Discussion Guide Discussion Guide
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Student Newspaper Of
THE STUDENT NEWSPAPER OF NORTH CAROLINA STATE UNIVERSITY SINCE 1920 -—--o.— THURSDAY MN 2003 TECH. A www.technicianonline.com Raleigh, North Carolina Wolfpack Club receives Students ‘hip-hop’ to speak largest gift in history out Curtis and ]acl<ie Dail, residents of founded in 1936 with the goal of providing Students will hold “Hip Raleigh, contributed $5.2 million to the scholarships for NCSU student athletes repre- Hop against War and As/thgUnited Statespwpaw N. C. State Wolfimck Club. senting the university. Racism” tonight at 8 p. m. at)?“gar withmartyrsofficZZ It has been calculated that nearly 8,000 NCSU tbquestedthe backmgyfiNATO Andrea DeLeo athletes have been awarded scholarship assis— Carie Windham aga “w toi:NATO StaffReporter tance. This is in many thanks to the 15,000 gen— Assistant News Editor spokbstpanhlves Br 3”r“in,a}CECent re- erous donors offering their contributions each port,N§(5receiiiad a 55150531 from In December 2002, Bobby Purcell, executive di- year. On Friday, Defense Secretary the United' _ ”efferated discus- rector of the NC. State Student Aid Associa- The Wolfpack Club members are made up of Donald H. Rumsfield signed de— sions between NATO leaders and US. tion, announced that NCSU had received the a variety of people united by a common goal. ployment orders that sent over Deputy Defense Secretary Paul Wol- largest announced gift in the history of NCSU They are alumni, fans, athletes, students, par- 50,000 troops to Iraq— doubling fowitz. Athletics. ents and many other people who are commit- US. forces in the region. The United States has requested the Curtis and Jackie Dail, residents of Raleigh, ted to the importance of the future of NCSU On Saturday, thousands of use of NATO’s AWACS surveillance contributed $5.2 million. -
Physicality of the Analogue by Duncan Robinson BFA(Hons)
Physicality of the Analogue by Duncan Robinson BFA(Hons) Submitted in the fulfilment of the requirements for the degree of Master of Fine Arts. 2 Signed statement of originality This Thesis contains no material which has been accepted for a degree or diploma by the University or any other institution. To the best of my knowledge and belief, it incorporates no material previously published or written by another person except where due acknowledgment is made in the text. Duncan Robinson 3 Signed statement of authority of access to copying This Thesis may be made available for loan and limited copying in accordance with the Copyright Act 1968. Duncan Robinson 4 Abstract: Inside the video player, spools spin, sensors read and heads rotate, generating an analogue signal from the videotape running through the system to the monitor. Within this electro mechanical space there is opportunity for intervention. Its accessibility allows direct manipulation to take place, creating imagery on the tape as pre-recorded signal of black burst1 without sound rolls through its mechanisms. The actual physical contact, manipulation of the tape, the moving mechanisms and the resulting images are the essence of the variable electrical space within which the analogue video signal is generated. In a way similar to the methods of the Musique Concrete pioneers, or EISENSTEIN's refinement of montage, I have explored the physical possibilities of machine intervention. I am working with what could be considered the last traces of analogue - audiotape was superseded by the compact disc and the videotape shall eventually be replaced by 2 digital video • For me, analogue is the space inside the video player. -
Traditional Culture: a Step Forward for Protection in Indonesia Peter A
American University Washington College of Law Digital Commons @ American University Washington College of Law Traditional Knowledge and Culture Public Impact 1-1-2009 Traditional Culture: A Step Forward for Protection in Indonesia Peter A. Jaszi American University Washington College of Law, [email protected] Follow this and additional works at: http://digitalcommons.wcl.american.edu/ pijip_trad_knowledge Part of the Intellectual Property Commons Recommended Citation Jaszi, Peter I. Traditional Culture: A Step Forward for Protection in Indonesia - A Research Report. Jakarta, Indonesia: Institute for Press and Development Studies, 2009. This Book is brought to you for free and open access by the Public Impact at Digital Commons @ American University Washington College of Law. It has been accepted for inclusion in Traditional Knowledge and Culture by an authorized administrator of Digital Commons @ American University Washington College of Law. For more information, please contact [email protected]. I. INDONSESIAN TRADITIONAL ARTS – ISSUES ARTICULTED BY ARTISTS AND COMMUNITY LEADERS AND POSSIBLE RESPONSES A. Background of the project The question of whether law can intervene usefully in support of the traditional arts is not a new one. In fact, it is fundamental to the post- colonial legal discourse, which emerged in its own right in the 1970’s, in response to more and more new states taking account of their national resources—including intangible ones. The international discussion that was launched more than 40 years ago continues to this day, with the Intergovernmental Committee on Intellectual Property and Genetic Resources, Traditional Knowledge and Folklore (IGC) of the World Intellectual Property Organization providing much of the leadership. -
Turntablism and Audio Art Study 2009
TURNTABLISM AND AUDIO ART STUDY 2009 May 2009 Radio Policy Broadcasting Directorate CRTC Catalogue No. BC92-71/2009E-PDF ISBN # 978-1-100-13186-3 Contents SUMMARY 1 HISTORY 1.1-Defintion: Turntablism 1.2-A Brief History of DJ Mixing 1.3-Evolution to Turntablism 1.4-Definition: Audio Art 1.5-Continuum: Overlapping definitions for DJs, Turntablists, and Audio Artists 1.6-Popularity of Turntablism and Audio Art 2 BACKGROUND: Campus Radio Policy Reviews, 1999-2000 3 SURVEY 2008 3.1-Method 3.2-Results: Patterns/Trends 3.3-Examples: Pre-recorded music 3.4-Examples: Live performance 4 SCOPE OF THE PROBLEM 4.1-Difficulty with using MAPL System to determine Canadian status 4.2- Canadian Content Regulations and turntablism/audio art CONCLUSION SUMMARY Turntablism and audio art are becoming more common forms of expression on community and campus stations. Turntablism refers to the use of turntables as musical instruments, essentially to alter and manipulate the sound of recorded music. Audio art refers to the arrangement of excerpts of musical selections, fragments of recorded speech, and ‘found sounds’ in unusual and original ways. The following paper outlines past and current difficulties in regulating these newer genres of music. It reports on an examination of programs from 22 community and campus stations across Canada. Given the abstract, experimental, and diverse nature of these programs, it may be difficult to incorporate them into the CRTC’s current music categories and the current MAPL system for Canadian Content. Nonetheless, turntablism and audio art reflect the diversity of Canada’s artistic community. -
3 Feet High and Rising”--De La Soul (1989) Added to the National Registry: 2010 Essay by Vikki Tobak (Guest Post)*
“3 Feet High and Rising”--De La Soul (1989) Added to the National Registry: 2010 Essay by Vikki Tobak (guest post)* De La Soul For hip-hop, the late 1980’s was a tinderbox of possibility. The music had already raised its voice over tensions stemming from the “crack epidemic,” from Reagan-era politics, and an inner city community hit hard by failing policies of policing and an underfunded education system--a general energy rife with tension and desperation. From coast to coast, groundbreaking albums from Public Enemy’s “It Takes a Nation of Millions to Hold Us Back” to N.W.A.’s “Straight Outta Compton” were expressing an unprecedented line of fire into American musical and political norms. The line was drawn and now the stage was set for an unparalleled time of creativity, righteousness and possibility in hip-hop. Enter De La Soul. De La Soul didn’t just open the door to the possibility of being different. They kicked it in. If the preceding generation took hip-hop from the park jams and revolutionary commentary to lay the foundation of a burgeoning hip-hop music industry, De La Soul was going to take that foundation and flip it. The kids on the outside who were a little different, dressed different and had a sense of humor and experimentation for days. In 1987, a trio from Long Island, NY--Kelvin “Posdnous” Mercer, Dave “Trugoy the Dove” Jolicoeur, and Vincent “Maseo, P.A. Pasemaster Mase and Plug Three” Mason—were classmates at Amityville Memorial High in the “black belt” enclave of Long Island were dusting off their parents’ record collections and digging into the possibilities of rhyming over breaks like the Honey Drippers’ “Impeach the President” all the while immersing themselves in the imperfections and dust-laden loops and interludes of early funk and soul albums. -
Loopholes for the Affluent Bankrupt
Digital Commons at St. Mary's University Faculty Articles School of Law Faculty Scholarship 2020 Loopholes for the Affluent Bankrupt David R. Hague Follow this and additional works at: https://commons.stmarytx.edu/facarticles Part of the Bankruptcy Law Commons LOOPHOLES FOR THE AFFLUENT BANKRUPT DAVID R. HAGUEt [The] rich get richer [until] the poor get educated.' - Sage Francis INTRODUCTION Recent bankruptcy cases are exposing a problem. Affluent individuals filing for bankruptcy are treated more favorably under the Bankruptcy Code than those debtors with little to no means of financial sustenance or income. Did Congress intend this result? The legislative history is unclear. But one thing seems certain: The United States Bankruptcy Code contains a set of loopholes that appear to be designed for the well-to-do segment of society. Courts throughout the United States are either overlooking these provisions or simply condoning their utilization under the de- fensible conviction that the Bankruptcy Code permits it. In this Article, I argue that the Bankruptcy Code unfairly discriminates against individuals of lower-class economic status. Specifically, I identify two loopholes-one found in Chapter 7 and one located in Chapter 11-that are arguably intended to benefit those with high incomes and significant assets. Courts need to consider whether the use of these loopholes is permitted under the Code, and if so, how they should be addressed in individual bank- ruptcy cases. The Bankruptcy Code should create a level playing field for debtors-not an oasis for the affluent. Two scenarios demonstrate that the United States Bankruptcy Code favors those with higher incomes living lavish lifestyles. -
Article on Conscious Hip Hop
Article on Conscious Hip Hop Excerpt From De La Soul Article By Sheryl Garret, Sunday Times (London), July 1996 In 1989, De La Soul's debut album Three Feet High And Rising was hailed by New York's Village Voice as "the Sergeant Pepper of hip hop". The 24 short but sweet tracks rapped about everything from dandruff to their so-called Daisy Age philosophy, but the quirky humour and catchy hooks hid a more serious intent that may have got lost in the face of the album's massive commercial success. Along with the Jungle Brothers and A Tribe Called Quest, De La Soul were part of a loose organisation called Native Tongues, a hip hop collective based around zany humour, eclectic samples and, most of all, positive vibes. Hip hop meanwhile became dominated by the West Coast sound known as gangsta rap – a verbal cocktail of violence, sexism, guns, drugs and money. On the phone from the US, De La Soul's main spokesman Pos (Kelvin Mercer) says they're reluctant to be seen as a kind of "hip hop police", but admits they took a back-to-basics approach this time because "there are a lot of messages that we wanted to put across to the people, and if you want to teach something, you can't present eleventh- or twelfth-grade material to ninth-grade students". The problem, [Pos] points out, is that … one man's poetry is another's obscenity. If it were left to politicians, many would favour silencing all rap as an inconvenient articulation of black experience. -
On Copyright Law: What Technical Communicators Need to Know
University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2014 On Copyright Law: What Technical Communicators Need to Know Mariana Chao University of Central Florida Part of the Technical and Professional Writing Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Chao, Mariana, "On Copyright Law: What Technical Communicators Need to Know" (2014). Electronic Theses and Dissertations, 2004-2019. 4690. https://stars.library.ucf.edu/etd/4690 ON COPYRIGHT LAW: WHAT TECHNICAL COMMUNICATORS NEED TO KNOW by MARIANA CHAO B.A. University of Central Florida, 2007 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Department of English in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Spring Term 2014 ABSTRACT Copyright law, in general, is a multi-faceted and sometimes difficult to understand process. Although it is law, it is often not straight-forward and cannot be applied universally. While the concepts of copyright infringement and plagiarism may sometimes overlap, many confuse one for the other or think they are the same offense. This thesis is intended to serve as a primer to some basic aspects of copyright law for technical communicators, including issues surrounding public domain works, the fair use doctrine, the copyright clearance process, as well as why we should be concerned about our current copyright laws. -
Ninja Jamm Is an App That Allows You to Remix and Reimagine Songs and Tunes in an Intuitive Way
Ninja Jamm – Frequently Asked Questions What is Ninja Jamm? Ninja Jamm is an app that allows you to remix and reimagine songs and tunes in an intuitive way. It is not an app that simply allows you to mix two tunes together – Ninja Jamm presents you all the elements of a song, broken down into easy-to-access samples which include the original compositions and more besides. Through touch and gesture controls and the intuitive Ninja Jamm interface, you are able to take an original song and reimagine it as you wish. Strip the bass and drums away and turn Eyesdown by Bonobo into a haunting piano ballad. Slow down the tempo and add reverb to the drums and bass lines to turn Take It Back by Toddla T into a down and dirty dub tune… the possibilities are endless. Ninja Jamm offers the user a way to engage with music that they love like never before. Why just consume when you can interact and create? And all for less than the price of an iTunes single. Why is Ninja Jamm a first for the music industry? Ninja Jamm is more than just an app: it’ s a brand new, interactive format for the distribution and consumption of music. It’ s a new way for people to enjoy music and a new revenue stream for artists. It will sit alongside vinyl, CD, and digital MP3 downloads in all future Ninja Tune releases. Record labels - and in particular independents record labels such as Ninja Tune - constantly seek new ways to engage their audiences and to answer the challenges met by competition from streaming services, and the increase in consumption of music via YouTube search or even file shares. -
American Music Review the H
American Music Review The H. Wiley Hitchcock Institute for Studies in American Music Conservatory of Music, Brooklyn College of the City University of New York Volume XLIII, Number 2 Spring 2014 DJ Kuttin Kandi: Performing Feminism Ellie M. Hisama, Columbia University As a turntablist, Pinay, poet, feminist, and activist, DJ Kuttin Kandi challenges the sexism manifested in hip hop and popular music by collaborating with other women in her performances, publishing open letters about male-dominated lineups, and speaking critically about controversies such as Day Above Ground’s 2013 song and video “Asian Girlz.”1 In his recent book Filipinos Represent, Anthonio Tiongson Jr. suggests that hip hop DJing provides a site for Filipina DJs to negotiate gender conventions, sexual norms, and familial expectations.2 Kuttin Kandi’s performances are a form of critical authorship that actively engages a politics of the feminist body and are grounded in feminist collaboration. A long-time member of the New York-based DJ crew 5th Platoon, Kandi was the first woman to place in the US finals of the prestigious DMC USA competition in 1998.3 She has toured throughout the US and internationally, performing with distinguished musicians including Afrika Bambaataa, Kool Herc, Black Eyed Peas, MC Lyte, the Roots, dead prez, Immortal Technique, and Le Tigre. Kandi has been deeply in- volved in cultural advocacy and grassroots political organiza- tions, having worked with Filipino American Human Services and Gabriela Network to fight the sexual exploitation of Filipi- nas, police brutality, and sweatshop labor. While living in New York, she taught the art of turntabling and DJing at the Scratch DJ Academy, and taught spoken word and poetry to high school students at El Puente Leadership Center in Brooklyn. -
Dossier De Presse
présente : avatarium #12 du 13 au 16 avril 2011 Musée de la Mine de St-Etienne & Coxa Plana Dossier de presse Contact presse : Sandrine Bruneton [email protected] 1 Crédit photo : ©Rara SSommaireommaire Programme ................................................. p.5 Jeudi 07 avril ................................................. p.6/7 Mercredi 13 avril ................................................. p.7/10 Jeudi 14 avril ................................................. p.11/13 Vendredi 15 avril ................................................. p.14/15 Samedi 16 avril ................................................. p.16/19 L’association AVATARIA .................................................p.20/21 Les partenaires ................................................. p.22 2 3 llee mmuséeusée ddee llaa mmineine Site Couriot 3, bd Franchet d’Esperey 42 000 St-Etienne ©Rara 4 pprogrammerogramme aavatarium#12vatarium#12 - ééd.2011d.2011 Little Soba - 19h 4 rue des Martyrs de Vingré 42000 St-Etienne jjeudieudi 7 aavrilvril Entrée libre LANCEMENT DU FESTIVAL/VERNISSAGE EXPO « RÉVOLTONS-NOUS» TIZNE Gran Lux - Ouverture des portes : 19h 11 bis, rue de l’égalerie 42100 St Etienne mmercrediercredi 1133 aavrilvril adhésion Coxa Plana : 2€ VERNISSAGE EXPO / THEATRE / DANSE / PERFORMANCE «À L’ORIGINE DE LA PERFORMANCE» EXPOSITION RÉTROSPECTIVE ANNA HALPRIN Commissaire de l’exposition : Jacqueline Caux A’ COR’ ROMPU SPECTACLE CHORÉGRAPHIQUE DANSE/TEXTE Cie Kali - Durée : 20’ LA PASSE IMAGINAIRE THÉÂTRE Cie Trucs - Durée : 40’ Avec la participation -
Copyright and Fair Use RENEE HOBBS University of Rhode Island, USA
Copyright and Fair Use RENEE HOBBS University of Rhode Island, USA Humancreativityisboundlessanditshapeseveryaspectofsocial,cultural,and economic life. And although many people know that copyright law protects the professional media and entertainment industries, including book publishing, filmed entertainment, music, and video games, many do not understand how important copyright law is to creativity, education, the arts, and culture. For creative people as well as teachers and students, copyright supports creative expression and the critical analysis of mass media, popular culture, and digital media. In many ways, media literacywouldbeimpossiblewithouttheprotectionsofferedbycopyrightlaw. Although people recognize that copyright protects the rights of creators, those rights are balanced against the rights of readers, viewers, and users of copyrighted materials, protecting the public interest in accessing creative work. Originating in 1710 when, in England, the Statute of Anne gave authors the legal right to disseminate their work for fixed terms, the copyright laws of each nation have served to protect and empower both authors and users. Copyright law protects all stakeholders in the circulation of ideas and information, as the purpose of copyright is to promote creativity and innovation by contributing to the spread of knowledge. However, copyright laws vary from country to country, with some important gen- eral similarities but many unique and specific differences. There is no such thing asan international copyright that automatically protects an author’s works throughout the entire world. Protection depends on the national laws of each country, and international agreements, treaties, and conventions have greatly simplified international copyright. Still, the World Intellectual Property Organization notes that, in some countries, copy- rightlawprotectsauthorsinuniqueways.Forexample,inEuropeannations,authors hold moral rights that enable them to prevent distorted reproductions of the work.