![]() ![]() This article proposes an analysis of these processes, discussing its meaning and the challenges they set to social scientists. This is reflected in a renewed attention on DIY production methods in an increased exposure and consumption of these objects and in the interest from academia and some cultural institutions for analyzing and preserving this kind of underground production. In recent years, there has been a growing interest in independent self publish editions, and in do-ityourself (DIY) practices of production and distribution. Ilustram-se empiricamente algumas destas reflexões a partir do processo de constituição e dinamização de um arquivo punk, desenvolvido no projeto de investigação Keep it Simple, Make it Fast. Este artigo propõe uma análise destes processos, discutindo o seu significado e os desafios que colocam aos cientistas sociais. Tal reflete-se numa atenção renovada por métodos de produção DIY num aumento da exposição e consumo destes objetos e num despertar do interesse da academia e de algumas instituições culturais por analisar e preservar este tipo de produção underground. Nos últimos anos, assistiu-se a um interesse crescente pelas publicações independentes, autoeditadas e pelas práticas de produção e distribuição do-it-yourself (DIY). This will lead to an insightful debate about its mains aspects and structuring guidelines. Such a contradiction is a research challenge to pursuit. There exists a contradiction between the growing visibility of the urban music scenes and its persistent illegitimacy as a sociological object of investigation (and also in social sciences, in a broader sense). The music scenes invite us to map the territory of the city in new ways while, at the same time, defining types of activities whose relationship with the territory is not easily expressed. Hence, it is important to understand the importance, functioning, process, the agents, characteristics, genres and subgenres of the current urban music scenes. This Summer School is the result of a series of developed works in the last decade within the framework of social sciences, namely Sociology of Culture, Sociology of Arts, Sociology of Youth, Urban Sociology, Sociology of Music, Cultural Economics, Urban Studies and Urban Planning. It is also the possibility of deepening both theoretical and methodological questions in both proximity and dialogue with some of the main world references of the urban musical scenes. The KISMIF Conference 2015 will be preceded by a two-day Summer School entitled Gettin’ Underground Together! The Summer School Gettin’ Underground Together! will offer an opportunity for undergraduate and graduate students, including those staying on for the conference, to attend specialist master classes and discuss their research work in seminars led by top academics in the field. Migrations, diasporas and identities: the role of music through the world Gatekeeping mechanisms, reputation building and (de) territorialization of cultural scenes 20. Experimental music and new ethnographies of meaning 19. Punk, post punk, metal, electro, funk, rap, hip hop: new musical and artistic boundaries 18. New social movements, music and other artistic scenes (local and global) 17. Practices of resistance, and contemporary countercultural youth identities 16. Pedagogies and methodologies based on the underground 15. Music and arts for social change, the arts and arts communities as part of urban culture 14. New dynamics of social inclusion through music and underground art practices 13. Territorial mechanisms on music production, intermediation and consumption 12. ![]() New intermediate and artistic production in the city and space 11. Music scenes, art worlds: aging and gender 10. Style, aesthetic and musical corporeality 8. DIY Careers: alternative forms of musical, artistic and cultural entrepreneurship 7. Contradictions and tensions between the underground and mainstream 6. Subcultures, tribes, neo-tribes and underground scenes 5. Researching music: methodological challenges and dilemmas 4. Historicity, genealogy and diachrony of music scenes and art worlds from the post-war period to the present day 3. Developments in social theory around networks, flows, art worlds, musical fields, artistic fields, underground music scenes 2.
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