KISMIF Conference Porto 7-10th of July 2021: Keep it simple make it fast, DIY Cultures and Global Changes

The fifth edition of the international KISMIF Conference ‘Keep It Simple, Make It Fast! DIY Cultures and Global Challenges’  takes place in Porto, Portugal, from 7 to 10 of July 2021 for the fifth time (previous editions held in 2014, 2015, 2016 and 2018) . This conference is open to artists, researchers and academics likewise who work in the areas of sociology, anthropology, history, cultural economy, cultural studies, geography, philosophy, urban planning, media and cognate disciplines such as design, illustration, popular music, dance, cinema and visual and performing arts. This initiative wants to bring together an international community of researchers and artists with a focus on alternative music scenes and do-it-yourself cultures.

The 2021 edition takes place in hybrid format – online as well as on site.

I present an excerpt from my phd with the title:  The Sonic Experience of Experimental Electronics (abstract below)

Over the past couple of decades, urban transmedia festivals have gained a distinct presence in the European cultural landscape and beyond, constituting an alternative to other, more dominant, conceptions of music festivals. I situate these festivals within scenes and communities of experimental music. Most of the presented music is subsumed under wide ranging umbrella-categories like experimental or electronic music. While many of those festivals are not DIY festivals – though some started out as such – parts of the audience and attendees are part of DIY experimental music scenes. Many festivals changed their subtitles throughout the years from electronic music to “adventurous music”, to emphasize experiments and transgressions of genres limits. There is still very little research on this type of music. Based on multi-year field research, I will present some of my findings. Most research in this area is focusing on noise music so far. Yet there is a huge set of genres and practitioners that do not define their approach as noise music, but as sound art, improv, fringe music, post club – or as subgenres of techno, bass music etc. with the prefix experimental. I want to present conceptualizations of experimental electronic music styles and modes of sound art on the edge of music. I my Ph.D. I worked with genre-concepts and ideas of anti-genre to explain better the manyfold expressions and origins of experimental music.

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