Date: Thursday March 26th, 10:30am-1:30pm
Venue: Building 9, Level 3, Room 6, RMIT City Campus
This workshop will consider various perspectives on posthumous performance (for example, holographic performances that include dead artists such as Michael Jackson or Tupac Shakur). The workshop approaches the posthumous theme from a number of different angles of interest to RMIT staff: sound technology (what are the contours of the long history of reproducing the voices of deceased performers?); visual culture (how is video technology used to bring the dead proximate to the living in performance?); legal frameworks (what are the legal structures and concerns—principally in relation to copyright and trademark law, the right to publicity, and estate law—that condition collaborations between living and dead performers?).
Jason Stanyek teaches at the University of Oxford where he is Associate Professor of Ethnomusicology and Tutorial Fellow at St. John’s College. Before arriving to Oxford he was Assistant Professor at New York University, Visiting Associate Professor at Harvard University, and External Faculty Fellow at the Stanford Humanities Center. A primary strain of his research is on music technology. The two-volume Oxford Handbook of Mobile Music Studies (co-edited with Sumanth Gopinath) was published in early 2014 and “Deadness: Technologies of the Intermundane”—co-written with Benjamin Piekut and published in TDR—was given the Association of Theater in Higher Education’s Outstanding Article Award in 2011 and was also named by MIT Press as one of the 50 most influential articles published across all of its journals over the past 50 years. In 2013 he delivered keynotes for two international conferences (“Music, Digitisation, Mediation: Towards Interdisciplinary Music Studies” and “Functional Sounds: The First International Conference of the European Sound Studies Association”). He also frequently writes on Brazilian culture. His research on Brazilian music and dance has appeared in a range of academic journals and edited volumes. He edited an interdisciplinary issue of the journal Critical Studies in Improvisation on Brazilian improvisation and was guest producer of an hour-long radio show called “The Brazilian Diaspora in the United States” for Public Radio International’s programme Afropop Worldwide. An volume on bossa nova (co-edited with Frederick Moehn) and an ethnographic monographic on Brazilian performance in the United States are forthcoming in 2016. He currently serves as Reviews Editor of the Cambridge University Press journal Twentieth-Century Music and as general editor for Bloomsbury’s new series 33 1/3. Brazil, an offshoot of their long-running 33 1/3 series.