Dear Colleagues, On behalf of the Music and Online Cultures Research Network (MOCReN)<https://www.mocren.org/>, and with apologies for cross-posting. Maria Dr Maria Perevedentseva Lecturer in Musicology, University of Salford School of Arts, Media and Creative Technology New Adelphi Building, Salford, M5 4BR m.perevedentseva@salford.ac.uk<mailto:m.perevedentseva@salford.ac.uk> CALL FOR PAPERS International Conference: Music and Online Cultures in a Changing Platform Ecosystem June 19–21, 2025 • Lisbon, Portugal Deadline: September 30, 2024 For around half of the world’s population, it is hard to imagine a day without being online in some way or another. The widespread adoption of internet technologies has ostensibly been in service of improving human connectivity, expression, and health. Yet technology companies face unprecedented criticism for the range of changes that internet platforms have wrought on everyday work and leisure practices. In few domains is this clearer than music. As digital landscapes have shifted and evolved, music has often been the test subject for industrial change, and music cultures have accordingly negotiated the structures of online platforms. A lively body of scholarly and popular commentary has examined the power inequities, constraints, and affordances of online music platforms. In the mid-2020s, however, the formerly stable ecosystem of social media and streaming platforms is changing according to processes of platform decay. For social media, Twitter has become radicalised into Elon Musk’s X; Reddit faces blackout revolts over API changes; and Instagram cedes ground to TikTok while Meta and YouTube struggle to catch up and re-capture the attention of young audiences drawn to short-form vertical video. Spotify continues to lead an on-demand streaming oligopoly shared with Apple Music, Tencent, and Amazon Music, while global competitors contest some regions, and promising alternatives such as SoundCloud and Bandcamp are being remade in line with the major distributors. Reports indicate that artists and independent labels are, by and large, dissatisfied with contemporary routes to music distribution and promotion. For musicians, fans, and other stakeholders, things may get worse before they get better. Considerable hype around generative artificial intelligence technologies has already seen a range of creative applications adapting to rely on imperfect, ethically questionable, and environmentally costly machine learning logics. Given these changing online contexts, there is reinvigorated demand for directing scholarly attention at music as a social, cultural, and artistic practice. This conference aims to bring together emerging and leading thinkers on music and online cultures, cultivating a rich diversity of music and multimedia scholarship to address the changing platform ecosystem. Topics may include, but are not limited to: * Music and platform power: marginalisation, resistance, and/or equity in Big Tech’s musical interventions * Music and digital labour: relational and aspirational labour, creative work, and entrepreneurship in late capitalist contexts * Methods for studying music and online cultures * Online music fandoms and communities * Music and digital media: online interactions between music, video, sound, games, dance, and more * Music listening in the platform ecosystem: (live)streaming, genre, discovery, filesharing, and curation * Music’s online-offline tensions: logging off, digital detoxing, and touching grass * Music and internet culture: virality, memes, and context collapse * Histories, archives, and ageing of/with music and the internet This is a limited hybrid conference. We are asking presenters to join us in-person in Lisbon and will livestream all presentations. The online audience will be able to ask questions to engage virtually. The conference will be held at the Colégio Almada Negreiros, Campolide, which is an accessible venue. The conference registration fee to attend in-person is currently estimated at no more than €100, with a discounted student/Global South rate. There will be a small fee (estimated €10) to view the online livestream and receive a certificate of participation. Researchers at all career levels are welcome to submit proposals. Individuals from groups that are underrepresented in academia (e.g. first-generation scholars) are especially encouraged to apply. To help cultivate an inclusive and welcoming environment, please familiarise yourself with our code of anti-discriminatory practice, aka exceptional vibes only (https://www.mocren.org/code/) Abstract submission and additional information can be verified on the official conference page on the Music and Online Cultures Research Network (MOCReN) website here: https://www.mocren.org/lisbon2025/. The deadline for submissions is 30th September 2024 23.59 GMT. Any enquiries should be addressed to lisbon2025@mocren.org<mailto:lisbon2025@mocren.org>. Coordination: MOCReN With the support of CysMus (Research Cluster in Sound and Music in Digital and Audiovisual Media), GTCC (Grupo de Teoria Crítica e Comunicação), CESEM (Centro de Estudos de Sociologia e Estética Musical), IN2PAST (Associate Laboratory for Research and Innovation in Heritage, Arts, Sustainability and Territory), NOVA FSCH (NOVA University of Lisbon – School of Social Sciences and Humanities) and FCT (Fundação para a Ciência e a Tecnologia).