[ANPPOM-L] Art of Record Production Conference 2007

[carlos palombini]

Dear All

Apologies for cross posting and please forward as appropriate. Further 
apologies to those who have already submitted abstracts if they worked 
hard to hit the original deadline.

Due to a few technical hitches, we are *extending the deadline* for the 
submission of abstracts for the 3rd international Art of Record 
Production Conference to the *16th July*. In case you've somehow managed 
to miss the previous emails, the conference is being hosted this year by 
Prof Andy Arthurs at the Queensland University of Technology, Brisbane, 
Australia on the 10th - 11th Dec. 2007 with a further event (TBC) on the 
9th Dec. Papers will be selected after peer review by an international 
panel of academics.
Papers are invited on all aspects of record production but we are 
particularly interested in work on:

• Lo-Fi vs Hi-Fi - the future of the studio and the producer. The 
association of large studios with large sales and small studios with 
small sales is no longer a given. How has practice changed? How will it 
change in the future? What are the roles of the producer, engineer, 
sound designer, artist, songwriter and performer and to what extent are 
these still delineated as separate or conflated? What is the place for 
the professional, the amateur or the pro/am?
• Recording as a compositional process. Which comes first, the recording 
or the performance? A recording is pivotal in the compositional act. To 
what extent does it drive the process? Has recording demolished the 
concept of authenticity? To what extent is the recording the modern score?
• Sound recording, new technologies and new contexts. For over 50 years 
recording has not necessarily meant the documentation of a single sound 
event. Nor is it always merely a linear product such as a song, a 
symphony or a film soundtrack. Record producers often need to understand 
the new contexts in which their work will exist. Increasingly uses have 
become more fluid and interactive. Recorded sound is now part of the 
fabric of games, the internet, emerging media, mobile networks, and live 
performance. New aesthetics have emerged in parallel with technical and 
creative innovations. Is there still a directorial role for a producer 
to “get the best from the musicians”? Are streaming and downloading our 
friends or foes? What of the legal issues and initiatives such as 
Creative Commons?
• The art surrounding the art. In a world where no discipline is an 
island, what is the interaction with, and impact upon record production 
of videos, cd covers, online spaces and virtual sites?

Proposals for individual papers and poster presentations should not 
exceed 300 words.

Proposals for panels should include the names and brief CVs of all panel 
members and their individual contributions and should not exceed 1000 words.

Proposals should be submitted electronically to: 
simonzt em artofrecordproduction.com <mailto:simonzt em artofrecordproduction.com>

Simon Zagorski-Thomas
simonzt em artofrecordproduction.com <mailto:simonzt em artofrecordproduction.com>

The Art of Record Production Conference
Journal on the Art of Record Production

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cvp