CFP- Sounds and Visions: Music, Counterculture and the Global 1968
Call for Papers Date:
Seeking contributions for a new edited volume: Sounds and Visions: Music, Counterculture and the Global 1968.
Timothy S. Brown & Andrew Lison invite contributions for their new edited volume, Sounds and Visions: Music, Counterculture and the Global 1968.
Sounds and Visions: Music, Counterculture and the Global 1968 is an interdisciplinary collection of essays bringing together scholars in history, cultural studies, art history, media studies, musicology and other disciplines to consider the symbiosis of the sonic and the visual in the counterculture of the 1960s.Focusing respectively on this symbiosis from historical and theoretical perspectives (broadly defined), the volume aims to invigorate the dialogue between historians and critics of culture, media, and the arts around this key moment in contemporary global history.
Central to the volume is the conviction that interpretations of the “global 1968” that ignore the seminal influence of the arts—in both their popular and avant-garde iterations—are no longer adequate. Student activism in the space of the university and the street made up only a part of the broad anti-authoritarian conjuncture of 1968, and not necessarily the most important part; arguably more fundamental was a broad democratization of the means and ways of cultural production in which not only avant-garde artists but youthful appropriators and creators of popular culture played a leading role. These cultural actors were no mere adjuncts to the student left, but protagonists of cultural-political change in their own right, whose broadly anti-authoritarian (and in many cases explicitly anarchist) orientation hewed more closely to the ecumenical “spirit of ’68” than the dogmatic pronouncements of young Trotskyist and Maoist student sectarians.
This volume specifically examines the role of music and the visual arts in expressing the new youth sensibility of 1968. Not only did music open up new sonic vistas of emancipatory possibility, but it was intimately connected to the development of the stylistic and visual codes so important to the sixties counterculture. At the same time, music—and more generally, sound—was hardly separable from the new visual cultures associated with the exhibitions and “happenings” staged by the avantgarde.Complementing these new forms of media, of course, were emerging philosophical and theoretical approaches, most notably those associated with the French schools of poststructuralism and film theory. These features of the cultural landscape of 1968 mark it as a significant moment in the history of multi-media and collaboration between disciplines that prefigures today’s digital media convergence and emphasis on interdisciplinarity.We encourage scholarly submissions that address any or all of these concerns, from either an historical or critical perspective.
Those interested should send a 500-word chapter proposal as well as a short curriculum vitae to Timothy Brown (email@example.com) by December 31, 2011.
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