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Openness in the Music Business– How Record Labels and Artists May Profit from Reducing Control
Table of Contents TECHNISCHE UNIVERSITÄT MÜNCHEN Dr. Theo Schöller-Stiftungslehrstuhl für Technologie- und Innovationsmanagement Openness in the music business– How record labels and artists may profit from reducing control Johannes L. Wechsler Vollständiger Abdruck der von der Fakultät für Wirtschaftswissenschaften der Technischen Universität München zur Erlangung des akademischen Grades eines Doktors der Wirtschaftswissenschaften (Dr. rer. pol.) genehmigten Dissertation. Vorsitzender: Univ.-Prof. Dr. I. Welpe Prüfer der Dissertation: 1. Univ.-Prof. Dr. J. Henkel 2. Univ.-Prof. Dr. F. v. Wangenheim Die Dissertation wurde am 09.12.2010 bei der Technischen Universität München eingereicht und durch die Fakultät für Wirtschaftswissenschaften am 11.05.2011 angenommen. i Table of Contents Table of Contents DETAILED TABLE OF CONTENTS .................................................................................................... II LIST OF FIGURES .................................................................................................................................. V LIST OF TABLES ................................................................................................................................. VII LIST OF ABBREVIATIONS..................................................................................................................IX ABSTRACT..............................................................................................................................................XI 1 INTRODUCTION ...................................................................................................................... -
Cosmopolitanism, Remediation and the Ghost World of Bollywood
COSMOPOLITANISM, REMEDIATION, AND THE GHOST WORLD OF BOLLYWOOD DAVID NOVAK CUniversity ofA California, Santa Barbara Over the past two decades, there has been unprecedented interest in Asian popular media in the United States. Regionally identified productions such as Japanese anime, Hong Kong action movies, and Bollywood film have developed substantial nondiasporic fan bases in North America and Europe. This transnational consumption has passed largely under the radar of culturalist interpretations, to be described as an ephemeral by-product of media circulation and its eclectic overproduction of images and signifiers. But culture is produced anew in these “foreign takes” on popular media, in which acts of cultural borrowing channel emergent forms of cosmopolitan subjectivity. Bollywood’s global circulations have been especially complex and surprising in reaching beyond South Asian diasporas to connect with audiences throughout the world. But unlike markets in Africa, Eastern Europe, and Southeast Asia, the growing North American reception of Bollywood is not necessarily based on the films themselves but on excerpts from classic Bollywood films, especially song-and- dance sequences. The music is redistributed on Western-produced compilations andsampledonDJremixCDssuchasBollywood Beats, Bollywood Breaks, and Bollywood Funk; costumes and choreography are parodied on mainstream television programs; “Bollywood dancing” is all over YouTube and classes are offered both in India and the United States.1 In this essay, I trace the circulation of Jaan Pehechaan Ho, a song-and-dance sequence from the 1965 Raja Nawathe film Gumnaam that has been widely recircu- lated in an “alternative” nondiasporic reception in the United States. I begin with CULTURAL ANTHROPOLOGY, Vol. 25, Issue 1, pp. -
Popular Music, Stars and Stardom
POPULAR MUSIC, STARS AND STARDOM POPULAR MUSIC, STARS AND STARDOM EDITED BY STEPHEN LOY, JULIE RICKWOOD AND SAMANTHA BENNETT Published by ANU Press The Australian National University Acton ACT 2601, Australia Email: [email protected] Available to download for free at press.anu.edu.au A catalogue record for this book is available from the National Library of Australia ISBN (print): 9781760462123 ISBN (online): 9781760462130 WorldCat (print): 1039732304 WorldCat (online): 1039731982 DOI: 10.22459/PMSS.06.2018 This title is published under a Creative Commons Attribution-NonCommercial- NoDerivatives 4.0 International (CC BY-NC-ND 4.0). The full licence terms are available at creativecommons.org/licenses/by-nc-nd/4.0/legalcode Cover design by Fiona Edge and layout by ANU Press This edition © 2018 ANU Press All chapters in this collection have been subjected to a double-blind peer-review process, as well as further reviewing at manuscript stage. Contents Acknowledgements . vii Contributors . ix 1 . Popular Music, Stars and Stardom: Definitions, Discourses, Interpretations . 1 Stephen Loy, Julie Rickwood and Samantha Bennett 2 . Interstellar Songwriting: What Propels a Song Beyond Escape Velocity? . 21 Clive Harrison 3 . A Good Black Music Story? Black American Stars in Australian Musical Entertainment Before ‘Jazz’ . 37 John Whiteoak 4 . ‘You’re Messin’ Up My Mind’: Why Judy Jacques Avoided the Path of the Pop Diva . 55 Robin Ryan 5 . Wendy Saddington: Beyond an ‘Underground Icon’ . 73 Julie Rickwood 6 . Unsung Heroes: Recreating the Ensemble Dynamic of Motown’s Funk Brothers . 95 Vincent Perry 7 . When Divas and Rock Stars Collide: Interpreting Freddie Mercury and Montserrat Caballé’s Barcelona . -
The Song Remains … the Same? Three Case Studies of Issues of Digital Preservation in Second Life Performance Practices
The Song Remains … The Same? Three Case Studies of Issues of Digital Preservation in Second Life Performance Practices Dennis Moser I. Conceptual Differences Across Disciplines: Needs & Approaches The practice of documentation of performances such as music, theater, and dance and performance art is an integral part of the cultural record. As such, it is subject to change and evolution over time, as well as the vagaries of natural catastrophe, social disorder, or any of the myriad disrupters of human history. The application of the practice of documentation varies according to the discipline utilizing it; indeed, even its efficacy varies from culture to culture and from discipline to discipline. Couple this with our movement deeper and deeper into the use of digital technology for the manifestation of culture and we must grapple with new solutions for capturing and conveying the essentials of these acts of expression. The emergence of performance and installation art in the 20th century gave rise to a field of critical theory somewhat at odds with other approaches of documentation, couched as it was in the visual arts. While aspects of theater and dance have influenced this critical theory, the performance practice considerations of music have not played as much a role in defining it. Indeed, considerable discussion has been generated, over understanding just what comprises “documentation”, whether photography is ‘documentary’ or ‘theatrical’, or if it is a ‘conceptual medium for documentation’ (Taylor, 2009). This reflects a concern for the “visual” aspect of “performance” art as opposed to the temporal aspects so inherent in both music and dance. -
Hierarchical Categorisation of Web Tags for Delicious
HIERARCHICAL CATEGORISATION OF WEB TAGS FOR DELICIOUS J. Parra-Arnau, A. Perego, E. Ferrari, J. Forné and D. Rebollo-Monedero1 INTRODUCTION In the scenario of social bookmarking, a user browsing the Web bookmarks web pages and assigns free-text labels (i.e., tags) to them according to their personal preferences. The benefits of social tagging are clear – tags enhance Web content browsing and search. However, since these tags may be publicly available to any Internet user, a privacy attacker may collect this information and extract an accurate snapshot of users’ interests or user profiles, containing sensitive information, such as health-related information, political preferences, salary or religion. In order to hinder attackers in their efforts to profile users, this report focuses on the practical aspects of capturing user interests from their tagging activity. More accurately, we study how to categorise a collection of tags posted by users in one of the most popular bookmarking services, Delicious (http://delicious.com). METHODOLOGY As frequently done in collaborative tagging sites, the profile of a user is modelled as a tag cloud, that is, a visual representation where tags are weighted according to their frequency of use. Note that tag clouds are in essence equivalent to normalized histograms of tags. Nevertheless, the representation of a user profile as a cloud, or equivalently as a normalized histogram, of all the tags submitted by users is clearly an inappropriate approach; not only because of the intractability of the profile, but also because it makes it difficult to have a quick overview of the user interests. For example, for users posting the tags “welfare”, “Dubya” and “Katrina” it would be preferable to have a higher level of abstraction that enables us to conclude, directly from the inspection of the user profile, that these users are interested in politics. -
Text of the German Application of Art of Coding
This is the Text of the German application of Art of Coding (www.http://demoscene-the-art-of-coding.net) with the purpose of bringing the demoscene onto the list of UNESCO intangible cultural heritage of humanity. The application was submitted in Oct 2019 and has been written in an collaborative community effort led by Tobias Kopka supported by Andre Kudra, Stephan Maienhöfer, Gleb Albert, Christian Brandt, Andreas Lange and many more who gave their hands at Digitale Kultur und Tastatur und Maus e.V. The structure depends on the form, which is given by the German UNESCO. In spite the structure differs from forms used in other countries text modules can be used for application in other countries. The texts in square brackets are part of the German form. Also every kind of feedback is welcome, which could be taken into account for future use. Use ‘team (at) demoscene-the-art-of-coding.net’ 1. Type of Immaterial Cultural Heritage [Please tick the applicable sections and elaborate in keywords (multi-selection possible, but not mandatory)] Section A) verbally passed on traditions and expressions [keywords]: own technical vocabulary, own idiom with specialized terminology, English is lingua franca Section B) performing arts (music, theatre, dance) [keywords]: composition, performant, live, public presentation, animation Section C) social tradition, (seasonal) celebration and ritual [keywords]: demoparties, competitions, visitor voting, price ceremonies Section D) Knowledge and customs, related to nature or the universe [keywords]: digitalized living environment, cyberspace, virtual reality Section E) traditional craftsmanship [keywords]: coding, composition, animation, adoption, do-it-yourself Section F) other 2. -
Digimag46.Pdf
DIGICULT Digital Art, Design & Culture Founder & Editor-in-chief: Marco Mancuso Advisory Board: Marco Mancuso, Lucrezia Cippitelli, Claudia D'Alonzo Publisher: Associazione Culturale Digicult Largo Murani 4, 20133 Milan (Italy) http://www.digicult.it Editorial Press registered at Milan Court, number N°240 of 10/04/06. ISSN Code: 2037-2256 Licenses: Creative Commons Attribution-NonCommercial-NoDerivs - Creative Commons 2.5 Italy (CC BY- NC-ND 2.5) Printed and distributed by Lulu.com E-publishing development: Loretta Borrelli Cover design: Eva Scaini Digicult is part of the The Leonardo Organizational Member Program TABLE OF CONTENTS Marco Mancuso Persepolis 2.0: Creative Support To Iran .................................................................. 3 Mark Hancock Vlogging, Networked Cinematic Poetics ................................................................. 9 Marco Mancuso Pirates At The Parliament: The Big Dream?! .......................................................... 14 Davide Anni A New Center For Art and Technologies ............................................................... 24 Loretta Borrelli Hackmeeting 2009: Meeting With The Debian Community .............................. 27 Philippa Barr Alessandro De Gloria, From Child’s Play To Serious Games ............................... 33 Alessio Galbiati Rip: A Remix Manifesto. A Specter Wanders In The Net .................................... 39 Silvia Casini The Ethics Of Gaze: Raymond Depardon and William Kentridge ...................... 43 Giulia Baldi Soundclusters: -
Camila Schafer
UNIVERSIDADE DO VALE DO RIO DOS SINOS (UNISINOS) PROGRAMA DE PÓS-GRADUAÇÃO EM CIÊNCIAS DA COMUNICAÇÃO (PPGCC) NÍVEL MESTRADO CAMILA SCHÄFER ENTRE O NOVO E O OBSOLETO: MEMÓRIA, RASTROS E AURA DO HARDWARE NA CHIPMUSIC SÃO LEOPOLDO Março de 2014 Camila Schäfer ENTRE O NOVO E O OBSOLETO: MEMÓRIA, RASTROS E AURA DO HARDWARE NA CHIPMUSIC Dissertação apresentada como requisito parcial para a obtenção do título de Mestre , pelo Programa de Pós- Graduação em Ciências da Comunicação da Universidade do Vale do Rio dos Sinos – UNISINOS. Área de concentração: Processos Midiáticos. Linha de Pesquisa: Mídias e Processos Audiovisuais. Orientador: Profª. Drª. Suzana Kilpp São Leopoldo Março de 2014 S296e Schäfer, Camila Entre o novo e o obsoleto: memória, rastros e aura do hardware na Chipmusic/ por Camila Schäfer. -- São Leopoldo, 2014. 136 f.: il. color; 30 cm. Dissertação (mestrado) – Universidade do Vale do Rio dos Sinos, Programa de Pós-Graduação em Ciências da Comunicação, São Leopoldo, RS, 2014. Área de concentração: Processos midiáticos. Linha de Pesquisa: Mídias e processos audiovisuais. Orientação: Profª. Drª. Suzana Kilpp, Escola da Indústria Criativa. 1.Videogames – Sonoplastia. 2.Jogos eletrônicos – Sonoplastia. 3.Som – Registro e reprodução – Técnicas digitais. 4.Computador – Música. 5.Hardware. I.Kilpp, Suzana. II.Título. CDU 004:794 004.4'277.4:794 Catalogação na publicação: Bibliotecária Carla Maria Goulart de Moraes – CRB 10/1252 AGRADECIMENTOS Como a maioria dos textos de agradecimento, inicio este reafirmando o que muitos outros já disseram: nenhuma pesquisa se constrói sozinha, assim como nenhum pesquisador realiza seu trabalho e se desenvolve sem a contribuição de outras pessoas. -
Tales of the Tape: Cassette Culture, Community Radio, and the Birth Of
Creative Industries Journal, 2015 http://dx.doi.org/10.1080/17510694.2015.1090229 Tales of the tape: cassette culture, community radio, and the birth of rap music in Boston Pacey Fostera* and Wayne Marshallb aManagement and Marketing Department, College of Management, University of Massachusetts-Boston, 100 Morrissey Blvd. Boston, MA 02125, USA; bLiberal Arts Department, Berklee College of Music, 1140 Boylston St. Boston, MA 02215, USA Recent scholarship on peer-oriented production and participatory culture tends to emphasize how the digital turn, especially the Internet and the advent of the so-called ‘social web’, has enabled new forms of bottom-up, networked creative production, much of which takes place outside of the commercial media. While remarkable examples of collaboration and democratized cultural production abound in the online era, a longer view situates such practices in histories of media culture where other convergences of production and distribution technologies enabled peer-level exchanges of various sorts and scales. This essay contributes to this project by examining the emergence of a local rap scene in Boston, Massachusetts in the mid- late 1980s via the most accessible ‘mass’ media of the day: the compact cassette and community radio. Introduction Recent scholarship on peer-oriented production and participatory culture tends to empha- size the special affordances of the digital turn, especially the Internet and the advent of the so-called ‘social web’ (Benkler 2006; Lessig 2008; Shirky 2008). While remarkable examples of collaboration and democratized cultural production abound in the online era, a longer view situates such practices in histories of media culture where other convergen- ces of production and distribution technologies enabled peer-level exchanges of various sorts and scales. -
Creativities, Innovation, and Networks in Garage Punk Rock : a Case Study of the Eruptörs
This is a repository copy of CREATIVITIES, INNOVATION, AND NETWORKS IN GARAGE PUNK ROCK : A CASE STUDY OF THE ERUPTÖRS. White Rose Research Online URL for this paper: https://eprints.whiterose.ac.uk/94929/ Version: Published Version Article: Gillett, Alex Giles orcid.org/0000-0001-7965-2404 and Smith, Gareth (2015) CREATIVITIES, INNOVATION, AND NETWORKS IN GARAGE PUNK ROCK : A CASE STUDY OF THE ERUPTÖRS. Artivate: A Journal of Entrepreneurship in the Arts. pp. 9-24. ISSN 2164-7747 Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Artivate: A Journal of Entrepreneurship in the Arts Volume 4, Issue 1 http://artivate.org pp. 9-24 ______________________________________________________________________________________________________________________ CREATIVITIES, INNOVATION, AND NETWORKS IN GARAGE PUNK ROCK: A CASE STUDY OF THE ERUPTÖRS Gareth Dylan Smith, Institute of Contemporary Music Performance Alex Gillett, The York Management School, University of York Abstract The two authors are members of punk rock trio the Eruptörs. -
1.1. Circuit-Bending and DIY Culture
1.1. Circuit-bending and DIY culture Alexandre Marino Fernandez1 Fernando Iazzetta 1 Abstract This article analyses Circuit-Bending and its relation to the Do-it-yourself (DIY) culture. Circuit- bending is an experimental music practice which consists of opening up low voltage (battery powered) electronic devices (musical toys, radio devices, cd players, etc. – mostly technological waste) and of changing (bend) the way electricity flows through their circuits in order to achieve an ‘interesting’ result. After presenting the work of some artists who make use of this methodology we introduce the concept of proletarianisation by philosopher Bernard Stiegler and how such methodologies can act as de-proletarianisation tactics. Then, we present the Do-it-together (DIT) or Do-it-with-others (DIWO) discussion to bring into scene the notion of Relational Aesthetics. Keywords: Circuit-Bending; De-proletarianisation; DIY Culture; Relational Aesthetic Introduction This article relates Circuit-Bending to DIY culture focusing on the anti-consumerist, rebellious and creative aspects of this experimental practice. Generally speaking, circuit-bending consists of opening up battery powered electronic devices and of changing (bend) the way electricity flows through their circuits in order to achieve an ‘interesting’ result. One typically practices circuit-bending by removing and/or adding electronic components, connecting different circuits, or even adding organic elements to the circuit (bender’s body or even fruits and vegetables). The next step usually calls for soldering the components into the circuit or marking specific places to be touched. Finally, sometimes a case is designed for accommodating this newly created instrument. The technique was named in 1992 by Qubais Reed Ghazala, in a series of articles he wrote for Experimental Music Instrument magazine. -
BIBLIOGRAPHY Commons People Maanagingbidin, Crystal
Cover Page The handle http://hdl.handle.net/1887/73550 holds various files of this Leiden University dissertation. Author: Juliastuti, N. Title: Commons people: managing music and culture in contemporary Yogyakarta Issue Date: 2019-05-21 BIBLIOGRAPHY COMMONS PEOPLE MAANAGINGbidin, Crystal. MUSI (2016).C AND CULTUREAren’t These IN CONTEM Young, RPichORARY Women YOGYAKARTA Doing Vain Things Online?: Influencer Selfies as Subversive Frivolity. Social Media + Society, April-June 2016, 1-17. Agamben, Giorgio. (2009). “What is an Apparatus?” and Other Essays. Stanford: Stanford University Press. Allen, Gwen. (2011). Artists’ Magazines: An Alternative Space for Art. Cambridge and London: The MIT Press. Al Rahab, Amiruddin. (2014). Ekonomi Berdikari Sukarno [Sukarno’s Berdikari Economy]. Jakarta: Komunitas Bambu. Anderson, Benedict. (2006). Imagined Communities: Reflections on the Origin and Spread of Nationalism. London and New York: Verso. Ang, Ien. (1991). Desperately Seeking the Audience. London and New York: Routledge. Antariksa. (2005). Tuan Tanah Kawin Muda: Hubungan Seni Rupa-Lekra 1950-1965. [A landlord married young: The relation between visual art and Lekra 1950-1965]. Yogyakarta: Yayasan Seni Cemeti. Aribowo, Taufiq. (2016). Netlabel, Kurasi dan Pengarsipan [Netlabel, Curation, and Archiving]. In Hermiasih L. (Ed.), Ensemble: Mozaik Musik dalam Masyarakat [Ensemble: The Mosaic of Music in Society] (pp.103-115). Yogyakarta: LARAS – Studies of Music in Society in collaboration with Tan Kinira. Asmaning, Titah. (2014). Walk the Folk: Picnic, music, stories, and walking. Retrieved from http://majalahcobra.com/blog/walk-the-folk-piknik- musik-kisah-dan-jalan-kaki.html/ -- (2015). Walk the Folk #2: A magic celebration of the ordinary day. Retrieved from http://majalahcobra.com/blog/walk-the-folk-2- perayaan-ajaib-tentang-hari-yang-biasa.html Barendregt, Bart.