Organised Sound: An International Journal of Music and Technology Call for submissions



January 22, 2015 in All Opportunities, Composers, Performers by mwhiteside

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 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.

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 /always/ welcome.

SUBMISSION DEADLINE: 15 September 2015

SUBMISSION FORMAT:

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: os(at)dmu.ac.uk, 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