Conference Agenda
The Online Program of events for the 2026 AMS Annual Meeting appears below. This program is subject to change. The final program will be published in early November.
Use the "Filter by Track or Type of Session" or "Filter by Session Topic" dropdown to limit results by type. Some of the sessions are also color-coded: purple indicates performances, grey indicates paper forums, and orange indicates sessions which have been organized by one of the regional associations of IMS (ARLAC or IMSEA). (Sessions which are both IMS sessions and performances are only colored orange.)
Use the search bar to search by name or title of paper/session. Note that this search bar does not search by keyword.
Click on the session name for a detailed view (with participant names and abstracts).
Please note that all times are shown in the time zone of the conference. The current conference time is: 1st Sept 2026, 02:57:52am EDT
|
Daily Overview |
| Session | |
|
The Materiality of Music-Making | |
    | |
From Chorus to Crank: The “Glory to Hong Kong” Music Box as a Micro-Infrastructure of Dissent University of Hong Kong This paper examines the “Glory to Hong Kong” music box as a nonhuman mediator through which political memory and collective affect persist amid legal suppression. Composed during the 2019 Anti-Extradition Law Amendment Bill Protests, “Glory to Hong Kong” became a choral practice of assembly and political subjectivation, extending Michel Foucault’s account of embodied practices and power relations to collective musicking as a technology of political self-formation (Foucault 1982; 2008). After the Hong Kong Court of Appeal’s May 8, 2024 interim injunction restricting acts related to the song’s dissemination and performance, the music box produces a different politics of audibility: small-scale, domestic, and diasporic. I theorize the music box as a Latourian mediator—an actant that translates the anthem across law, platform governance, home interiors, and transnational circulation, reshaping its scale and temporality (Latour 2005). I argue that the object’s “vibrant” capacities (Bennett 2010) reconfigure intentional musicking by redistributing agency across human-object relations through tactile, repetitive, quiet engagements that blur performance, listening, and everyday life—forms less legible as public assembly. To explain how the music box binds listeners into a precarious collectivity, I take up the quasi-object (Serres 1982), while engaging object-oriented critiques of relationalism (Harman 2009). Drawing on an interview with the song’s composer and analytic reflections on the embodied practices of cranking and listening, and in dialogue with Andrea F. Bohlman’s account of cassette infrastructures as material circulations of solidarity and affect (Bohlman 2017; 2020), I explore how the music box operates as a micro-infrastructure of dissent. | |