[Muwisys] OS Issue 21.2 Call - Extended deadline

[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 (m.adkins at hud.ac.uk<https://staffmail.hud.ac.uk/owa/redir.aspx?SURL=5qKjTiHnogwmd5wspgM3MTmuzvkEo5VNbQoUM-dAMscEkHCk4tbSCG0AYQBpAGwAdABvADoAbQAuAGEAZABrAGkAbgBzAEAAaAB1AGQALgBhAGMALgB1AGsA&URL=mailto%253am.adkins%2540hud.ac.uk>) and Ambrose Field (ambrose.field at york.ac.uk<https://staffmail.hud.ac.uk/owa/redir.aspx?SURL=xRqSR-CigW6li1wK_uyp1f6eBAzUXyJQNHgv_L-LmR4EkHCk4tbSCG0AYQBpAGwAdABvADoAYQBtAGIAcgBvAHMAZQAuAGYAaQBlAGwAZABAAHkAbwByAGsALgBhAGMALgB1AGsA&URL=mailto%253aambrose.field%2540york.ac.uk>)



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.



SUBMISSION DEADLINE: 22 January 2016



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<https://staffmail.hud.ac.uk/owa/redir.aspx?SURL=ez1vowNIqV0VuxWXEgoDuQMhjafSXwyzV-TwzhplQf4EkHCk4tbSCGgAdAB0AHAAOgAvAC8AagBvAHUAcgBuAGEAbABzAC4AYwBhAG0AYgByAGkAZABnAGUALgBvAHIAZwAvAGEAYwB0AGkAbwBuAC8AZABpAHMAcABsAGEAeQBNAG8AcgBlAEkAbgBmAG8APwBqAGkAZAA9AE8AUwBPACYAdAB5AHAAZQA9AGkAZgBjAA..&URL=http%253a%252f%252fjournals.cambridge.org%252faction%252fdisplayMoreInfo%253fjid%253dOSO%2526type%253difc> (and download the pdf)



Properly formatted email submissions and general queries should be sent to: os at dmu.ac.uk<https://staffmail.hud.ac.uk/owa/redir.aspx?SURL=-S6pquOt5I_hr9F71ah7iVbwy1svSv_X56YWG6sHNPoEkHCk4tbSCG0AYQBpAGwAdABvADoAbwBzAEAAZABtAHUALgBhAGMALgB1AGsA&URL=mailto%253aos%2540dmu.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