Carmen Pardo Salgado

Professor of Music History at the University of Girona. Postdoctoral researcher at the IRCAM-CNRS Unit in Paris (1996-1998), where she conducts research on sound space in contemporary music. Charged with editing and translating Escritos al oído (1999) by John Cage, she is the author of La escucha oblicua: una invitación a John Cage (2001; French version: Approche de John Cage. L’écoute oblique (2007), awarded the 2008 Charles Cross Academy’s Coup de Coeur for Contemporary Music Publications), Robert Wilson (in collaboration with Miguel Morey; 2003), Las TIC: una reflexión filosófica (2009) and En el mar de John Cage (2009). She has contributed to numerous collective publications, including Présences de Iannis Xenakis / Presences of Iannis Xenakis (2001), Musiques, Arts, Technologies. Pour une approche critique (2004; English version: Music, Arts, Technologies. Towards a Critical Approach; Spanish version: Músicas, Artes, Tecnologías. Por una aproximación crítica), La parole sur scène. Voix, texte, signifié (2008), Estética: perspectivas contemporáneas(2008), Encuentros de Pamplona 1972: Fin de fiesta del arte experimental (2009) and Desbordamiento de Val del Omar (2010). Her articles, hinged on contemporary art, particularly music and sound art, can be found in specialised domestic and international magazines. As a translator, she is responsible for translating, among others, Michel Chion’s Musique Concrète, The Art of Fixed Sounds (2001) and Peter Szendy’s Hits: Philosophy in the Jukebox (2009; in collaboration with Miguel Morey). She has organised and coordinated distinct international gatherings, such as La Calle (Madrid; 1998) or Músicas, artes y tecnologías: por una aproximación crítica (Barcelona/Montpellier; 2000), the art media spectacle Bosque Sonoro: Homenaje a John Cage (Barcelona; 2003), Ciclo John Cage, Esto llamado… música minimal… y otrosMúsica en la nocheLa Música de la Arquitectura: Varèse, Xenakis, Dusapin (in collaboration with Músicadhoy/La Casa Encendida, Madrid; 2006, 2008, 2009, 2010), Night of the Electroacoustic MusicEl sonido en la cueva (Sorderas) andSonidos del poder. Escuchas del miedo (with the Chaos Orchestra, Brussels 2008 and Barcelona 2008 and 2009). She worked as deputy curator (music section) on the exhibit Encuentros de Pamplona 1972: Fin de fiesta del arte experimental held in the Reina Sofía National Art Centre Museum between October 28, 2009 and February 22, 2010, and in the Navarra Museum, Pamplona Citadel and CIVICAN between March 25 and June 13, 2010.