- To develop meaningful conversations between theory and praxis by including critical theorists of voice and different kinds of creative and professional practitioners working with voice
- To think about how singing and music function as subsets or instances of voice all told
- To consider how the voice as metaphor (as in “the composer’s voice,” “finding your voice,” or “giving voice to”) might be differentiated from the voice as a concrete, delimited set of possibilities within any given case
- To explore the voice as instrument, separable from the body—broadcast, recorded, ventriloquized, channeled—and how it might delineate things differently from when it is physically attached; what happens, in other words, when the body is absent from its (presumed) vocal source?
- To rethink the various means and consequences of throwing the voice, putting it at a distance
- To destabilize ideas of voice that too often are objectified in discourse, thus making the site of voice a more open one
- To put pressure on both the minimal and maximal presences of voice—what IS voice minimally and what is it maximally?
- To investigate voices in extremis, or what we provisionally call extraordinary voices (Bob Dylan, Birgit Nilsson, Russian Oktavists, Yma Súmac, Mado Robin)