Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
el Caribe, España y Portugal

2015 was an important year for the new independent scene in Ecuador. A group of bands linked to the indie scene, a sector of local music grouped in certain festivals and concerts, generated a powerful and contagious movement of fans of which I was also a part. At the same time, I started working on Radio COCOA (RC), and it was in this context that I noticed an ubiquitous object in the concerts I attended and that, unsuspectedly, configured the live music experience: the setlist These pieces of paper became the engine of a series of reflections and projects around the history of the music scene to which I belonged.

RIFFS es una revista que nace en grupo de escritura en Birmingham City University. La publicación sirve para pensar críticamente las formas en que se comunica la investigación académica. Mientras sus integrantes escribían, se dieron cuenta que mediante la ficción, la poesía o la creación de nuevas formas de escritura que surgían desde la investigación, podían comunicar más claramente sus observaciones e ideas sobre la música popular.

RIFFS is a magazine created by a writing group at Birmingham City University. The publication emerged as a space to critically consider the ways in which we communicate research. As we wrote, we realised that by writing fiction, poetry, or by creating new forms of writing that grew out of our research, we were able to more clearly communicate our observations and ideas about popular music.

To close this edition, we present an intervention by Michael Prado (Lima, 1988), curatorial director of La Crema, an independent publishing house founded in Peru in 2012, which understands publishing work as an artistic practice. Among their projects are the publication of poems, posters, creation of typographical sources, amongst others. Blind Writing enters this edition of post(s) as an insert, as an independent book, which is produced from a gesture of writing close to performance, for which Prado appropriates the poem Escrito a ciegas, by Martín Adán (Peru, 1908-1985 ) and transcribes it blindly, literally.

This is an experimental essay on the process of creating an exhibition about Arturo Castillo. Castillo is a renowned vinyl collector from Mexico, he is also a cultural agitator. And this essay explores the thoughts of a curator when conceiving an exhibition.

In this interview, Juan Pablo Viteri speaks with Kembrew McLeod. McLeod is a Professor of Communication Studies at the University of Iowa and an independent documentary producer. A prolific author and filmmaker, he has written and produced several books and documentaries that focus on popular music, independent media and copyright law.

This visual essay is a series created by Christian Proaño. In his works, sound is always understood from a political agency that traverses social relations, from the readings of space, the affections, the human and the non-human. The resolution of this essay goes through the sound record, but also through the creation of visual elements that are extracted from the interpretation of sound.

This section is a reflection on the fourth edition of post (s). Link is built from a conversation between two members of the Editorial Committee of the magazine and two guests. The topics covered in this text go through themes such as the role of music in academia and the creation and development of Radio COCOA.

This essay argues that while most scholars in this area treat music as an example of race, racial embodiment, and racial politics, this "example" model inaccurately treats each area (race, music, and sometimes gender) as a distinct discourse. If what is at stake in defining what constitutes music and what constitutes race is fundamentally the same issue "” the determination of the relationship between raced, colonized, or resonating bodies and the social forces which operate in, through, and on these bodies"” then the relationship between raced and resonating bodies is not so much exemplary or representative as it is what I call "coincident." While Angela Davis"™ Blues Legacies and Black Feminism (1998) explicitly examines the coincidence of gender, race, and class as it is "expressed" in the music of Ma Rainey, Bessie Smith, and Billie Holiday, it also implicitly begins to draw out the coincidence of gender, race, and class with the discourses and practices which came to constitute "the blues." Thus, I turn to this text as an instance of how the "example" model is transformed into a coincidental or conjectural model of the relationships among race, class, gender, and music. I have adopted the term "coincidence" to describe the relationships among race, gender, and music because it is a more accurate metaphor than the widely used and critiqued language of intersectionality.

Speaking about piracy as a thing, as a coherent practice, makes sense in certain situations. Yet it can also erase the difference between cultural and media practices that would be better considered on their own terms. Hence piracy often becomes a stand-in for incommensurable activities. This paper offers a critical review of the ongoing "¹piracy debate"º by focusing on a particular problem that runs through the current conversation "”a problem of naming. Specifically, I want to consider what is at stake in the term "˜piracy"™ itself. The aim here is not only to make the usual point about the "˜pirate"™ label "”that it criminalises everyday activities"” but rather to explore a more subtle tension within the critical counter-discourse on intellectual property, about whether a language of "˜piracy"™ should be embraced, rejected, recuperated or rearticulated.