IASPM Montréal

["tobias c. van Veen" <tobias@xxxxxxxxxxx>]

["as posted to my blog" - http://www.quadrantcrossing.org/blog/index.html ]

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micro.culture musings @ IASPM International, Montr=E9al

Hear be: the International Association for the Study of Popular Music
(IASPM) is rocking its international conference-- hosted by my own
Department of Communications here at McGill University in Montr=E9al. Here's
the website=20

http://www.wyldware.com/~x/iaspm/

 & the schedule=20

http://www.wyldware.com/~x/iaspm/schedule.shtml

I'll be giving a talk on the shift from subcultures to micro.cultures on
Sunday, July 6th at a panel entitled: " Playing on Repetition (Chair:
Stephen Amico) ." Other panelists include ...

Rethinking the Wheel: The Semantics of the DJ
Gavin Kistner (University of Western Ontario)

FinalScratch: Inaugurating a Virtual Authenticity?
Sara Wei-Ming Chan (York University)

Production as practice: The politics of DEEP HOUSE in New York City
Kai Fikentscher (Ramapo College)

Here's the abstract for my own blurbage:

Hearing Difference: The Seme.
tobias c. van Veen=20

The study of resistant musical practice has often theorised its status as a
"subculture." Since the advent of global capitalism, however, underground
anarcho-theorists and political philosophers alike have been struggling wit=
h
theorising the new position of resistant subcultures. This new position is,
by default, the opposition. No longer able to practice a politics of
disappearance in the mode of a liberatory invisibility, "subcultures" have
shifted through the same terrain as capital: networked globalisation.
Hand-in-hand with the spread of tele-technologies, electronic music culture=
s
have shifted from the practices of the Temporary Autonomous Zone to what we
can begin to theorise as a network of "microcultures." No longer invisible,
but weaved into the same global fabric as capital, the very terrain of
politics is remixed as microcultures move from resistance to positive and
affirmative ontological projects. At the same time, musical trends play out
this shift as the postmodern aesthetic of sampling is complexified through
the resurgence of computer music, including the digital processes of
granulation and a return to an avant-garde aesthetics of failure. Spin that
again, and we could say: from memes to semes .

tobias c. van Veen -----------
http://www.quadrantcrossing.org
http://www.thisistheonlyart.com
------------- tobias@xxxxxxxxxxx
---McGill Communications------
ICQ: 18766209 | AIM: thesaibot

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