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Recent Experimental Electronic Music Practices in Iran

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Recent Experimental Electronic Music Practices in Iran Recent Experimental Electronic Music Practices in Iran: An Ethnographic and Sound-Based Investigation by Hadi Bastani A thesis submitted to Queen’s University Belfast in partial fulfilment of the requirements for the degree of Doctor of Philosophy Sonic Arts Research Centre Queen’s University Belfast 2019 Supervisory Team Dr Simon Waters Dr Ioannis Tsioulakis ii Je ne dis […] pas les choses parce que je les penses, je les dis plutôt dans une fin d’auto- destruction pour ne plus les penser.1 Michel Foucault – Interview with Fons Elders (1971) 1 The quote is extracted from an interview published on YouTube on March 2014 titled Foucault – The Lost Interview, which was initially produced by the Dutch Philosopher Fons Elders for the Dutch Television in 13 September 1971, ahead of the famous debate between Foucault and Noam Chomsky, which took place in No- vember of the same year. The interview is accessible via the following link (last accessed 26 Jun. 2019). See 15:13–15:21 for the above quote: youtube.com/watch?v=qzoOhhh4aJg The whole interview is available in the form of a book titled "Freedom and Knowledge." It includes an introduction by Lynne Huffer and additional contributions by Fons Elders. It can be accessed via Vons Elders’ own webstie via the following link (last accessed 26 Jun. 2019): hfonselders.eu/product/m-f-free- dom-and-knowledge/ An excerpt is available for free online here (last accessed 26 Jun. 2019): academia.edu/6482878/Free- dom_and_Knowledge_book_extract_YouTube_clip_of_lost_Michel_Foucault_interview_pub- lished_forty_years_after_its_time_ iii iv Abstract The aim of this thesis is to identify and locate an experimental electronic music ‘scene’ in Iran within a web of historical-social-political-religious- economic-technological agencies. Drawing from the growing traditions of digital ethnography and artistic research, this project documents and anal- yses the processes, aesthetics, and practices that shape the ‘scene’, while exploring and feeding back to those through sound-based practice. In set- ting ethnographic study and artistic practice in action within a mutually- interpenetrating loop, this work suggests a context for further anthropo- logical and/or (ethno-)musicological inquiry that incorporates (collabora- tive) music- and/or art-making as a beneficial and rigorous research meth- odology. Digital ethnography—online fieldwork and one-to-one inter- views—as well as individual and collaborative composition, installation, and collaborative performance are the main strategies applied to investi- gate the subject matter. The outcome is, therefore, presented in the form of a portfolio of original works along with this thesis that is produced to contextualise the project’s concurrently theoretical and practical engage- ment with and investigation of the case at hand. Furthermore, through a grounding in personal experience, this text provides reflections on the author’s relevant backgrounds and involve- ments, both inside and outside Iran, to further uncover the common pro- cesses of production-consumption within experimental electronic music networks in Iran. It investigates how his own practice has performatively taken shape in contact with, while mutually influencing, the material sub- ject to scrutiny in this work. In so doing, the thesis aims to balance the particularities of practice-led (practice-based or artistic) research with gen- eralities of engaging with histories and stories, while highlighting the per- spectives through which the author, as a situated embodied agent, was af- forded a particular understanding of the ‘emergent’ forms of experimental electronic music practice in Iran. v Acknowledgements Many People have been crucial to the development of this work. First and foremost, thanks are due to Dr Simon Waters and Dr Ioannis Tsioulakis, whose enthusiastic engagement, pa- tience, intellectual abilities, professional pragmatism, and open-minded approach, guided this PhD. Conversing with them—a sonic artisan, theorist, and composer, and a music anthropol- ogist—ultimately informed how I engaged with the research material and literature in order to creatively and efficiently navigate disciplinary perspectives. This work would not be possible without the generous contribution of my interlocu- tors and collaborators in the ‘field’, whose descriptions, explanations, comments, and critique helped shape an outcome, which is presented in the form of this thesis and portfolio. I salute with deep appreciation the productive involvement and kind support of Aida Shirazi, Ali As- ghar Ramezanpour, Ali Eslami, Ali Panahi, Alireza Farhang, Alireza Poorsohoolat, Arash Molla, Ashkan Kooshanejad, Ata Ebtekar, Eugenio Caria, Farzane Noori, Hamed Rashtian, Hesam Ohadi, Idin Samimi Mofakham, Javad Safari, Kamran Arashnia, Kate Carr, Kiana Tajammol, Malthe Ivarsson, Maryam Sirvan, Milad Bagheri, Mo H. Zareei, Mohammad Nik- pour, Mona Mostofi, Narcissa Kasraï, Nesa Azadikhah, Nima Aghiani, Pantea Aramfar, Parsa Jamishidi, Phil Gardelis, Ramin Sadighi, Ramin Safavi, Reza Kazemzadeh, Robert Henke, Ro- jin Sharafi, Sara Bigdeli Shamloo, Shaahin Saba, Shahin Entezami, Siavash Amini, Sina Shoaei, Sohrab Motabar, Stefen Tiefengraber, Thomas Ankersmith, Vedad Famourzadeh, and Zahra Gooya. I am also grateful for the assistance of numerous members of staff in the Sonic Arts Research Centre (SARC) and Queen’s University Belfast as well as friends inside and outside the university, including Barry Cullen, Craig Jackson, David Bird, Franziska Schroeder, Koichi Samuels, Maruška Svašek, Matilde Meireles, Michael Dzjaparidze, Miguel Ortiz, Pablo Sanz, Paul Stapleton, Pedro Rebelo, Tristan Clutterbuck, and Tullis Rennie, who provided feedback, intellectual stimulation, and technical support throughout this project Finally, on a personal note, I am thankful to the family and friends who offered assis- tance at crucial moments. Thanks are due to Leila Ghandi for her love and support; to Hossein Bastani, whose contribution made this PhD an easier process; to Nayer Gooya, for her un- conditional kindness; to Maryam Gooya whose timely aid made an important decision that led to this PhD possible; and to Mo. H. Zareei, Farhang Farrokhi and Hamed Rashtian, whose comradeship warmly accompanied and inspired the development of this work. vi vii Contents Abstract -------------------------------------------------------------------------- V Acknowledgements ---------------------------------------------------------- VI Chapter 1 Research Context --------------------------------------------- 1 1.1 Introduction 1 1.2 A Personal Background 3 1.3 Questions 7 1.4 Methodology 10 1.5 Challenges 17 1.6 Clarification on the Use of Certain Terms and Concepts 18 1.7 Chapters Outline 21 Chapter 2 A Historical Context ------------------------------------------- 25 2.1 Arts, Music, Religion, and Power Relations 25 2.2 The ‘Modernisation’ Project and Emergence of New Music 28 2.3 Birth of Electronic Music: From Shiraz Festival to the Revolution 32 2.4 Phonophobia and Maslaha of the System 36 2.4.1 The Supreme Leaders Versus Music 36 2.4.1 Permits and other Control Mechanisms 42 2.5 Socks of the Holy Smell: Undoing Senses or re-Inventing the 42 Social 2.6 Post-1997 Pop Revival 47 2.7 Performing the Distance: Challenge of Belonging and Experi- 53 mental Music Chapter 3 Towards a Theoretical Framework ----------------------- 60 Chapter 4 Locating the Scene ------------------------------------------- 68 4.1 Overview 68 4.2 Development in Relation to Recent Political, Economic, and 74 Technological Changes 4.3 SET Festival (2015–Present) 86 4.4 Saroseda (2009–2011) 93 4.5 TADAEX (2011–Present) 94 viii 95 103 107 4.6 Affinity Networks: The Case Study of SET 98 4.7 Implicit Union Against the ‘Mainstream’ 108 4.8 Competition 112 Chapter 5 Aesthetics of Electronic Music Performance ----- 117 5.1 Reconfiguring Performance 117 5.2 Blurred Soundscapes: Control, Noise, and Amorphous 123 Regulatorium Chapter 6 A Portfolio of (Sound) Work(ing)s --------------------- 132 6.1 Overview 132 6.2 Thematic Exploration 137 6.2.1 impulse|resonance 138 6.2.2 ecbatan 144 6.2.3 ornamental descend 149 6.2.4 pendulum: Electronic Improvisation and Visuals with Steph Horak 153 6.3 Collaborative Composition as Ethnographic Research: 160 A Practice-Led Experiment 6.3.1 Collaboration Within the Scene 160 6.3.2 intra.view: A Collaborative Composition 164 6.3.3 Slides-zen-Dives: Electronic Improvisation with Pouya Ehsaei 174 183 6.3.4 SPIN and INTERFERENCE Chapter 7 Conclusion --------------------------------------------------- 189 7.1 Overview 189 7.2 Reflections on the Methodology 191 7.3 Impacts 192 7.4 Future Pathways 193 7.5 Coda 195 References ------------------------------------------------------------------ 200 Appendix A: Digital Access ------------------------------------------- 210 Appendix B: Research Timeline -------------------------------------- 211 ix Appendix C: Interview Demographics ---------------------------- 213 Appendix D: Research Outputs -------------------------------------- 215 x xi CHAPTER 1 RESEARCH CONTEXT 1.1 Introduction This submission consists of two elements: a portfolio of sound-based practice and a piece of ethnographic research. These are mutually supportive and intertwined, in that the former consists both of practice which forms part of the ‘object of study’ of the ethnographic work and practice which forms part of the ‘method of study’, taking the form of both critique and collaboration/provocation/intervention. The text is simultaneously
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