The histories of art are saturated by sonic experiments and expressions. Yet, the occurrence of sound in art throughout the 18th, 19th and 20th centuries remains heavily under-theorized and -contextualized, just as it is all but missing in existing archives (with few important, albeit recent, exceptions). The ‘matter’ of sonic saturation and its interlinked under-theorized situation, does not only concern the musicologists and a small specialized field of sound researchers; it is, or should be, the matter and concern of the whole media arts field: It speaks to its very foundation in transmedia issues and different understanding of the plurality of the histories contextualizing technologically mediated art. Through its techno-resonating immersion, media art reverberates in all cultural and societal matters on a pervasive scale. RE:SOUND will address this techno-resonance, trans-mediality, and cultural and social reverberation of media art, in general: Its histo-ecologies, -geologies, and -archeologies. As well as focusing on a wide range of the field’s practitioners, producers and creators – past, present and future. Conference Chair: Dr. Morten Søndergaard Conference Co-Chair: Dr. Laura Beloff