Scenes, Settings, Systems
Room G.15, Armstrong Building
Ellen Bernhard (Chestnut Hill College, Philadelphia)
‘Crowdfunding a Scene: GoFundMe, Norms of Reciprocity and Social (Media) Capital in Contemporary Punk Rock Communities’
In the age of social media, DIY practice transgresses physical spaces into digital realms—bands can share news of shows, new merchandise, music, and tour updates through a variety of social media platforms to fans across the world, using their own creative efforts and connections within the community to disseminate this information. While contemporary punk continues to engage in DIY practice through the creation of this content, a recent practice has prevailed, allowing bands to generate money from their fans and the community at large in times of need. GoFundMe, a crowdfunding website which lets users donate money to causes of their choosing, has frequently prevailed as an avenue by which bands can reach out for donations from fans when things go awry. Within recent years, the practice has been used by bands to fund a variety of efforts, which include acquiring funds for a new tour van or stolen gear, paying off a band member’s medical bills or hospitalization costs, or funding a community-focused effort such as organizing a festival or saving a well-loved music venue.
Through an investigation of recent examples of GoFundMe use and the corresponding social media activity within the contemporary punk community, this paper will investigate the norms of reciprocity and social capital that enable and normalize this common practice in punk communities today. Furthermore, this paper will argue that GoFundMe use is an extension of DIY practice, which is facilitated by the pervasiveness of frequent social media use within the scene as a whole.
Theo Gowans (Leeds University)
‘How Disruption Within Noise Performances Creates a Unique Capacity for Nonhierarchal Socialising’
This paper is a study into the capacity for unique socialising within DIY noise practice, and whether it can act as a subversive critique of neoliberal norms of individualism and self-branding. Free improvisation/noise performances, uniquely as an aesthetic practice, are both unpredictable both as an aesthetic and in execution, as it’s produced in real time. The immateriality of the music and the scale and context of the practice allows for error, intervention and sabotage without Mistakes or bad music .
I hope to explore the ways in which we can sabotage music as both audience members and performers (constriction, audience use of objects, antagonising) and how this allows for a unique space for socialising within nonhierarchal context. The audience and performer boundry is removed where all and equally inept and an equal part of the occurance. I will argue that noise can and should be an exciting area for play between those within the space and a critique of capital and the individualism position within the arts. I will argue that a continuation of this anti-captialist approach and the values of the Fluxus movements, while not the only way to achieve political critique within noise, is a worthwhile one to aim for.
Adam Denton (Newcastle University)
‘Locating the Scene(s): Where Shall We Put It?’
In considering noise as a pluralised culture, consisting numerous complex histories and intersections, this paper seeks to address questions surrounding the where of noise in the context of urban centres.
The aim is to identify nexus points where rave energies, rough musics and noise cultures have converged or could converge, in the pursuit of antagonising contemporary neoliberal property speculation and the late-capitalist enclosure of the city.
This presentation will highlight the multi-locality of a noise scene, one I consider myself part of and one that is networked through its international collaborating actors and shared/conflicting ethoses.
In a time where freedom of movement and assembly is increasingly threatened (for some more than others) I will examine how or if a global psychical environment of socially diverse participation and exchange is, or could be, nurtured and hosted, towards what Patricia Reed has identified as a ‘mobilising of the alienated’.
What kinds of spaces can be made available for the uniting of intersecting micro-scenes? And what still needs to be done to get things done?
Examining power dynamics in built and soon to be built environments, where cultures of disappearance or fleeting visibilities may or may not converge, I will ask; are the places where noise happens important? Should they be preserved? If so, how; and who’s going to do the preserving?
This presentation will be delivered as a PowerPoint Electronics set.