Von: Martin Supper
Datum: 11. Dezember 2014 22:08:36 MEZ
Organised Sound: An International Journal of Music and Technology
Call for submissions
Volume 21, Number 2
Issue thematic title – Punkacademia, oppositional culture and the post-acousmatic in electroacoustic music
Date of publication: August 2016
Submission deadline: 15 September 2015
Issue co-ordinators: Monty Adkins (firstname.lastname@example.org) and Ambrose Field (email@example.com)
Independent artistic practitioners, empowered by technology, have radically changed the digital arts climate in western societies over the last twenty years. In this issue we tackle some of the more awkward questions that have resulted from a changing dynamic where the aesthetic remits of independent commercial work and scholarship have intermingled.
The digital arts diaspora in the UK, Europe and North America and possibly beyond is today severely fractured. Decreasing or negligible public funding, coupled with the ongoing commoditisation of technology is creating an artistic culture where the act of composition with digital technology can be a personal entertainment activity as well as a profession. The pursuit of timbre, as an objective, has observably ceased in parallel with this expansion of activity. In 2015, it is likely that consumer-based digital media has again reconfigured high-profile aspects of our cultural engagement with technology.
In this issue, we ask vital broad questions related to why are there relatively few independent digital electroacoustic ensembles, and why have new developments in digital group-work – in various forms – come from institutions? We seek to assess what happens when oppositional cultures, often initially positioned directly against academic scholarship, become commonplace and adopted within institutions? Have we generated a new kind of punk-academia in the process? Can we define what might happen post-laptop, or post-acousmatic, and can we move beyond cultural positioning and exploit the openness of today’s music listening public? There is both no better and no worse a time to be creating digital media.
Finally, we seek to review the role of the institution. How can institutions drive radically new cultural development, rather than offering reactionary responses to independent commercial experimental artwork, or falling back on past models and aesthetics? Why is live interactive electroacoustic composition practice perceived as ‚better than‘ or more significant than work produced off-line in the studio, and can thinking in post-acousmatic domains help inform new pathways for educators, offering freedom from a rut of stylistic and sonic conformity?
This issue actively seeks discussion of these questions and themes, with a focus on contemporary practice within the digital arts both within, and outside, the institution.
Subjects might included, but are not restricted to:
* the bedroom avant-garde
* post-laptop music and the resurgence of modular synth
* the role of the institution in the contemporary avant-garde
* redefining the institution in digital music education – facilitator, educator or reactionary
* new composition in digital music practice
* aesthetics of post-acousmatic music
* listening, performing and the user – our changing role with technology and the sonic arts
* experimental digital music aesthetics in the 21st century
* oppositional culture in contemporary electronic music
* the rise and fall of the digital super-group
As always, submissions related to the theme are encouraged; however, those that fall outside the scope of this theme are alwayswelcome.
SUBMISSION DEADLINE: 15 September 2015
Notes for Contributors and further details can be obtained from the inside back cover of published issues of Organised Sound or at the following url:
http://journals.cambridge.org/action/displayMoreInfo?jid=OSO&type=ifc (and download the pdf)
Properly formatted email submissions and general queries should be sent to: firstname.lastname@example.org, not to the guest editors.
Hard copy of articles and images (only when requested) and other material (e.g., sound and audio-visual files, etc. – normally max. 15′ sound files or 8′ movie files) should be submitted to:
Prof. Leigh Landy
De Montfort University
Leicester LE1 9BH, UK.
Editor: Leigh Landy
Associate Editors: Ross Kirk and Richard OrtonÝ
Regional Editors: Ricardo Dal Farra, Jøran Rudi, Margaret Schedel, Barry Truax, Ian Whalley, David Worrall, Lonce Wyse
International Editorial Board: Marc Battier, Manuella Blackburn, Joel Chadabe, Alessandro Cipriani, Simon Emmerson, Kenneth Fields, Rajmil Fischman, Eduardo Miranda, Rosemary Mountain, Tony Myatt, Jean-Claude Risset, Mary Simoni, Martin Supper, Daniel Teruggi