Last Wednesday, November 7th, Maria Gelpí held the conference "Soviet Electroacoustics under the cover of technology". within the XXV Meeting Point - Sound Arts and Electroacoustic Music Festivalorganized by AMEE in collaboration with Phonos/UPF and with the support of INAEM.

INTRODUCTION

When the Russian avant-garde was curtailed in favor of realism, both formalism and artistic experimentation had to take refuge in other disciplines within the political framework of the emerging USSR if they wanted to survive. Firstly, in the strictly political sphere, although initially the intention to break with the framework of bourgeois society was a common point in both social agents, the artistic and the political, once the foundations of a new society and new values were established, any hint of a renovating intention would be postponed under the yoke of the purges. The other element pointed out here is the technophilia that, far from being a copy of European futurism, rests on ideological components such as cosmism, assumed by the left-wing Bolshevik Otzovites, which sustains this experimental emergence of the arts, also in the field of sound.

María Gelpí Rodríguez