[ANPPOM-Lista] CFP: Psychedelica & Electronica (Dancecult special edition)

Quinta Fevereiro 10 11:58:42 -03 2022

*CFP: Psychedelica & Electronica*

Special edition of *Dancecult: Journal of Electronic Dance Music Culture*

Edited by Trace Reddell and Graham St John

*http://dj.dancecult.net/ <http://dj.dancecult.net/>*

Psychedelics permeate the history, culture and aesthetics of electronic
dance music. The emergence of acid house, techno, Goa/psytrance, trip-hop,
ambient/psybient and other genres have been influenced by various
psychoactive chemicals, shaping uniquely hybrid sonic/pharmacological
ecologies. Given the resurgence of clinical psychedelic research and
therapies, and the prominent role that music is understood to play in
these, it is past time for a reassessment of the special relationship
between, and the entangled histories of, psychedelics and electronic music.

Though psychedelia is typically perceived as a unique form of folk, pop and
rock that crystallizes a wide range of social and cultural trends in the
1960s, it is a resilient sensibility that has continued to evolve, mutate,
hybridize and flourish over the past sixty years, and right into the
present. Rather than a genre, “psychedelic” might best be perceived as a
mode of expression, a way of listening, and a method for being and becoming
in the world by way of sonic, spiritual, and neuropharmacological
technologies.

This special issue of *Dancecult* will address the interfacing of
psychedelics and electronic dance music throughout its histories, in its
various genres, event-cultures and production practices. We seek to
establish an account of psychedelic electronic music from its impact on
musicians and producers to its various communities of listeners, and we
seek to comprehend the way substances and sounds have co-evolved in both.
Given the volume of material published about psychedelia in the 1960s, and
the relative lack of substantive scholarship on psychedelic music from the
1980s to the present, this issue provides an excellent opportunity for new
and experienced scholars to break new ground in the discussion of
psychedelics and music.

*Editor Biographies*

*Trace Reddell* (PhD) is a writer, artist and educator exploring the
interactions of sound and the cosmological imagination. Trace’s first
book, *The
Sound of Things to Come: An Audible History of the Science Fiction Film* (U
of Minnesota Press, 2018), takes a groundbreaking approach to sound in
science fiction films that offers new ways of construing both sonic
innovation and science fiction cinema. He is also the author of a
forthcoming book, *The Magic Circle: Sonic Substance in Psychedelic Music* (MIT
Press, 2023), which proposes a new theory of sonic psychedelia. Trace’s
audiovisual performances and videos have been presented at over thirty
international venues and new media festivals. Trace is Professor of
Emergent Digital Practices at the University of Denver, where he has taught
courses in sound studies and sonic arts, expanded cinema, science fiction
studies, new and speculative materialism, and spiritual technology design.
Website: *sonicsciencefiction.com <https://sonicsciencefiction.com/>*

*Graham St John *(PhD) is an anthropologist and cultural historian
specializing in transformational events, movements, and figures. Graham is
the author of the forthcoming intellectual biography *Terence McKenna: The
Strange Attractor *(MIT Press, 2023), and has authored several other books,
including *Mystery School in Hyperspace: A Cultural History of DMT*
(NAB/Evolver,
2015), *Global Tribe: Technology, Spirituality and Psytrance *(Equinox,
2012), and *Technomad: Global Raving Countercultures* (Equinox, 2009). He
has also edited five books, including *Weekend Societies: Electronic Dance
Music Festivals and Event-Cultures* (Bloomsbury 2017) and *Rave Culture and
Religion* (Routledge 2004). Graham is founding Executive Editor of *Dancecult:
Journal of Electronic Dance Music Culture,* and has produced over 100
articles for scholarly and popular venues. He has held postdoctoral
fellowships in Australia, the U.S., Canada and Switzerland, and in April
2022 will begin a MSC European Fellowship in the Centre for Music, Culture
and Identity at the University of Huddersfield, UK. Website:
*www.edgecentral.net* <http://www.edgecentral.net/>

// SUGGESTED THEMES //

-Psychedelic philosophy and electronic music

-Psychedelics and sound

-Auditory hallucinations
-EDM as program or script for psychedelic experience

-EDM in therapeutic psychedelic regimens

-Altered states of consciousness, techno shamanism

-Entheogens and dance cultures

-Psychedelics in EDM sub-genres (acid house; Goa/psytrance)

-Event-cultures (raves, clubs, festivals) and psychedelics

-Transformational festivals

-Psychedelics as technologies

-Visual design, VJing, decor, architecture

-Comparative psychedelics (including: LSD, DMT, psilocybin, MDMA among
others) comparing the impact of

-Legality, criminal justice concerns and cognitive liberty

-researching the impact of a variety of psychedelic substances on the
social contexts of dance clubs, festivals and venues.

// SUBMISSIONS //

*Feature Articles* will be peer-reviewed and are 6000–9000 words in length
(including endnotes, captions and bibliography). For policies, see:
*https://dj.dancecult.net/index.php/dancecult/section-policies
<https://dj.dancecult.net/index.php/dancecult/section-policies>*

*From the Floor Articles.* The issue will include a themed From the Floor
Section hosting imaginative submissions reviewed by the guest editors. As
*Dancecult* policy stipulates: FTF submissions include field reports,
mini-ethnographies, photo-essays and interviews. Pieces for this section
should be between 750-2500 words in length. Rather than written in the
style of an article with formal analysis and many citations, FTF pieces are
more conversational or blog-like in style, and may consist of experimental
and creative reportage styles across the field of electronic dance music.
They may include substantive multimedia components. We welcome FTF
submissions in accordance with the schedule below

Articles must adhere to all style and formatting rules stipulated in the
Dancecult Style Guide (DSG). Download it here:

*https://dj.dancecult.net/index.php/dancecult/libraryFiles/downloadPublic/4
<https://dj.dancecult.net/index.php/dancecult/libraryFiles/downloadPublic/4>*

Multimedia Submissions: Dancecult encourages authors to complement their
written work with audio and visual material. See the DSG for style and
formatting requirements.

// DATES AND DEADLINES //

This special edition is proposed for publication in *Dancecult* in November
2023. If interested, send a 250-word maximum abstract (along with 100 word
maximum author biographies) to the editors by 14 April 2022. Please send
abstracts for feature article submissions to Trace Reddell (*treddell em gmail.com
<treddell em gmail.com>*) and abstracts for From the Floor articles to Graham
St John (*g.stjohn em warpmail.net <g.stjohn em warpmail.net>*).

If your abstract is accepted, the deadline for submission of a full article
draft to the guest editors for their comments is 15 October 2022. If
accepted, the deadline for online submission of your full article to
*Dancecult* (for blind peer-review) is 1 March 2023.

Please send inquiries and expressions of interest to Trace (*treddell em gmail.com
<treddell em gmail.com>*) or Graham (*g.stjohn em warpmail.net
<g.stjohn em warpmail.net>*).

Thank you

Graham St John

-- 
Carlos Palombini, Ph.D. (Dunelm), 1993
Professor de Musicologia, EM-UFMG, 2002–
https://ufmg.academia.edu/CarlosPalombini