Announcing Pacific Asian Breakcore Compilation! Submissions until May 2014.
Mengumumkan Pacific Asian Breakcore Kompilasi! Submissions sampai Mei 2014.
Mengumumkan Pasifik Asia Breakcore Penyusunan! Penyerahan sehingga Mei 2014
太平洋アジアブレイクコアコンピレーション登場! 2014年5月までの提出。
ประกาศเอเชียแปซิฟิก Breakcore รวบรวม! ส่งจนถึงพฤษภาคม 2014
태평양 아시아 Breakcore 편집 등장! 5 월 2014 년까지 제출.
ປະກາດປາຊີຟິກອາຊີ Breakcore ການຮວບຮວມ! ການຍື່ນສະເຫນີຈົນກ່ວາເດືອນພຶດສະພາປີ 2014.
প্যাসিফিক এশিয়ান Breakcore সংকলন ঘোষনা! মে 2014 পর্যন্ত জমা.
প্যাসিফিক এশিয়ান Breakcore সংকলন ঘোষনা! মে 2014 পর্যন্ত জমা.
Номхон далайн Азийн Breakcore эмхтгэл зарлах! Байж магадгүй 2014 он хүртэл Ирүүлсэн материалыг.
Tshaj tawm Pacific Neeg Esxias Breakcore ua pawg! Tso npe kom txog thaum lub Tsib Hlis 2014.
प्रशान्त एसियाली Breakcore प्रतियोगिता घोषणा! मे 2014 सम्म निवेदन।





Remix and EDMC Special Edition of Dancecult cfp

Guest Editor: Sheena Hyndman 
This special issue seeks to address topics and issues related to the remix as a component of electronic dance music culture. The remix, a form of derivative song composition that combines existing recorded sound with newly composed musical material, has become an increasingly popular subject of study both within and outside academia. While derivative musical and cultural expression is not a phenomenon exclusive to the present, the remix is unique from past forms of derivative music making because of the way it is defined by its relationship to the sound reproduction technologies of the 20th and 21st centuries. This combination of derivativeness and technology has encouraged an influx of scholarship addressing the problematic relationship of the remix with intellectual property to the exclusion of many other aspects of remixing, and in light of recent technological developments, the flourishing of participatory culture and the growing importance of the remix in the contemporary music industry, there remains a great deal of territory to explore with respect to the remix as an expression of contemporary music culture. Therefore, this special issue seeks to broaden understandings of remixing as a key element of electronic dance music culture by encouraging debate among composers, performers, promoters, fans and detractors. 
This special issue of Dancecult invites contributions from scholars in all areas on the subject of the remix as an expression of past and contemporary electronic dance music and culture. The goal of this special issue is to broaden the understanding of remixed music beyond the most commonly articulated tropes in existing scholarship. To this end, contributions from scholars, performers, music industry insiders, admirers and critics are welcomed and encouraged. While contributions from all areas of scholarship will be considered, it is requested that submissions be underpinned by a focus on remixing as it relates to electronic dance music culture. 
/ / Suggested Themes / /
The editor encourages that contributions be grounded in musical scholarship relating to remixing and EDMC. Potential topics include, but are not limited to:
- The history of remixing;
- Remix genres and scenes;
- Audience consumption and listening practices;
- Attitudes towards derivativeness in music;
- The remix as an expression of past, contemporary, popular and/or underground dance music cultures;
- The remix as a process of song composition;
- The remix as performance practice;
- The remix and the music industry;
- Authenticity and originality;
- Professional and amateur remixing;
- Types of compensation for producers of remixes;
- Music blogging;
- Cross-geographical and -temporal collaborative music making. 
/ / Submissions / /
Feature Articles: Feature Articles will be peer-reviewed and are 6000-9000 words in length (including endnotes, captions and bibliography). 
For policies, see: https://dj.dancecult.net/index.php/dancecult/about/editorialPolicies#sectionPolicies 
This special edition will also feature articles for our “From the Floor” section. Rather than being written in the formal style of the academic essay, submissions for this shorter format (750-2500 words) are more conversational, blog-like and informal in tone and may feature more experimental and creative styles of reporting. From the Floor contributions may take the form of dispatches from the field, mini-ethnographies, interviews and photo essays, and contributors are encouraged to include relevant multimedia components such as music, video and hypertext.
Articles must adhere to all style and formatting rules stipulated in the Dancecult Style Guide (DSG). Download it here: https://dj.dancecult.net/index.php/dancecult/manager/files/PublicFolder/dancecult_styleguide2.8.5.pdf

Multimedia Submissions: Dancecult encourages authors to complement their written work with audio and visual material. See the DSG for style and formatting requirements.
Language: Although the language of publication in Dancecult is English, the editor strongly encourages submissions from non-Anglophone scholars and will be happy to provide linguistic/stylistic support during the writing process. 
/ / Dates and Deadlines / /
This special edition is proposed for publication in Dancecult in November 2014. 
If interested, please send a 250 word abstract and brief author biography to Sheena Hyndman (sheena.hyndman [at] gmail.com) before February 16, 2014. If your abstract is accepted for guest editor review, the deadline for full article submission is May 31, 2014. 
Beyond that, the deadline for online submission to Dancecult (for peer review) is August 15, 2014. Please send inquiries and expressions of interest to Sheena Hyndman: sheena.hyndman [at] gmail.com.


Musical Materialities in the Digital Age cfp

Call for Papers 
Musical Materialities in the Digital Age 
27-28 June 2014, University of Sussex  
Keynote Speakers
Will Straw (Professor, Department of Art History and Communications Studies, McGill University; Director, McGill Institute for the Study of Canada)
Noel Lobley (Ethnomusicologist and Research Associate, Pitt Rivers Museum, University of Oxford)  
Conference outline
Music, while summoning notions of intangibility, transience and loss, is also associated with material objects that serve to ground the musical, make the transient permanent and defer loss. Unearthing music’s association with materiality reveals a fascinating array of artefacts, including instruments, scores, transcribing devices, sound recordings and much more. Such artefacts provide vital reference points for historical research as well as inviting new creative uses, rediscoveries and (re)mediations. They also add to the ever-growing archives of past objects, whether stored in ‘physical’ or digital forms. Music’s material traces serve as vital ways of mediating memory, whether in private collections or public exhibitions. Furthermore, the use of musical ‘ephemera’ such as record sleeves, programmes, flyers and posters as a primary means for putting the popular musical past on display in museums and galleries has highlighted the ways in which such objects are not so ephemeral after all.  
The persistence of musical artefacts and musical materialities following the period of their initial use value poses interest questions. What is the fate of musical artefacts once they become obsolescent? What becomes of music and its objects once relegated to archives? What is the role of musical artefacts in helping us to understand the past? What is the relationship between the physical and the digital in terms of music’s objects? To what extent does a focus on music’s objects challenge the idea of music as a social process? Conversely, what role does musical materiality play in the maintenance and development of rituals long associated with music? What rituals reformulate musical materiality? What does the remediation of the musical past via ‘media’ archaeology’ have to tell us about present desires, anxieties and needs? What is the role of museums, galleries, sound archives and libraries in these processes?
Working from the premise that musical materiality matters, the aim of this two-day interdisciplinary conference (welcoming papers from media studies, music studies, cultural studies, museum studies, memory studies and other cognate disciplines) will be to reflect upon the materialities of music objects/technologies in the digital age, with an emphasis on:
  • Processes of remediation 
  • Residual media of ‘dead media’ 
  • Cultural waste 
  • Media archaeology (and particular manifestations relating to sound and music, e.g. ‘vinyl archaeology’) 
  • The recycling of memory and material culture 
  • The digital archive 
  • The future of music creation and consumption 
  • Nostalgia and ‘retromania’ 
  • Music as ‘thing’ and/or ‘process’ 
  • Commodification 

The contexts of reception, production and circulation of digital objects as well as existence of residual media and formats (playback devices, vinyl records, etc.) could be examined. We would welcome papers focusing on theoretical approaches (considering for instance the meanings and implications of digitisation), but also papers on particular case-studies (for instance on specific formats and devices i.e. MP3s, iPods, etc. or specific creative and consumptive practices). A broader contextualisation of the historical and technological scapes within which the issues of materiality and remediation emerge would also be very useful.  
The conference organisers welcome individual papers, proposals for panels and round table discussions, and proposals for practical demonstrations/performances related to the themes of the conference. For individual papers, demonstrations and performances, abstracts of no more than 300 words should be submitted. Panels and round table proposals should include a session overview, participant biographies and description of individual contributions. Abstracts and proposals (as well as event queries) should be sent to Dr Richard Elliott (R.Elliott [at] sussex.ac.uk) by 14 March 2014. 
Conference organisers Richard Elliott, University of Sussex Elodie Roy, Newcastle University





dancecult 5/2


Executive Editor's Introduction (1)
Graham St John
"Music is a plane of wisdom"—Transmissions from the Offworlds of Afrofuturism (2-6)
tobias c. van Veen

Feature Articles
Vessels of Transfer: Allegories of Afrofuturism in Jeff Mills and Janelle Monáe (7-41)
tobias c. van Veen
The Metaphysics of Crackle: Afrofuturism and Hauntology (42-55)
Mark Fisher
The Vibe of the Exiles: Aliens, Afropsychedelia and Psyculture (56-87)
Graham St John
Ethnoforgery and Outsider Afrofuturism (88-112)
Trace Reddell
Ethnography From the Inside: Industry-based Research in the Commercial
Sydney EDM Scene (113-130)
Ed Montano
"Stay in Synch!": Performing Cosmopolitanism in an Athens Festival (131-151)
Vassiliki Lalioti

From the Floor
Afrofuturism Unbound: tobias c. van Veen in conversation with Paul D. Miller
tobias c. van Veen
Vocalizing: MC culture in the UK
Nabeel Zuberi
Fabulous: Sylvester James, Black Queer Afrofuturism, and the Black Fantastic
Reynaldo Anderson

Afrofuturism: The World of Black Sci-Fi and Fantasy Culture (152-157)
tobias c. van Veen
MP3: The Meaning of a Format (158-162)
Nabeel Zuberi
Electronica, Dance and Club Music (162-163)
Hillegonda C Rietveld
Electronic Awakening (164-165)
Garth Sheridan
Showtime (166-168)

Philip Ronald Kirby




Metal and Marginalisation: Gender, Race, Class and Other Implications for Hard Rock and Metal cfp

Centre for Women’s Studies and the International Society of Metal Music Scholars present

Metal and Marginalisation: Gender, Race, Class and Other Implications for Hard Rock and Metal

University of York, UK, 11th April 2014

Since the rising dawn of metallectualism, heavy metal scholars have acknowledged metal’s capacity to creatively explore forms of individualism, alterity and otherness. Further, metal frequently casts itself as a marginalised group in mainstream society, with fans and musicians often reveling in their outsider status which is reinforced by references to non-conforming traits (Satanism, for example). As self-proclaimed outsiders, a rhetoric of inclusion is frequently mobilised to establish an oppositional relationship against the ‘nasty’ and exclusionary mainstream. Yet, despite the significance of metal’s discursive construction as an inclusive space outside of the mainstream, the symbolic boundaries of metal are strictly policed. With the assertion of the labels ‘kvlt’ and ‘trve’ defining an authentic embodiment of black metal’s otherness, heavy metal’s borders are performatively marked and reified in its categorising terminology; in behavioural norms; through social relation and the organisation of scenic spaces. This contributes towards the establishment of a dominant framework of a classed/ gendered/sexualised/racialised identity, marking belonging to the ‘imaginary community’ of metal. Furthermore, postulations of metal as an ‘all-encompassing’ community would seem to be belied in the UK by the overwhelming whiteness, maleness and straightness of its participants, both on and off the stage.

This symposium seeks to address the spaces ‘in-between’ (Bhabha, 2004) metal’s boundaries of identification, exploring how metal does or does not accommodate groups that are marginsalised within its own community - the individuals negotiating metal’s edges: women; LGBTQ; ethnic minorities and others who do not fit the metal bill. Exploring the ‘cultural liminality’ (ibid) of metal, we want to examine how metal’s reliance on concepts of otherness often unites it aesthetically and ideologically, yet the alterity of minority discourses within metal appear to challenge its totality and solidity. We want to question how much space metal creates for alternative forms of alterity or otherness, furthermore, how the ideal of individualism plays out in symbolic practices that differentiate and mark the limits of community.

Further provocations may include:
·         What does it mean to exist on the edges of what is already exterior?
·         What does it mean to hold a minority identity in the space of metal?
·         Does the narrative of metal’s inclusivity have a basis in lived experience? Or are such groups tolerated rather than included?
·         How does the language used in metal’s discourses (e.g. genre terms) construct frameworks that include or exclude?
·         Encounters with racism at metal events
·         How does metal contribute to or confront frameworks of racialisation?
·         The use of sexism, racism and/or homophobia as shock tactic
·         How does extremity promote cultures of inclusivity or marginalisation? 
·         Structural hegemonic whiteness, maleness and heterosexuality
·         Can the struggles at the margins be attributed more positively to understanding metal as an agonistic site, with contestation at its core?
·         Discourses of metal vs. the mainstream: a positive identification of marginalisation, the importance of alterity and the passion with which individual’s seek to position metal as alternative to the mainstream.
·         Being ‘trve’, belonging and the exchange of cultural/symbolic capital in metal scenes.
·         Metal as marginal - recent developments in policy: The Sophie Lancaster Foundation and the legal fight to protect alterity.

This one day symposium will have a less formal feel, allowing space for a mixture of presentation formats including conventional papers, shorter discussions of research-in-progress, and alternative, performative or practice presentations (music performances, visual arts, deep listenings, etc). We also hope to produce a journal special issue or edited collection  following the event.

We invite abstracts or proposals (300 words) for papers, workshops, performances and other forms of presentation. Please send to Rosemary Lucy Hill, Caroline Lucas and Gabrielle Riches (rlh504 at york.ac.uk, carolinelucas at hotmail.co.uk, G.Riches at leedsmet.ac.uk) by 16th December 2013.