians use it in the search for new aesthetic experiences and new ways of mobilizing bodies in rhythm. For this special issue of the JSTA, the guest editors intend to address sound as a bundle of practices that can either arise from, lead to, or use sound as a tool of world building in politics, philosophy, geography, engineering, poetry, ecology, architecture, design and arts.</div><div class=""><br class=""></div><div class="">We seek articles by sound artists, musicians, performers, computer scientists, new media artists, researchers and theorists from different backgrounds and geographies in order to build a comprehensive profile of sound, music and sound art in contemporary culture.</div><div class=""><br class=""></div><div class="">Hot Topics:</div><div class="">Audio Cultures</div><div class="">Auditory Perception</div><div class="">Sound and Architecture</div><div class="">Sonic Arts</div><div class="">Sonic Politics</div><div class="">Sound and Culture</div><div class="">Sound and Performance</div><div class="">Sound Sculptures</div><div class=""><br class=""></div><div class="">(Image: Comparison of the human ear with ears of various animals (detail) by Athanasius Kircher. 1650)</div></div><div class=""><br class=""></div><div class="">More information about JSTA, here: <span id="LPlnk580805" class=""><a href="https://revistas.ucp.pt/index.php/jsta/index" target="_blank" rel="noopener noreferrer" id="LPlnk580805" class="">https://revistas.ucp.pt/index.php/jsta/index</a></span></div></div></div></div></blockquote></div><br class=""></body></html>