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Situationist Human

SITUATIONIST AESTHETICS: THE S.I. NOW

University of Sussex, Brighton, UK – Friday 8th June 2012

Keynote: McKenzie Wark (The New School, NY), author of The Beach Beneath the Street: The Everyday Life and Glorious Times of the Situationist International (2011), Gamer Theory (2007) and Hacker Manifesto (2004).

“Since the beginning of the movement there has been a problem as to what to call artistic works by members of the SI. It was understood that none of them was a situationist production, but what to call them? I propose a very simple rule: to call them ‘antisituationist.’ We are against the dominant conditions of artistic inauthenticity. I don’t mean that anyone should stop painting, writing, etc. I don’t mean that that has no value. I don’t mean that we could continue to exist without doing that. But at the same time we know that such works will be coopted by society and used against us. Our impact lies in the elaboration of certain truths which have an explosive power whenever people are ready to struggle for them. At the present stage the movement is only in its infancy regarding the elaboration of these essential points.” — Attila Kotányi at the Fifth Conference of the SI, 1961

Is it oxymoronic, heretical or just plain wrong to talk about Situationist aesthetics? The Situationist International (SI) condemned attempts to discuss its work in terms of aesthetics, but perhaps it is now time to brush the SI against the grain.

When it first announced its programme, the SI insisted that ‘There is no such thing as Situationism’. A few years later, before expelling its members deemed to be too invested in artistic production, the SI declared that in an age of spectacle any work of art produced by a Situationist must necessarily be ‘antisituationist’. The SI’s tactical intransigence regarding the political value of the aesthetic, and its refusal of the possibility of a specifically Situationist aesthetic, threw up problems that remained unresolved by the time of the SI’s dissolution. Since 1972, particularly in Anglophone contexts, Situationist practices have penetrated an array of cultural spheres, and much cultural production which the SI would have dismissed as spectacular has claimed some Situationist influence.

The SI located itself within but against culture. This symposium asks whether such a position is tenable, and what possibility might there be for Situationist aesthetics after all. Do cultural phenomena such as punk, or the current psychogeography industry, for example, work as or against Situationist aesthetics? Is it possible to identify art works and/or practices indebted to the SI that do not recuperate its politics but fortify and develop them?

Possible themes include, but are not limited to:

·           The work of Guy Debord and other members of the Situationist International

·           The work of artists, writers, thinkers or film-makers proximate to or influenced by the SI

·           Critiques of the SI

·           (Post-)Situationist theory now

·           Détournement, plagiarism, and recuperation

·           Spectacular and anti-spectacular aesthetics

·           The uses and abuses of psychogeography

·           Punk and art writing

Please submit proposals of no more than 250 words for papers or presentations of 20 minutes to Sam Cooper at situ.aesthetics@gmail.com by 16th March 2012.

For further information: http://situationist-aesthetics.blogspot.com

**END**

 

‘Maximum levels of boredom

Disguised as maximum fun’

Cold Hands & Quarter Moon, ‘Stagnant’ at: http://www.myspace.com/coldhandsmusic (recording) and http://www.youtube.com/watch?v=GLjxeHvvhJQ (live, at the Belle View pub,Bangor, northWales)  

 

‘Human Herbs’ – a new remix and new video by Cold Hands & Quarter Moon: http://www.youtube.com/watch?v=Au-vyMtfDAs

‘Stagnant’ – a new remix and new video by Cold Hands & Quarter Moon: http://www.youtube.com/watch?v=YkP_Mi5ideo  

 

Posted here by Glenn Rikowski

The Flow of Ideas: http://www.flowideas.co.uk

MySpace Profile: http://www.myspace.com/glennrikowski

Cold Hands & Quarter Moon: http://www.myspace.com/coldhandsmusic

The Ockress: http://www.theockress.com

Rikowski Point: http://rikowskipoint.blogspot.com

Volumizer: http://glennrikowski.blogspot.com

MUSIC, POLITICS AND AGENCY

A one-day conference presented by:
Centre for Cultural Studies Research, University of East London
Faculty of Social Sciences, Open University
Media Industries Research Centre, University of Leeds

May 20th 2011
11:00 – 18:00
University of East London
Docklands Campus
Room EB.2.43
Permalink: http://culturalstudiesresearch.org/?p=694

Can music change anything, or does its potency lie merely in its exemplary status as an organised human activity? What are the effects of power relations on music and to what extent is music itself a site at which power relations can be reinforced, challenged or subverted? What are the economic, affective, corporeal or ideological mechanisms through which these processes occur? Has the age of  recorded music as a potent social force now passed, a relic of the twentieth century; or with the music industry in crisis, is music culture in fact the first post-capitalist sector of the cultural economy, only now emerging from the long shadow of the culture industry? What historical or contemporary examples can we draw on to address some or all of these questions?

This conference is programmed by Jeremy Gilbert (Centre for Cultural Studies Research, University of East London), David Hesmondhalgh (Media Industries Research Centre, Institute of Communications Studies) and Jason Toynbee (Centre for Research on Socio-Cultural Change, Open University).

The conference is free to attend, but pre-registration is recommended.
To register email j.gilbert@uel.ac.uk with the subject “Music, Politics and Agency Registration”
For any further information, email j.gilbert@uel.ac.uk

UEL Docklands Campus is best reached via Cyprus DLR (Docklands Light Railway) station, which is literally located at the campus.
For information about the campus, see http://www.uel.ac.uk/campuses/docklands.htm

Room EB.2.43 is on the second floor of the main building (‘East Building’) which is to the left of the main square upon entering from the square from Cyprus DLR .
See http://journeyplanner.tfl.gov.uk/user/XSLT_TRIP_REQUEST2?language=en to plan your journey.

Speakers and Papers

Anne Danielsen
Power, mediation, and aesthetics in the music of Public Enemy

Anne Danielsen is Professor and Head of Research in the Department of Musicology at the University of Oslo. Her publications include Pleasure and Presence: the Funk Grooves of James Brown and Parliament (2006) and Musical Rhythm in the Age of Digital Reproduction (2010).

Barry Shank
The political agency of music

Barry Shank teaches popular music, American studies and cultural theory in the department of Comparative Studies at Ohio State University.  He is the author ofDissonant Identities: The Rock’n’Roll Scene in Austin, Texas and A Token of My Affection: Greeting Cards and American Business Culture.  He is currently completing a book for Duke University Press entitled Silence, Noise, Beauty: The Political Agency of Music.

David Hesmondhalgh
Music and human flourishing

David Hesmondhalgh teaches and researches at the University of Leeds. His books include Creative Labour: Media Work in Three Cultural Industries (2011), co-written with Sarah Baker, and Western Music and its Others: Difference, Appropriation and Representation in Music (with Georgina Born, 2000).

Helen Reddington
The sound of women musicians in the punk era

Helen Reddington lectures in songwriting and production on the University of East London’s Music Cultures BA. Her research interests include the punk subculture and women’s engagement with music technology. Her book The Lost Women of Rock Music will appear revised in paperback in January 2012 and a double CD of archive material by her punk-pop band is due to be released by the label Damaged Goods later this year.

Jeremy Gilbert
Music after capitalism? Culture, creativity and markets

Jeremy Gilbert is Reader in Cultural Studies at the University of East London. His publications include (with Ewan Pearson) Discographies: Dance Music Culture and the Politics of Sound (Routledge 1999) and Anticapitalism and Culture: Radical Theory and Popular Politics  (Berg 2008). He is co-director of the Centre for Cultural Studies Research, editor of new formations and a founder member of Lucky Cloud Sound System.

John Street
Music as political thought and action: the arguments and the evidence

John Street is a professor of politics at the University of East Anglia. His latest book is Music and Politics, which is due to be published by Polity later this year. He is a member of the editorial group of the journal Popular Music.

Martin Stokes
Scale, agency and music in religious movements

Martin Stokes is University Lecturer in Ethnomusicology and Tutorial Fellow at St. John’s College, University of Oxford. Martin is an ethnomusicologist with a particular interest in social and cultural theory. His most recent book The Republic of Love: Cultural Intimacy in Turkish Popular Music, has just been published by the University of Chicago Press (2010).

Tim Lawrence
Rhizomatic musicianship: Arthur Russell and after

Tim Lawrence is a Reader in Cultural Studies at the University of East London and the programme leader of the Music Culture: Theory and Production degree. He is the author of Love Saves the Day: A History of American Dance Music Culture, 1970-79 (Duke University Press, 2003) and Hold On to Your Dreams: Arthur Russell and the Downtown Music Scene, 1973-92 (Duke University Press, 2009). He is a founding member of the Centre for Cultural Studies Research and Lucky Cloud Sound System.

Tuulikki Pietilä
Body politic: youth musics in the “New South Africa”

Tuulikki Pietilä is a social anthropologist and a research fellow in the Helsinki Collegium for Advanced Studies. She has published a monograph and a number of articles on trade and gender in Kilimanjaro and the post-colonial Africa more broadly. Currently she is studying South African music and music industry.

—END—

‘I believe in the afterlife.

It starts tomorrow,

When I go to work’

Cold Hands & Quarter Moon, ‘Human Herbs’ at: http://www.myspace.com/coldhandsmusic (recording) and http://www.youtube.com/watch?v=2h7tUq0HjIk (live)

Posted here by Glenn Rikowski

The Flow of Ideas: http://www.flowideas.co.uk

MySpace Profile: http://www.myspace.com/glennrikowski

The Ockress: http://www.theockress.com

Rikowski Point: http://rikowskipoint.blogspot.com

Punk Embrace

WORKERS’ AND PUNKERS’ UNIVERSITY’S INTERNATIONAL DAY SCHOOL 2011

A project in collaboration with East East: Partnership Beyond Borders Program
Metelkova, Ljubljana, 27th April – 2nd May 2011

Self-Management: The aim of the school will be to explore the relevance of the concept of workers’ self-management today – in a contradictory historical moment, when the search for an alternative to a capitalist mode of production is becoming more and more urgent and when there are self-management experiments emerging in places, where capitalist organization of production had the most devastating consequences (for example during Argentina’s financial collapse or in the deindustrialized zones of China and Russia), while at the same time capital itself tries to both cut the costs of management and to discipline the work force by utilizing certain technologies of organization of production reminiscent of self-management – and to critically examine the history of theories and practices of self-management, especially its Yugoslav version.

Main topics of the School: Yugoslav self-management: Was Yugoslav self-management a part of or an alternative to actually-existing socialisms? What was the relation between the workers’ councils movement in Hungary, Poland and Czechoslovakia and Yugoslav self-management? What were the theoretical and political foundations of Yugoslav self-management? What was the relation between various failed European uprisings, based on workers’ self-management, before the Second World War and strivings for self-management in Eastern European socialism after the war?

Self-management today: Theory and practice of workers’ takeovers of factories and companies in Latin America and postsocialist countries, self-management as a part of Bolivarian ‘socialism for 21st century’, social-democratic and corporatist models of self-management (Sweden, Spain, Japan), autonomous communities and autonomous zones.

Theories of self-management: Self-management and Marx/Marxism, relations between socialist economic theories and social regimes on the one hand and self-management on the other, polemical engagements between Rosa Luxemburg and Lenin and between humanist Marxism and dialectical materialists, the role of the concept of class struggle in theories of self-management.

Politics of self-management: Communism as an association of free producers (self-management as a basic form of organization of communist society), the question of abolishment of classes and the state (self-management as a form of post-class and unhierarchical organization of production), the question of party and political representation (self-management as a form of also political and not only economical organization), the question of democracy (and economic democracy).

IMPORTANT INFORMATION:

Working languages of the school will be ex-YU languages and English.

Each speaker will have 30 minutes available for a talk and 10 for a discussion.

Submission guidelines: submissions for presentations should include paper abstracts of max. 200 words, half a page CV, affiliation and contact details.

Submissions deadline: submissions of abstracts are expected by April 10, 2011.

Acceptance decisions will be communicated to the submitters by April 20, 2011.

We especially encourage participants from Central-Eastern Europe and the Balkans to apply.

Travel and accommodation costs will be covered for the selected participants (all the details will be communicated after the selection directly with the selected participants).

Please send inquiries to:
E.mail: primoz.krasovec@gmail.com

—END—

‘I believe in the afterlife.

It starts tomorrow,

When I go to work’

Cold Hands & Quarter Moon, ‘Human Herbs’ at: http://www.myspace.com/coldhandsmusic (recording) and http://www.youtube.com/watch?v=2h7tUq0HjIk (live)

Posted here by Glenn Rikowski

The Flow of Ideas: http://www.flowideas.co.uk

MySpace Profile: http://www.myspace.com/glennrikowski

The Ockress: http://www.theockress.com

Rikowski Point: http://rikowskipoint.blogspot.com