• Negativland's event poster
KCSB-FM & CISM Present:

Mark Hosler (Negativland)

Wobbly (Negativland)

Irene Moon

Negativland is an experimental plunderphonics project that specializes in audio sampling and that pioneered the "culture jamming" movement. Founded in 1977 and primarily active through the '80s and '90s, the group pushed the boundaries of copyright law and redefined artistic authorship. As they evolved, Negativland dabbled in sound collage, noise, spoken word, and more, all while honing their image of ironic corporatism.

As a solo artist, founding member Mark Hosler manipulates and augments raw sound sources to create a choral rain forest of electronic ear candy, blurring the distinction between man and machine.

Wobbly, who has been working with the band since 1987 and more officially joined in 2011, has since recorded with Thurston Moore, Moebius, and Matmos, among others. His music has expanded upon his work with Negativland, dipping into turntablism, glitch, indeterminacy, and more.

The two are joined by Irene Moon, who fuses entomology with performance art for a musical PowerPoint presentation. Irene Moon also co-hosts "Unknown Territories" on KCSB-FM, which airs every Monday at 9am.

On May 24th, each act visits the KCSB courtyard for a night of audiovisual experimentation. Doors open at 7:30pm and music begins at 8pm. This event is free, all ages, and open to the general public.

Before the performances, Dave Novak (Center for the Interdisciplinary Study of Music) will be facilitating a round table discussion and plunderphonic workshop with the acts. The discussion begins at 2pm in the KCSB courtyard and is open to the general public.

Each part of the night will be live streamed on KCSB at 91.9 FM or online at


  1. May 24, 2018 - 2:00pm
  • poster of cultural sustainabilities conference

May 24-26 THU-SAT

Thursday 7:00pm - 9:00pm

Friday 8:30am - 6:00pm

Saturday 9:30am - 12:30pm

McCune Conference Room, 6020 HSSB

Free and open to the public.

Cultural Sustainabilities is driven by the proposition that environmental and human sustainability are inextricably linked. Leading social scientists, humanists, and activists will convene to address the premise that reversing or ameliorating the negative impacts of human behavior on the globe’s environments is at its core a human cultural question. Topics considered include media, language, singing, fandom, indigeneity, trauma, and trash. The conference honors the work of the keynote speaker, Jeff Todd Titon.

Keynote Address by JEFF TODD TITON “Toward a Sound Ecology,”

Friday, May 25, 3:30 pm

Conference participants: AARON S. ALLEN (University of North Carolina at Greensboro), NINOTCHKA BENNAHUM (UC Santa Barbara), DANIEL CAVICCHI (Rhode Island School of Design), TIMOTHY J. COOLEY (UC Santa Barbara), MARK DEWITT (University of Louisiana at Lafayette), BARRY DORNFELD (Center for Applied Research), NANCY GUY (UC San Diego), MARY HANCOCK (UC Santa Barbara), RUTH HELLIER-TINOCO (UC Santa Barbara), MARY HUFFORD (UC Berkeley) SUSAN HURLEY-GLOWA (University of Texas, Rio Grande Valley), ALEXANDER KARVELAS (UC Santa Barbara), MICHELLE KISLIUK (University of Virginia), MARGARITA MAZO (Ohio State University), RAVI PARASHAR (UC Santa Barbara), DAVID PELLOW (UC Santa Barbara), JENNIFER POST (University of Arizona), ROSHAN SAMTANI (University Studies Abroad Consortium, Stanford University, Madrid), JEFFREY A. SUMMIT (Tufts University), JOSHUA TUCKER (Brown University), JANET WALKER (UC Santa Barbara)

Sponsored by the Interdisciplinary Humanities Center, College of Letters & Science, Humanities and Fine Arts, The Center for the Interdisciplinary Study of Music, and the Departments o Music, Environmental Studies, and Film & Media Studies. Photo by Elza Karimova.


  1. May 24, 2018 to May 26, 2018
  • poster of michael palm's talk

Date: Friday, May 4th, 3PM

Location: SSMS 2135

Feedback loops abound between digital media and contemporary vinyl culture. The majority of record sales occur online, the download code is a familiar feature of new vinyl releases, and turntables outfitted with USB ports and Bluetooth are outselling traditional models. The manufacture of records cannot be digitized; however, as with most commercial culture today, vinyl traffic is driven by algorithms and thrives on social media. Furthermore, the ascent of streaming over the past five years has boosted record sales, creating both-and markets for “flow” and “publication” media, distinguished by Raymond Williams as being accessed or acquired by consumers. Contemporary vinyl culture demonstrates how digital media can play a vital role in any community organized around a shared appreciation for cultural forms and formats, analog or otherwise.

Eschewing nostalgia for records as (merely) a reprieve from digital saturation, in this talk Palm argues that scholars and supporters of independent culture should decouple the digital from the corporate. No doubt, the digitization of popular music has become a largely corporatized affair; however, for many independent labels and merchants the recent re-embrace of vinyl by major labels and chain stores has become as overbearing as the corporate stranglehold on digital distribution. To combat the glutting of a niche market, some independent labels are vertically integrating and beginning to manufacture as well as distribute and sell their own records. The stakes of vinyl’s future involve the viability of an independent supply chain for popular music and the implications therein for cultural production in a digital age.

Michael Palm is Associate Professor of Media and Technology Studies in the Department of Communication at UNC-Chapel Hill and Affiliated Faculty in the Department of American Studies. His research and teaching focus on the history of everyday technology and the politics and economics of popular culture. His current book project is a cultural studies account of vinyl records’ revived popularity, informed by labor ethnography along records’ contemporary supply chain. His book Technologies of Consumer Labor: A History of Self-Service was published by Routledge in 2017. He is also co-editor of The University Against Itself: The NYU Strike and the Future of the Academic Workplace (Temple, 2008), and his most recent articles have been published in the Journal of Popular Music Studies and Cultural Studies. He serves as Diversity Liaison for the Department of Communication at UNC- Chapel Hill and is on the editorial board of the Journal of Cultural Economy.

Sponsored by the Department of Film and Media Studies, the Carsey-Wolf Center, the Interdisciplinary Humanities Center, the Center for Information Technology and Society, and the Center for the Interdisciplinary Study of Music.

  1. May 4, 2018 - 3:00pm
  • shannon garland poster

Date: May 2, 2018


Location: Music Library 2406

In 2011, a minimalist ballad called "Love Doesn’t Exist in São Paulo" became a major hit in São Paulo, Brazil. Describing “bars full of empty souls,” where “no one goes to heaven,” the song describes the feeling of São Paulo as lacking in love. Written by longtime underground rapper named Criolo, whose work usually refers to life for the marginalized in the city’s periphery, the song became especially popular amongst cosmopolitan, middle-class youth, who had already begun using “love” to index ideal social relationships and modes of inhabiting the city. On the eve of the 2012 municipal elections, political activists drew on the popularity of the song to create an all-day music and arts festival called Love Exists in São Paulo, headlined by Criolo. Billed as a non-partisan, popular manifestation expressing the need for São Paulo governed by love, the event seemed to support mayoral candidate Fernando Haddad, who ran on a platform of humanizing the city. Haddad won. Referring to the event in his inaugural address, Haddad proclaimed love to indeed exist in São Paulo, promised to govern with love, and later brought event organizers into city government. This paper teases out the dynamics of city life that primed listeners to resonate with the song Não Existe Amor em SP, allowing its conversion into public event and political expedience. It shows how vague affects produced by experiences of the city become articulated and specified through the medium of song, as well as the ways in which actors drive such affective resonance into particular social meanings and political desires.

Shannon Garland is a Postdoctoral Fellow in Ethnomusicology at UCLA. She received her M.A. and Ph.D. in ethnomusicology from Columbia University. Examining media circulation, band touring, and live performance in the context of emerging music industry organizations, Dr. Garland's work addresses affect, aesthetics and sociality in the production of differential economies of value. Her book project, For the Love: Independent Music, Affect, and Labor in Brazil and Beyond, traces the interrelationships between cultural finance, social networking, and live performance, to show how aesthetic judgement forms through both global political economy and the intimate politics of social relationships. Dr. Garland serves as the 2017-2019 chair of the Economic Ethnomusicology Special Interest Group within the Society of Ethnomusicology.

Co-sponsored by Ethnomusicology Forum and the Center for the Interdisciplinary Study of Music.

  1. May 2, 2018 - 3:30pm to 5:00pm
  • poster of the lecture
February 28th
3:30 - 5:00 PM
Music 1145
This talk examines dohori song and intimate politics in Nepal, with attention to the micro politics of intimate relationships negotiated through improvised sung duets (dohori), and also through the inclusion of broader politics in these duets as the political and media landscapes changed throughout the 1990s and 2000s. Discussion of political topics in dohori lyrics was strictly forbidden in competitions and the state-run media up until 1990. I look at the slow movement toward including party politics and specific social issues in mainstream dohori performance and recordings in the period directly after the end of Nepal's civil war between Maoists and government forces. This period was characterized by calls for progressive reform, including changes in the ways intimate and public spheres were conceptualized politically and musically. Bringing the "public" world of party politics into the "intimate" sphere of dohori performance, this ongoing movement encompassed the inclusion of love in songs sung for party political platforms and vice versa, and attempts to create social change through the words, music, videos, and live performance of dohori songs. 
Anna Stirr is Associate Professor of Asian Studies at the University of Hawaii-Manoa. Her research focuses on music, dance, language, intimacy, and politics in South Asia, particularly in Nepal and the Himalayan region. Her first book, Singing Across Divides: Music and Intimate Politics in Nepal (Oxford University Press, 2017), looks at improvised dohori question-answer songs as culturally intimate, gendered expressions of ideas of nation, belonging, and heritage, within a cycle of migration and media circulation that spans the globe. She performs Nepali folk music as a singer, flutist, and percussionist.
Co-sponsored by the Ethnomusciology Program, the Distinguished Lecturer Series in the Music Department, and the Center for the Interdisciplinary Study of Music.


  1. February 28, 2018 - 3:30pm to 5:00pm
  • picture of Aaron Fox
Wed Feb 21, 2018 
3:30pm - 5:00 pm
UCSB Library, Special Research Collections (3rd Floor, Mountain Side)
Abstract: In this paper I will offer a broad view of “repatriation” and “recovery” projects undertaken in recent years by activists and ethnomusicologists working with archives of recorded sound.  Even when such work is focused on applied goals in the present, the turn toward repatriation suggests historical critique of ethnomusicology’s longstanding interdependence with militarism and colonialism. I connect the history of recording and “collecting" Native American music in the early 20th century to the later Cold War context in which contemporary ethnographic ethnomusicology emerged in its current institutionalized form -- in part through a reification of the earlier 20th century archive as ahistorical cultural data,  I interrogate the view of sound “archives” (and the work they have done to discipline our understanding of “music”) as sites of memory and scholarship in order to stress their importance as sites of domination and resistance, suggesting  a phenomenology of the "archival recording" that assumes a history of hegemonic mediation. I advance a specific critique of “repatriation” discourse in ethnomusicology as an ethically fraught domain, however necessary.  The paper is based on 12 years of work “repatriating” recordings from the Laura Boulton Collection at Columbia University. 
Bio: Aaron A. Fox is Associate Professor of Music and Director of the Center for Ethnomusicology at Columbia University. In recent years Fox has focused on issues of cultural and intellectual property and the repatriation of Native American cultural resources, as part of a broader interest in cultural survival and sustainability and music-centered community activism. His current project entails work with several Indigenous communities to return and recover recordings held by Columbia University’s Center for Ethnomusicology, including collaborative work with numerous Indigenous scholar/activists.  Fox's publications on this topic include “The Archive of the Archive” in The Routledge Companion to Cultural Property (2017) and “Repatriation as Re-Animation Through Reciprocity” in The Cambridge History of World Music: Vol. 1 (North America). His book, Real Country: Music and Language in Working-Class Culture, was published by Duke University Press in 2004.
Aaron A. Fox


  1. February 21, 2018 - 3:30pm to 5:00pm
  • timothy rommen lecture poster

Date: 3:30-5PM January 31, 2018 

Location: Music 1145 


Tools for Un-islanding? The Creole Geographies of Dominica’s Popular Music

Timothy Rommen

University of Pennsylvania

Focusing specifically on the historical trajectories of popular music emanating from the Commonwealth of Dominica starting in the 1970s (cadencelypso andbouyon), this paper develops an inquiry into what I call creole audibility. Creole audibility wrestles with the simultaneous and somewhat paradoxical audibility (within other genres) and inaudibility (as discreet genres) of these creole sounds within and without the Caribbean. I argue that the linguistic, processual, and identitarian uses of the “creole” so thoroughly integrated into analyses of Caribbean social and cultural contexts are inadequate to the Dominican scene and, by extension, to the contemporary moment throughout the region. New questions emerge in light of these Dominican musical trajectories: Can we think about creole sounds as instantiating, following Michel Foucault, a particular type of (very productive) heterotopia? That is, can cadencelypso and bouyon play the role of a sonic mirror that is simultaneously sounding the “there where I am” and the “there where I am not” of the Dominican social imaginary? What might thinking about these genres as sonic mirrors (both utopian and heterotopic, both audible and inaudible, both bounded and borderless) afford us in terms of developing critical purchase on the contemporary dynamics of small places (Dominica) and peripheral spaces (the Caribbean)? Can creole audibility be productively nuanced by recent work in archipelago studies that explores how the ubiquitous presence of the sea informs the relations between simultaneously interconnected yet isolated and discreet spaces? Put otherwise, are cadencelypso and bouyon shaped by an archipelagic (as opposed to an islanded) understanding of space that informs both social imaginaries and sonic possibilities? Finally, can we, in answering these questions, begin to understand the creole sounds of Dominica as decolonial tools—as tools for un-islanding? As Gordon Henderson (the pioneer of cadencelypso) has put it: “Some may say we are divided by the sea. I say we are linked by the sea.” 

Timothy Rommen (Ph.D. University of Chicago, 2002) is the Davidson Kennedy Professor in the College and Professor of Music and Africana Studies at the University of Pennsylvania. He specializes in the music of the Caribbean with research interests that include coloniality/decoloniality, the political economy of music and sound, creole musical formations, tourism, diaspora, music and spirituality, and the ethics of style. His first book, entitled "Mek Some Noise": Gospel Music and the Ethics of Style in Trinidad (University of California Press, 2007), was awarded the Alan P. Merriam Prize by the Society for Ethnomusicology in 2008. His is also the author of “Funky Nassau”: Roots, Routes, and Representation in Bahamian Popular Music (University of California Press, 2011). He is contributing author to and co-editor, along with Daniel Neely, of Sun, Sea, and Sound: Music and Tourism in the Circum-Caribbean (Oxford University Press, 2014). His current projects include a musical ethnography of Dominica and an edited volume on the political economy of music and sound in Caribbean tourism.



  1. January 31, 2018 - 3:30pm to 5:00pm
  • the poster of score
Tuesday, January 30, 2018 - 7:00pm - 9:30pm
Pollock Theater, UCSB

Score (2016)

Screening format: Sony 4K Digital Projection (93 minutes)

Director: Matt Schrader

Producer: Robert Kraft

This event is free but a reservation is recommended in order to guarantee a seat. 

Reserve Ticket

Tickets will be released on Tuesday, January 9 at 11:00 AM.

Score: A Film Music Documentary follows the creative struggles of designing a modern film soundtrack from scratch. Featuring some of Hollywood's premier composers, the film explores the power and influence of film scores in the modern world and gives viewers a privileged look inside the musical challenges of the process of composing a score.

Producer Robert Kraft will join moderator David Novak (Music, UCSB) for a post-screening discussion.

Watch the film's trailer here.

  1. January 30, 2018 - 7:00pm to 9:30pm
  • poster of the event

January 22 5 PM
Storke Plaza

The Hard-to-Find Show Space
January 22 8 PM

On January 22nd, KCSB-FM, the Center for the Interdisciplinary Study of Music (CISM), and The Hard to Find Showspace present a night of independent music with Arrington de Dionyso & Ben Bennett, along with Espresso, The Crudes, Easter Teeth, and Pookie.

Before the show, the public is invited to participate in a free, on-campus improvisational-music workshop with Arrington de Dionyso and tour-mate Ben Bennett in Storke Plaza (near KCSB) on the UCSB campus.

The workshop will focus on improvising with extended techniques, sharing skills and strategies for creating "new" instruments from more familiar elements. Their areas of focus are wood winds and percussion, respectively, but all instruments are welcome and there will also be some demonstrations of extended techniques for voice that can be used by all. (Note: In case of inclement weather, the workshop will move to the Media Center in the Associated Students Annex, immediately across the bike path north of Storke Tower.)


Arrington de Dionyso is an artist, musician, linguist, and instrument inventor based in Olympia, Washington. From 1995 until 2008 he was the leader of Old Time Relijun, a beloved art-punk combo that released eight albums with K Records. In 2009 he founded Malaikat Dan Singa, melding free associative Indonesian translations of William Blake with dancehall rhythms and postpunk angularity. This project led to numerous collaborations with musicians in Indonesia such as Senyawa, Karinding Attack, and HMM. Now in 2018, THIS SAXOPHONE KILLS FASCISTS would not exist were there not a need for it.

Benjamin Bennett has worked as an improvising percussionist for 10 years, touring North America and Europe as a soloist, in various ensembles and ad-hoc collaborations. He developed a unique approach to percussion which took the lineage of free-jazz, free-improvisation, Berlin reductionism, and extended technique playing as its foundation. In searching for an expanded sonic palette, and more fluid movement between various techniques, he distilled the drumset into a small collection of drumheads, stretched membranes, and other objects which offered a wide variety of unconventional sounds from very few materials, which could be rearranged into different combinations during a performance. This aesthetic development also translated to a practical advantage, in that this setup was small enough to fit into a backpack, freeing him from using a car to transport heavy percussion gear. He began touring by bus and bicycle, even completing a 7-day, 7-show bicycle tour through New England.

Showtime for this eclectic Hard to Find show is 8pm, and tickets will be available at the door for $5.
A drug-and-alcohol-free, all-ages venue, The Hard to Find is at 7190 Hollister Avenue in Goleta.

  1. January 22, 2018
  • poster of christina dunbar-hester's talk

Date: Saturday, November 4th, 2017, 10:30am - 11:45pm
Location: Girvetz Hall 1004, UC Santa Barbara

KCSB-FM & UCSB's Center for the Interdisciplinary Study of Music Present 

Christina Dunbar-Hester
Assistant Professor, USC Annenberg School for Communication and Journalism

A Keynote Lecture, “Low Power to the People: Community Radio and the Challenge of Media Democracy”

"How have activists addressed the media system, and to what effect? In this talk, I survey the last century of broadcast policy, including activism to expand non-commercial media since the Telecommunications Act of 1996. I focus on the activities of advocates for low power FM radio, a highly local medium that has great significance as a noncommercial, community-controlled platform. These activists conducted both policy work and hands-on training in technology with the goal of empowering everyday people. Their experiences contain important lessons for our present media ecosystem."

Christina Dunbar-Hester is a faculty member in the Annenberg School for Communication and Journalism at the University of Science & Technology Studies, and her research focuses on the intersection of technical practice and political engagement.

Part of the U.C. Radio Network Fall 2017 Conference (With a Q&A Featuring Area Low-Power FM Radio Activists)
This Talk is Free & Open to the Public!

Contact KCSB-FM for more information: (805) 893-3921 / /

  1. November 4, 2017 - 10:30am to 11:45pm