fidel villeneuve (you might remember the dhr album) and brian hiroshima are the bureau de change, and responsible for the following two sublime releases:
the future of boy bands (2002)

global village idiots (2004)

on d-trash.
samples, sequencing and distortion (obviously), but also the lyrics and the delivery. not too sure why this variant fell out of view, because i think it's great.


iaspm anz cfp

WHAT'S IT WORTH? ‘Value’ and Popular Music

Annual Conference of IASPM-ANZ International Association for the Study of Popular Music Australia-New Zealand branch

27-29 November 2009

Fale Pasifika Complex, 26 Wynyard Street
Faculty of Arts
University of Auckland,
New Zealand

The theme of this year's conference seeks to generate discussion and debate around the ‘value’ we ascribe to popular music(s). ‘Value’ relates to music as commodity and economic project, but social, cultural and aesthetic perspectives profoundly inform any measures or contentions of ‘value’. This theme is particularly timely given recent technological developments that are radically re-shaping the ways in which music is produced, distributed and consumed.

Topics for consideration could include:

Economic value of popular music - the music industry, technology, digital downloading, copyright laws, urban regeneration, tourism

Cultural/Social value of popular music - music in everyday life, subcultures, communities, traditional musics, politics, studying popular music

Artistic/Aesthetic value of popular music - history, composition, canons and counter-canons, authenticity, performance, genre, style

Any general papers in the study of popular music are also welcomed.

Abstract Submission
Abstracts should be submitted as an email attachment (Word document, 12pt Times New Roman font) to Kirsten Zemke (k.zemke at auckland.ac.nz). The deadline for receipt of abstracts is 1 Sept. 2009. Please use your surname as the document title (for example “Zuberi.doc”).The abstracts will be reviewed by an IASPM-ANZ committee and successful applicants will be advised by email. Please include the following details (in this order):

1. Name of author(s) (as you would like it to appear in the programme)
2. Institution or affiliation (where applicable)
3. Contact phone numbers
4. Email address
5. Title of paper
6. Abstract (200-300 words)
7. Consideration for 2009 IASPM-ANZ postgraduate prize? (Yes/No)

IASPM-ANZ Postgraduate Prize
Each year, IASPM-ANZ awards one postgraduate presenter with the IASPM-ANZ Postgraduate Prize for the best paper. An independent panel of established members determines the AUD$100 prize. To be considered for this prize, you must be currently enrolled as a postgraduate student. Please indicate your interest in being considered for this prize when submitting your abstract.

Conference Grants for Postgraduates
Postgraduate students who will be presenting a paper at the conference may be eligible for a $100 grant to assist with travel and expenses. Please contact IASPM-ANZ treasurer Jennifer Cattermole to discuss your eligibility or to ask for further information: jennifer.cattermole at gmail.com.


the proceedings of the iaspm 2005 international conference in rome are now available:

(around 40 mb)

(nearly 1 gb)

85 papers. 85! you can find the proceedings from the 2003 event here.



mother of gosh: the recipe of preparation of knives and the bent plugs

the genre description is 'digital grindcore / drone / noise / breakcore / speedcore / industrial' - together at last. plenty more where that came from.


my paper for the madrid event: leeching bataille. it's a critique of gift economy readings of p2p. the presentation was delivered 10/07/09. comments are welcome. the blurb reads:

As a model of resource distribution, social interaction, and collective content management, peer-to-peer technologies (p2p) offer unprecedented insights into the contemporary organisation of information and the limitations of the legal, cultural, and institutional frameworks under which this organisation is currently managed. The utopian ideal of p2p music distribution, for instance, imagines the largest collectively and voluntarily maintained, decentralised (and thus easily accessible), and free archive of recorded sound in human history. P2p is often associated with open source, hacker, creative commons, and general collaborative approaches to content production and distribution, and with the dissemination of a number of niche genres which would otherwise have remained largely unknown (or, indeed, might never have developed at all). Taken in its broader environment, p2p has also arguably been instrumental to the emergence of netlabels as distributive and cultural phenomena. It cannot be doubted that the impact of p2p on the established music industry, the legal framework in which it operates, and the practices of artists, fans and consumers has been profound, and it can also be argued that p2p in some ways contributed to the ground for the user-generated content and participatory nature of ‘Web 2.0’.

For some time, it has been popular to conceptualise p2p with frameworks drawn from anthropological economics, which bypass the normative catallactic assumptions about market behaviour associated with neoclassical economism (the ‘rational’, means/end calculating, self-interested market agent and so on). In particular, the array of concepts around the economy of the gift, derived variously from Mauss, Malinowski and others, have been deployed to account for the ostensibly ‘irrational’ altruism and reciprocity which seem to characterise so much p2p activity. However, it may be that this use of theories of the gift tend to exaggerate and romanticise the benevolence of p2p behaviour, and unwittingly enforce the utopian idealism associated with p2p as a social practice with political implications, and as an alternative model for the equitable distribution of cultural goods.

For the purposes of this paper, I would like to suggest that there are good grounds for considering p2p in broader terms, considering its excessive and ‘destructive’ as well as ‘constructive’ aspects. Such consideration could contribute productively to the critical assessment and invigoration of accounts of p2p as an exercise in consumer sovereignty, collective solidarity, participatory culture, and political action. To this end, I suggest a perspective informed by the ‘accursed share’ of Bataille’s general economy, in which superabundance and excess are inherent, inevitable and yet nonetheless continuously threatening to the status quo. In this way I hope that both the excessive and problematic tendencies of p2p culture (which it is sensible to enumerate), and the bizarre over-reactions to it, can be elaborated and better contextualised. Bataille’s general economy effectively collapses the isolation of ‘economy’ as a form of cultural flow, and thus perhaps one of the most significant benefits it offers is an interest in circulations otherwise not usually considered: the musical and cultural forms which p2p users themselves gift to the content industries and society at large. Rather than persisting in valorising the potentials of p2p and contrasting it with the market’s ongoing assimilation of the commons into private hands, this paper proposes a devil’s advocate critique of p2p culture, grounded in observations concerning its current forms and directions, the limits to its use arising from the identitarian preoccupations and practices of many of its users, weaknesses in the system which derive precisely from its populism, and the very real problem of superabundance of cultural content.


the most recent edition of m/c journal is on obsolescence, and features contributions from a number of friends here at uow.


and more.


some of the amazing people, ideas and collectives i encountered in madrid, in no particular order:

juan freire.

molina pírate!

rubén martínez of yproductions.

ignatio de castro.


margarita padilla of nodomain.net and dabne.

simona levi of exgae.

nor was this all.

medialab prado has some photos of the event here. the general level of awesomeness was extremely high and hopefully more cool things will grow out of this.
i have a little still to do on the final version of the paper i gave but it'll go up here (and there) once it's done.




the forum and the blog for the p2p event in madrid next week. i'm almost ready, leaving on sunday.


n3rdc0R3 4 l1ph3!!!
more nerdcore than you.


while looking for a reference for 'disco marxism' i stumbled across this post. disco marxism gets a mention elsewhere on that awesome blog but i'm linking to that post because it talks to some kind of theme i've been thinking about for a while about being 'inside' vs. 'outside' academic institutions, what it means to actually have an academic job, and what it is academics are supposed to write about and for whom. i'm not saying anything about it at the moment, other than that i'm interested in it because it has both personal and professional ramifications, some of which i've touched on/moaned about here before with varying levels of awkwardness. i'm on 'the inside' now but almost as soon as i got 'in' i realised there are wheels within wheels, my position is itself positioned in relation to structures and substructures within this university and outside of it. of course, a job is a job, and quite likely to students and others, the inside is, in fact, inside (even if it feels ... funny). academic widget production is pretty wild but it sure beats the 'destitution' kpunk apparently advocates as a measure of scholarly quality:
The postmodern academic, complicit with the system that immiserates them, reflexively impotent, is required to oscilate between being Troll and Grey Vampire, between hyper-critical scholarliness and convivial sociality, kept locked into the system by just the right level of prestige and self-loathing. That's why most of the interesting work done in institutions is achieved by people who have infiltrated the academy after periods of (intellectual and subjective) destitution.

anyway. here's a picture of my office: