<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="">----- Begin forwarded message -----<br class=""><br class="">From: David Grubbs <br class="">Date: Tue, 8 Dec 2020<br class=""><br class="">Dear Friends: <br class=""><br class="">Here is the call for applications for a seminar that Jan St. Werner and <br class="">I are teaching in Lisbon in July through UC Berkeley's Institute of <br class="">Speculative and Critical Inquiry. Please feel free to forward this to <br class="">any folks that you think would be interested -- thanks!<br class=""><br class="">--<br class=""><br class="">Collaborative Experimentation in Sound<br class="">An Institute of Speculative and Critical Inquiry and Fábrica Braço de <br class="">Prata Summer School<br class="">Faculty: David Grubbs and Jan St. Werner <br class="">July 12-17 2021, Lisbon <br class="">Tuition: €650<br class=""><br class="">David Grubbs and Jan St. Werner will lead participants in <br class="">multidisciplinary explorations of sound, body, and space, combining <br class="">traditional and theoretical knowledge with hands-on experimentation in <br class="">using sound as an art form. How can we approach sound as something <br class="">other than morphology or sign? What happens when we bracket musical <br class="">aesthetics?<br class=""><br class="">Participants in this hybrid workshop/seminar will be guided through a <br class="">process of collaborative research and critical and creative production, <br class="">with five days of instruction culminating in a public event that will <br class="">combine performances, readings, demonstrations, and discussions. A <br class="">fundamental orientation for these collaborative efforts will be that <br class="">“everyone does everything,” on the understanding that the most fruitful <br class="">collaborations occur when individuals are able to gain practical <br class="">experience of every relevant mode of production. Readings, viewings, <br class="">and listenings will be assigned both prior to and during the workshop, <br class="">and they will provide artistic and theoretical reference points for our <br class="">work and discussions. Writing, both individual and collaborative, also <br class="">will feature prominently, especially with a view toward language as <br class="">sonic material and practice.<br class=""><br class="">Grubbs and St. Werner look forward to working with individuals with <br class="">diverse skills representing a broad range of disciplinary backgrounds, <br class="">and encourage people to apply who have experience in fields such as <br class="">sonic arts, sound studies, electronic and computer music, performance, <br class="">dance, installation, art history, critical theory, and literature <br class="">(particularly poetry and experimental writing practices).<br class=""><br class="">All instruction as well as the performance will take place on site at <br class="">Fábrica Braço de Prata; tuition includes full lunch and full dinner <br class="">from Fabrica’s restaurant each day. Enrollment will be capped to ensure <br class="">a seminar atmosphere. If Covid restrictions remain in place, we intend <br class="">to hold the event while respecting social distancing measures. <br class=""><br class="">To apply, please send to <a href="mailto:isci@theisci.org" class="">isci@theisci.org</a> a letter of interest, your <br class="">cv, and a sample of your work (provide a link for large files) and <br class="">indicate that you are applying to the “Collaborative Experimentation in <br class="">Sound” summer school. (Please also indicate the title of summer school <br class="">in the subject line of your email and combine all written files into <br class="">one pdf.) <br class=""><br class="">Applications are rolling but initial reviews will begin in early <br class="">January, so please apply early to guarantee full consideration and in <br class="">order to arrange institutional funding if applicable. Note that the <br class="">Institute of Speculative and Critical Inquiry presently cannot provide <br class="">financial aid and may be slow to respond to inquiries about that <br class="">possibility.<br class=""><br class="">David Grubbs is Professor of Music at Brooklyn College and The Graduate <br class="">Center, CUNY. At Brooklyn College he also teaches in the MFA programs <br class="">in Performance and Interactive Media Arts (PIMA) and Creative Writing. <br class="">He is the author of The Voice in the Headphones, Now that the audience <br class="">is assembled, and Records Ruin the Landscape: John Cage, the Sixties, <br class="">and Sound Recording (all Duke University Press) and, with Anthony <br class="">McCall, Simultaneous Soloists (Pioneer Works Press). Grubbs has <br class="">released fourteen solo albums, appeared on more than 190 releases, and <br class="">was a member of the groups Gastr del Sol, Bastro, and Squirrel Bait. He <br class="">is also known for his ongoing cross-disciplinary collaborations with <br class="">poet Susan Howe and visual artists Anthony McCall and Angela Bulloch. <br class=""><br class="">Jan St. Werner is an artist and electronic music composer based in <br class="">Berlin. Widely recognized as one half of the electronic music group <br class="">Mouse on Mars, he has also pursued a solo career creating music under <br class="">his own name as well as Lithops, Noisemashinetapes, and Neuter River. <br class="">Starting in the mid-1990s as part of Cologne’s A-Musik collective, St. <br class="">Werner has released a steady stream of records both as a solo artist <br class="">and with Mouse on Mars. He has collaborated with Oval’s Markus Popp as <br class="">Microstoria and contributes music for installations and films by visual <br class="">artist Rosa Barba. During the 2000s Werner acted as the artistic <br class="">director for STEIM, the Dutch Studio for Electro-Instrumental Music. In <br class="">2013 St. Werner released Blaze Colour Burn, the first of a series of <br class="">experimental recordings called the Fiepblatter Catalogue. St. Werner <br class="">has been a visiting lecturer at MIT’s Program in Art, Culture and <br class="">Technology (ACT) and currently serves as Professor for Interactive Art <br class="">and Dynamic Acoustic Research at the Academy of Fine Arts Nuremberg.<br class=""><img apple-inline="yes" id="6587BE0A-61CB-48A1-A508-851650C8A1A1" src="cid:B13E790C-F7BC-4A53-ABC0-13A39EEEA4DC" class=""><br class=""><br class=""><br class="">-- <br class="">David Grubbs<br class="">Professor of Music<br class="">Performance and Interactive Media Arts (PIMA)<br class="">Brooklyn College and the Graduate Center, CUNY<br class=""><a href="http://pima-brooklyncollege.info" class="">http://pima-brooklyncollege.info</a><br class=""><br class="">
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