[ 19. Oktober 2015 ]

CALL – OS Issue 21.2 Call – Extended deadline

Subject: OS Issue 21.2 Call – Extended deadline

From: Leigh Landy

Organised Sound: An International Journal of Music and Technology

Call for submissions

Volume 21, Number 2

Issue thematic title –Situating the Avant-Garde: conformity and

oppositional culture.

Date of publication: August 2016

Extended submission deadline: 22 January 2016

Issue co-ordinators: Monty Adkins


and Ambrose Field

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.

Creating music which inhabits a space between intellectually informed

artwork and public media product is a contemporary challenge. We are

calling for articles and case-studies on how composers have chosen to

meet the challenge of changing markets for electroacoustic music and

sound art, with reference to their own practice and the work of others

in contemporary digital culture. What are the distinctions between

creating art music for the concert hall and the imperatives of running a

small business? For self-employed musicians, or those running small

businesses, can financial stability be found within carefully made

aesthetic choices? What are the impacts for institutional music research

and for the contemporary music public of changes in accessible technologies?

In this issue, we ask vital broad questions. We seek to assess what

happens when oppositional cultures, often initially positioned directly

against academic scholarship, become commonplace and adopted within

institutions? 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?

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/always/welcome.



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:



download the pdf)

Properly formatted email submissions and general queries should be sent



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

Organised Sound

Clephan Building

De Montfort University

Leicester LE1 9BH,_UK_.

Editor: Leigh Landy

Associate Editors: Ross Kirk and Richard Orton†

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