Az Október 6. és 10. között zajló Ultrahang Fest elektronikus zenei fesztiválhoz két mixszel lehet melegíteni: Prieger Zsolt & Németh Gergely Zenés képeslap Kim Cascone-nak, Batta Barnabás pedig Ode to the Form címmel készített mixet a szervezők felkérésére az UH Festre készülőknek.
A mixek – több más, a fesztiválhoz kapcsolódó zene mellett – meghallgathatóak a fesztivál SoundCloud oldalán.
Különleges zenei élvezeteket kínál az UH Fest október 6-tól 10-ig a Merlinben, ahol idén 20 országból több mint 40 előadó lép fel. Lesz extázis, lesz komolyság, lesz bohóság, lesz szigor, gitár és dob, csengettyűk és effektek, orsós magnó és laptop, DJ az agynak és DJ a testnek – öt napon át, délutántól hajnalig.
A 10 éves múltra visszatekintő, nemzetközileg elismert UH Fest hitvallása szerint a mai zene sokszínű, izgalmas, és tele van élvezetes felfedeznivalókkal! Az önkéntesekből álló szervezők a világ fesztiváljait járva a kevésbé ismert, egyedi, a hagyományos zenei stílusoktól távolságot tartó vagy azokat kreatívan újrahasznosító produkciókat fedezték fel és hozták el Magyarországra.
Szerintük ugyanúgy élvezetes lehet egy elemi erejű rockandroll-rituálé, mint a szabályoknak fittyet hányó, testet megmozgató tánczene, a gyerekkor tündéreit megidéző énekesnő, az elektronikus neszekből épített finom kompozíció, vagy a lelket a salakanyagoktól megtisztító zaj.
A 2010-es UH Festen fellép a techno egyik legendája, az Orb tagja, Thomas Fehlmann. Senior Coconut egy másik arcát mutatja AtomTM néven. Az izlandi Kría Brekkan énekkel, gitárral, csengettyűkkel teremt ellenállhatatlan világot. A Shit And Shine tíz (!) magyar dobossal egészül ki. STU egy régi Atari számítógép hangjaiból barkácsol frenetikus tánczenét, míg Mark Bain olyan frekvenciákat hoz, amik garantáltan megremegtetik a Merlin falait. A Palotai –Pándi – Máriás – Benkő - Tóth – Marhaug alkalmi formációban különféle műfajok neves képviselői mutatkoznak meg új oldalukról.
Jegyek, bérletek:
Bérlet: 9 000 HUF (elővételben a Wave lemezboltban / Révay u. 4., vagy a helyszínen / Gerlóczy u. 4.)
Napijegy: 2 500 HUF, éjféltől 1 500 HUF
A szervezőről:
A nonprofit Ultrahang Alapítvány az elmúlt 10 évben 30 országból nagyjából 250 fellépőt hozott el Magyarországra. Így nem sokkal a Mercury-díj elnyerése és a jól megérdemelt világhírnév megszerzése előtt Antonyt, a világ legprogresszívebb lemezlovasát, DJ Rupturet, az évekkel később Hyperspacen is tomboló T. Raumschmieret, az elektronika fenegyerekét Kid606-ot – és még lehetne sorolni, hogy kik azok a fellépők, akiket a fesztiválnak köszönhet a hazai közönség.
Bizonyára idén is lesznek olyan koncertek, amikről évek múlva legendákat mesélnek majd azok, akik már bánják, hogy nem voltak ott…
További info:
www.fest2010.uh.hu - részletes program, leírás és linkek a fellépőkről, Mi a zene? 2010 pályaművek
www.facebook.com/uhfest - fotók, érdekességek, még több link és játék
www.soundcloud.com/uh_fest - korábbi fesztiválok letölthető koncertfelvételei, bónusz mixsorozat
6th Global Conference
Friday 11th March – Sunday 13th March 2011
Prague, Czech Republic
Call for Papers
This inter- and multi-disciplinary conference aims to examine, explore and critically engage with the issues and implications created by the growing adoption of information technologies for inter-human communication. The project will also focus on assessing the continuing impact of emergent cybermedia for human communication and culture. In particular the conference will encourage equally theoretical and practical debates which surround the cultural contexts within which cybermedial and technological advances are occurring.
Papers, presentations, workshops and reports are invited on any of the following themes:
1. Cyberspace and Cyberculture
Theories and Concepts of Cyberspace and Cyberculture. Identifying Key Features and Issues
2. Cybercultures and Online Communities
Emerging Practices in Social Networking. The Shaping of Individual and Collective Identities. Webnography. Changing Social Identity in Cyberspace. State, Transnational and Commercial Control of Social and Private Spaces. Concepts and Meaning of Online Community.
3. Cyber-Subcultures
Multi-National, Cross-Continental, Cross-Generational and Online Diaspora Communities. Youth, Fan and Alternative Cultures Online. Changing Social Identity in Cyberspace. Online Role Playing.
4. Design for Social Networking
Design and Communication Strategies and Practices. Accessibility, Usability and Design Standardization. Creativity Support in Interactive Media. Mobile Communication Futures. Web 3.0 Projects and Concepts. Creative Commons.
5. Cybercultures and Politics
Governance and Control in the Online Environment. Cyber-Democracy and the Impact on National and Global Politics. Surveillance and Privacy in the Online World. Cyber-Activism and Social Mobilisation. Digital Divide. Digital Rights in Virtual Environments. Cybercrime.
6. Cybermedia and Cyberjournalism
Cyberjournalism. New Media Discourses. Digital Communications and Free Speech. New Censorship and Content Regulation. Grassroots Journalism, Activism and Hactivism. The Portrayal of New Media in the Old Media.
7. New Media Literacies
Educational Use of Virtual Environments and Videogames. Cultures of Online Learning. Online Research Networking. Global and Local Learning in the Age of Convergent Cultures.
8. Digital and Interactive Arts
Performative and collaborative use of Crossmedia. Machinima. Transmedia Storytelling. User-generated Content and Cultural Practices.
The Steering Group particularly welcomes the submission of pre-formed panel proposals. 300 word abstracts should be submitted by Friday 1st October 2010. All submissions are minimally double blind peer reviewed where appropriate. If an abstract is accepted for the conference, a full draft paper should be submitted by Friday 4th February 2011. Abstracts should be submitted simultaneously to the Organising Chairs; abstracts may be in Word, WordPerfect, or RTF formats with the following information and in this order:
a) author(s), b) affiliation, c) email address, d) title of abstract, e) body of abstract
Please use plain text (Times Roman 12) and abstain from using footnotes and any special formatting, characters or emphasis (such as bold, italics or underline). We acknowledge receipt and answer to all paper proposals submitted. If you do not receive a reply from us in a week you should assume we did not receive your proposal; it might be lost in cyberspace! We suggest, then, to look for an alternative electronic route or resend.
Organising Chairs
Daniel Riha
Cyber Hub Leader, Inter-Disciplinary.Net and
Charles University, Prague, Czech Republic
E-mail: rihad at inter-disciplinary dot net
Rob Fisher
Network Founder and Network Leader
Inter-Disciplinary.Net,
Freeland, Oxfordshire, UK
E-mail: cyber6 at inter-disciplinary dot net
The conference is part of the ‘At the Interface’ programme of research projects. It aims to bring together people from different areas and interests to share ideas and explore various discussions which are innovative and exciting.
All papers accepted for and presented at this conference will be eligible for publication in an ISBN eBook. Selected papers maybe invited for development for publication in a themed hard copy volume(s) or for inclusion in a new Cyber journal (launching 2011).
For further details about the project please visit:
http://www.inter-disciplinary.
For further details about the conference please visit:
http://www.inter-disciplinary.
Tuesday 8th March – Thursday 10th March 2011
Prague, Czech Republic
Call for Papers
This inter- and multi-disciplinary conference aims to examine, explore and critically engage with issues related to urban life. The project will promote the ongoing analysis of the varied creative trends and alternative cultural movements that comprise urban popcultures and subcultures. In particular the conference will encourage equally theoretical and practical debates which surround the cultural and political contexts within which alternative urban subcultures are flourishing.
Papers, reports, work-in-progress, workshops and pre-formed panels are invited on issues related to any of the following themes:
1. Urban Space and the Landscape of the City
Urban Aesthetics and Architecture, Creative Re-imagining and Revitalization of the City. The Metropolis and Inner City Life: Urban Boredom vs. Creativity.
2. Urban Music Cultures
Histories, Representations, Discourses and Independent Scenes. Popular Music Theory. The Visual Turn. Urban Intertextualities and Intermedialities. Postmodernity and Beyond.
3. The City as Creative Subject/Object
Urban Life and Themes Considered in Music, Literature, Art and Film, Urban Fashion, Style, and Branding.
4. Urban Codes
Urban Popular Culture and Ideology, Politics of Popcultures, D.I.Y, Alternative Ethics of the City. Urban Religion and Religious Expressions. The Avantgarde and Urban Codes.
5. The City and Cyberculture
Virtual Urbanity – Online Communities and the Impact of Social Networking. Urban Identity and Membership. Globalization/Localization of Urban Experience. Recent trends in Copyright/Copyleft. The Role of Internet in the Transformation of Music Industry. The Impact of User-generated Content.
6. The Urban Underground
The Rise and Fall of the Experimental Subcultures, Scenes and Styles. Alternative and Underground Dance, Hip Hop, and Punk Scenes. Queer Theory and Urban Cultures. Gendered Music and Fashion. Free Urban Exploration and Libertine Lifestyles.
7. Urban Activities in Massmedia
The Visual Aspects of Urban Entertainment. The Evolution of Music and Thematic Television. Media Structure of Music Video. Explicit TV and Censorship. Urban Styles and Extreme Sports.
300 word abstracts should be submitted by Friday 1st October 2010. All submissions are minimally double blind peer reviewed where appropriate. If an abstract is accepted for the conference, a full draft paper should be submitted by Friday 4th February 2011. Abstracts should be submitted simultaneously to the Organising Chairs; abstracts may be in Word, WordPerfect, or RTF formats with the following information and in this order:
a) author(s), b) affiliation, c) email address, d) title of abstract, e) body of abstract
Please use plain text (Times Roman 12) and abstain from using footnotes and any special formatting, characters or emphasis (such as bold, italics or underline). We acknowledge receipt and answer to all paper proposals submitted. If you do not receive a reply from us in a week you should assume we did not receive your proposal; it might be lost in cyberspace! We suggest, then, to look for an alternative electronic route or resend.
Organising Chairs
Jordan Copeland
La Salle University,
Philadelphia, USA
E-mail: copeland at lasalle dot edu
Daniel Riha
Hub Leader (Cyber), Inter-Disciplinary.Net
Charles University,
Prague, Czech Republic
E-mail: rihad at inter-disciplinary dot net
Rob Fisher
Network Founder and Network Leader
Inter-Disciplinary.Net,
Freeland, Oxfordshire, UK
E-mail: up at inter-disciplinary dot net
The conference is part of the ‘Critical Issues’ programme of research projects. It aims to bring together people from different areas and interests to share ideas and explore various discussions which are innovative and exciting.
All papers accepted for and presented at this conference will be eligible for publication in an ISBN eBook. Selected papers maybe invited for development for publication in a themed hard copy volume(s) or for inclusion in a new Cyber journal (launching 2011).
For further details about the project please visit:
http://www.inter-disciplinary.
For further details about the conference please visit:
http://www.inter-disciplinary.
The next themed issue of EastBound will explore the past, present and future of the place and role of popular music and popular music studies in Eastern Europe.
Popular music during socialism has been a vehicle of keeping in touch with Western trends, of protest or even of resistance, but it has also played a part in creating and maintaining a certain depoliticized version of everyday socialist life or even in semi-openly legitimizing the ruling powers of the time. Indeed popular music under socialism, from mainstream schlager and pop music to beat, rock and punk, various genres and artists captured the feelings of audiences in very different ways and elicited very different reactions and treatment from the authorities.
Following the regime change the positions of different musical genres and artists also had to be renegotiated. With the reintroduction of market economies and democratic political systems the meaning of mainstream and underground, of opposition and social criticism all had to be remapped on to a now ever more complex system of potential meanings, with previously glossed over ideological differences being increasingly articulated vis-a-vis artistic programs and positions. With the fall of the iron curtain both the previous simple dichotomy of East and West and the so far restricted flows of cultural goods were suddenly a thing of the past, with new possibilities allowing for the reconfiguration of international networks of consumption and production and the repositioning of genres, artists and scenes in relation to the global interrelations of the relevant segments of the culture industries.
Today, twenty years after the "fall of communism" we can see a number of different trends both in relation to the appearance of new scenes and sensibilities influenced by international waves of interest in certain styles, and also regarding the reception, recycling and re-appropriation of music and artists from the socialist era. We can also see the political resurfacing again in different musical genres providing different critiques of our societies and varying visions of social change, exclusion and inclusion.
We invite authors to explore these and further issues from a range of different disciplinary standpoints and would encourage both works with a more historical focus and writing focusing on present and possible future trends.
For further information about the themed issue, or to express interest in contributing an article, please contact Zoltan Kacsuk (info-AT-eastbound.eu). The final deadline for submissions will be the 1st of February 2011.
ABOUT EASTBOUND
EastBound is a peer-reviewed online journal aimed at creating an international platform for Western and Eastern European researchers engaged in the multidisciplinary field of media and cultural studies. The journal features articles, reviews and interviews dealing with social and political implications of the rise of entertainment media and mediated popular culture, the appearance of global media players, and the spread of new forms of politics and information technologies. These transformations have presented a new cultural context for people’s cultural practices, from the minor aspects of everyday consumption to the large-scale reproduction of national identities and cultural heritage. EastBound addresses recent media and cultural realities, both from regional and international comparative standpoints.
EastBound is published by:
MOKK Media Research
Department of Sociology and Communications,
Budapest University of Technology and Economics,
and
Center for Media and Communication Studies (CMCS)
Central European University
http://eastbound.eu/
The British Academy, London
Thursday 13 January – Saturday 15 January 2011
Proposals are invited for this conference, to be held at the British Academy in London, in conjunction with the University of Nottingham.
The relationship between state communism and music behind the Iron Curtain has been the subject of much scholarly interest. The importance of communism for musicians outside the communist bloc, by contrast, has received little sustained attention.
This conference aims to examine:
Further details on conference themes and format of proposals: http://www.nottingham.ac.uk/music/communism
Submissions
Deadline for proposals: Friday 18 June 2010
Programme announced and registration open: Monday 19 July 2010.
Dr Robert Adlington (Conference Organiser)
Department of Music, University of Nottingham
25 - 27 FEBRUARY 2011
Dickinson College
Keynote address by Philip V. Bohlman (to be confirmed)
The postwar period in East and West Germany has been neglected by most research pertaining to Jewish music history or ethnography, perhaps with the exception of klezmer. The inattention to this specific era may be due to the common misperception that Jewish life, and subsequently its culture and music, had been extinguished. And yet with the end of World War II, Germany witnessed a reemergence of Jewish culture, actuated by a Jewish population that had returned from underground hiding, survived through mixed marriage, re-emigrated (the returnees), or survived the camps and returned, as well as by institutions and individuals who supported the performance of works by Jewish composers.
We are inviting papers based on new research that address the multi-faceted topics suggested by the colloquium’s theme while drawing upon the methodologies of ethnomusicology and/or historical musicology. We favor approaches that consider the plurality of musical responses to the post-Holocaust era and thus avoid clichés that give way to one-dimensional readings of a complex era. We encourage presentations on topics ranging from music in the postwar Displaced Persons camps to the klezmer revival beginning in the 1970s, but also compositions in response to the Holocaust and the Jewish presence in postwar German musicology, with broader reflections on the following themes:
- Perceptions of the Holocaust and Jewish music
- Trauma
- Nostalgia
- Utopia vs. Dystopia
The official language of the colloquium is English. Papers should not be longer than 25 minutes and will be discussed in roundtable following the respective panels.
Please submit proposals together with a short abstract of 300 words max. (if attachment please the following formats only: doc, rtf , or pdf) by May 1, 2010 to the following address: DickinsonColloquium2011 [AT] gmail.com
In addition to the proposed title and summary, the following information should be included:
(1) name of the lecturer, address, phone, e-mail (primary)
(2) a short biography (200 words max.)
Notification will be sent at the latest by July 15, 2010.
