A number of experimental electronic music compositions and performances from Iran emerged on the social media and in a few galleries across the Irani-an capital in 2009. Against all odds, these practices started to gradually form a small ‘scene’ that finally became established in the matter of a few years—arguably around 2013. This scene has since been represented publicly and legally inside the country through events organised by individuals, artist col-lectives, galleries, and festivals. It is also well known within experimental electronic music circles beyond the national borders. In a politically-forced absence of many other art/music forms in the public domain in Iran, the emergence and burgeoning of such an ‘avant-garde’ scene is significant from various perspectives. By locating these practices within a web of social-political-economic-technological agencies, in this article, I will argue how the scene’s aesthetics, in the broadest sense of the term, can be understood as a locus for crystallisation of a concurrent resistance against and embodiment of an invasive, yet ambiguous, form of ethical-moral-legal control, which has emerged as a result of the establishment’s four decades-long isolationist per-formance in an increasingly globalised ‘world’.
|Publication status||Published - 02 Nov 2019|
|Event||BFE/SFE joint autumn conference, London, Nov. 2019 - City University, London , United Kingdom|
Duration: 01 Nov 2019 → 05 Nov 2019
|Conference||BFE/SFE joint autumn conference, London, Nov. 2019|
|Period||01/11/2019 → 05/11/2019|
- Experimental Music
- digital media
- New Media
- the internet
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Recent Experimental Electronic Music Practices in Iran: An ethnographic and sound-based investigationAuthor: Bastani, H., Dec 2020
Student thesis: Doctoral Thesis › Doctor of PhilosophyFile