DOCSLIB.ORG

Metamorfoses Do Cinema Punk (1975-1990)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

1 UNIVERSIDADE FEDERAL DO ESPÍRITO SANTO CENTRO DE ARTES PROGRAMA DE PÓS-GRADUAÇÃO EM ARTES CURSO DE MESTRADO RAPHAEL GENUÍNO DE ARAÚJO METAMORFOSES DO CINEMA PUNK (1975-1990) VITÓRIA 2016 2 RAPHAEL GENUÍNO DE ARAÚJO METAMORFOSES DO CINEMA PUNK (1975-1990) Dissertação apresentada ao Programa de Pós-Graduação em Artes – PPGA do Centro de Artes da Universidade Federal do Espírito Santo, como requisito para obtenção do título de Mestre em artes, na área de concentração Nexos entre Arte, Espaço e Pensamento. Orientador: Prof.Dr. Erly Milton Vieira Junior VITÓRIA 2016 3 4 RAPHAEL GENUÍNO DE ARAÚJO METAMORFOSES DO CINEMA PUNK (1975-1990) Dissertação apresentada ao Programa de Pós- Graduação em Artes – PPGA do Centro de Artes da Universidade Federal do Espírito Santo, como requisito para obtenção do título de Mestre em artes, na área de concentração Nexos entre Arte, Espaço e Pensamento. Aprovada em 19 de Agosto de 2016. COMISSÃO EXAMINADORA Prof.Dr. Erly Milton Vieira Junior (orientador – PPGA/UFES) Prof.ª Drª Gisele Barbosa Ribeiro (membro interno – PPGA/ UFES) Prof. Dr .Gelson Santana Penha (membro externo – PPGCOM Anhembi Morumbi) 5 Este trabalho é interamente dedicado aos meus pais, Maria e José, pessoas que eu amo e respeito profundamente; à Júlia Paternostro, meu amor e companheira nessa e outras caminhadas; e ao querido Erly Vieira, que confiou em mim de forma generosa e paciente. 6 AGRADECIMENTOS Professores do Programa de Pós-graduação em Artes da UFES dos anos 2014 e 2015. Professores da Graduação em Artes Plásticas dos anos 2005-2011. Colegas de turma e demais funcionários do Programa de Pós-graduação em Artes. Professores que gentilmente aceitaram o convite para participar da banca examinadora, Gelson Santana Penha e Gisele Barbosa Ribeiro. Capes, pela bolsa concedida a partir de Abril 2014. Meus grandes amigos e companheiros que fiz através do punk e seu amplo leque de manifestações na música, nos filmes, nos livros, nos quadrinhos, nas artes, nos fanzines. A todos aqueles que carregam através de suas ações o desejo de mudar as engranegens do mundo, mesmo que, em pequenas esferas. Em especial integrantes das bandas Morto Pela Escola e Zero Zero, Alex Vieira, Léo Aranha, Renzo Coimbra (parceiro nas traduções e entendimento do inglês), Juliano Enrico, Gabriel GQ, Lucas Bonini e Chico Cuíca; do grupo Camarão Filmes & Ideais Caóticas, Guido Imbroisi e Alexandre Brunoro; da gravadora Laja Records e Fábio Mozine; do extinto coletivo UDU, Matheus, Heitor, Cabron, Pelé, Léo Prata, Lucas Klitzke e Paulinha. Ao meu irmão Rogério, que sendo mais velho sempre me serviu de referência e inspiração. A todos os tios, tias e primos. Minha avó materna Iolanda. Meus sogros Raquel e Júlio, por todo acolhimento e carinho recebidos e devidamente guardados no coração. A todos os amigos de longa data, de dez, quinze, vinte anos. Vocês são importantes demais. Aos artistas Victor Monteiro, Gabriel Borem, Julio Tigre, Vinicius Guimarães, Thais Apolinário, Fábricio Pirata, Gabriel Gabiru, Lando, Didico, Tom Boechat, Lincon Guimarães, Ludmilla Cayres, Alê Bertolli, Kain Azoury, Margareth Galvão. Aos irmãos do Grupo Z de teatro, em especial Daniel Boone, Dinho e Carlinha. 7 RESUMO Esta pesquisa pretende analisar uma série de produções cinematográficas oriundas do ambiente punk americano e inglês, entre os anos 1975 – 1990, a partir de reflexões relativas a seus aspectos políticos, econômicos, estéticos e comparecimento da corporeidade punk. Busca, primeiramente, entender as relações econômicas-estéticas que percorrem a história do punk e suas manifestações, que assumem uma agenda de divergência a cultura mainstream e ao capitalismo. A dissertação procura estabelecer nexos entre cinema, elementos estéticos punks e seus compromissos a partir de filmes agrupados em três tendências: No Wave Cinema, Cinema Of Transgression e Cinema Punk Inglês, ao mesmo tempo em que confirma a inseparabilidade entre politica, economia e estética, considerando que essas obras cinematográficas tornam possível o acesso à experiência do punk ainda de um ponto de vista atual. Para isso, são importantes autores como Stacy Thompson, Jacques Rancière, Walter Benjamin, Gilles Deleuze e Félix Guattari, que ajudarão na articulação teórica dessas concepções. Nesse mesmo sentido, através de contribuições de David Le Breton, Jim Ellis e Nízia Villaça o trabalho tem a intenção de evidenciar as possíveis estratégias de utilização do corpo como suporte simbólico cinematográfico e no movimento punk. Palavras-chave: Cinema Punk, Punk, Economia, Faça Você Mesmo, Estética, Subcultura. 8 ABSTRACT This research aims to analyze a number of film productions coming from the American punk and English environment, between the years 1976 - 1990, from reflections on their political, economic, and aesthetic appearance of corporeality punk. Search, first, understand the economic-aesthetic relations that run through the history of punk and its manifestations, which assume a divergence agenda to mainstream culture and capitalism. The dissertation tries to establish links between cinema, punks aesthetic elements and commitments from grouped films in three trends: No Wave Cinema, Cinema Of Transgression and Cinema Punk English, while confirming the inseparability of politics, economy and aesthetics, whereas these films make it possible to access punk experience even from a current point of view. For this, are important authors as Stacy Thompson, Jacques Rancière, Walter Benjamin, Gilles Deleuze and Felix Guattari, which will help in the theoretical articulation of these concepts. In the same way, through contributions from David Le Breton, Jim Ellis and Nízia Villaça work intends to highlight the possible body using strategies such as film and symbolic support of the punk movement. Keywords: Cinema Punk, Punk, Economy, DIY, Aesthetic, Subculture. 9 LISTA DE FIGURAS Figura 1 - Fanzine PUNK, n° 1, Janeiro de 1976. ..................................................... 43 Figura 2 - Fanzine Sniffin` Glue, n° 1, Julho de 1976. ............................................... 44 Figura 3 - Fanzine Sideburns (1977). ........................................................................ 85 Figura 4 - Pat Place uma das personagens entrevistadas em GuérrileTalks .......... 106 Figura 5 - Lydia Lunch e Pat Palce em She Had Her Gun All Ready ...................... 107 Figura 6 - Personagem Rico (Duncan Hannah) em Unmade Beds. ........................ 108 Figura 7 - Lydia Lunch em Rome ’78 (James Nares,1978). .................................... 109 Figura 8 - Da esq. Eric Mitchell, Anya Philips, Steve Mass e Patti Astor em Kidnapped. .............................................................................................................. 110 Figura 9 - Cena onde uma Punk é forçada a comer um rato em They Eat Scum. .. 111 Figura 10 - Nick Zedd à esquerda em Whoregasm (1988)...................................... 124 Figura 11 - Da esquerda para direita: Normal Love (Jack Smith ,1963), Lucifer Rising (Kenneth Anger, 1972) e Menstrual Envy (Nick Zedd, 1992). ................................. 125 Figura 12 - Lydia Lunch em The Right Side Of My Brain (1984). ............................ 127 Figura 13 - A gangue punk formada pelas personagens: (da esq.) Bod, Crabs, Miss Amyl Nitrate, Chaos................................................................................................. 132 Figura 14 - Diretor João Carlos Rodrigues em cena mandando seu recado ao público. .................................................................................................................... 152 Figura 15 - Personagens Arkham e Escobar no porão do Casarão. ....................... 155 Figura 16 - Visão subjetiva da câmera de Don Letts em Punk Rock Movie. ........... 165 Figura 17 - Ray Gange (cuspindo) em Rude Boy. ................................................... 169 Figura 18 - Amyl Nitrate (Jordan) em Jubilee. ......................................................... 170 Figura 19 - Personagens Amyl Nitrate Nitrate, Mad (com a faca) e Bod em Jubilee ................................................................................................................................ 171 Figura 20 - Frame do filme Why Do You Exist? ...................................................... 174 10 SUMÁRIO 1. INTRODUÇÃO ................................................................................................... 11 2. UMA JORNADA PUNK ...................................................................................... 18 2.1 O CONCEITO TRANSITÓRIO DO PUNK ........................................................ 18 2.2 PUNK E SUA ECONOMIA ............................................................................... 26 3. O PUNK E SUA HISTÓRIA ................................................................................ 48 3.1 ANTECEDENTES ............................................................................................ 48 3.2 PUNK AMERICANO ........................................................................................ 54 3.3 PUNKS BRITÂNICOS ...................................................................................... 68 3.4 PUNK BRASILEIRO ......................................................................................... 77 4. EM BUSCA DO CINEMA PUNK ........................................................................ 82 4.1 PUNK NO CINEMA OU CINEMA PUNK? ........................................................ 82 4.2 ANTECEDENTES DO CINEMA PUNK ...........................................................
Recommended publications
  • Ramones 2002.Pdf

    Ramones 2002.Pdf

    PERFORMERS THE RAMONES B y DR. DONNA GAINES IN THE DARK AGES THAT PRECEDED THE RAMONES, black leather motorcycle jackets and Keds (Ameri­ fans were shut out, reduced to the role of passive can-made sneakers only), the Ramones incited a spectator. In the early 1970s, boredom inherited the sneering cultural insurrection. In 1976 they re­ earth: The airwaves were ruled by crotchety old di­ corded their eponymous first album in seventeen nosaurs; rock & roll had become an alienated labor - days for 16,400. At a time when superstars were rock, detached from its roots. Gone were the sounds demanding upwards of half a million, the Ramones of youthful angst, exuberance, sexuality and misrule. democratized rock & ro|ft|you didn’t need a fat con­ The spirit of rock & roll was beaten back, the glorious tract, great looks, expensive clothes or the skills of legacy handed down to us in doo-wop, Chuck Berry, Clapton. You just had to follow Joey’s credo: “Do it the British Invasion and surf music lost. If you were from the heart and follow your instincts.” More than an average American kid hanging out in your room twenty-five years later - after the band officially playing guitar, hoping to start a band, how could you broke up - from Old Hanoi to East Berlin, kids in full possibly compete with elaborate guitar solos, expen­ Ramones regalia incorporate the commando spirit sive equipment and million-dollar stage shows? It all of DIY, do it yourself. seemed out of reach. And then, in 1974, a uniformed According to Joey, the chorus in “Blitzkrieg Bop” - militia burst forth from Forest Hills, Queens, firing a “Hey ho, let’s go” - was “the battle cry that sounded shot heard round the world.
  • Christian Ricci Behind the Scenes in New York – Fall 2020 Assignment #1 October 05, 2020 1 Opened in 1973 on Bowery in Manhatt

    Christian Ricci Behind the Scenes in New York – Fall 2020 Assignment #1 October 05, 2020 1 Opened in 1973 on Bowery in Manhatt

    Christian Ricci Behind the Scenes in New York – Fall 2020 Assignment #1 October 05, 2020 Opened in 1973 on Bowery in Manhattan’s East Village, CBGB was a bar and music venue which features prominently in the history of American punk rock, New Wave and Hardcore music genres. The club’s owner, Hilly Kristal, was always involved with music and musicians, having worked as a manager at the legendary jazz club Village Vanguard booking acts like Miles Davis. When CBGB first opened its doors in the early seventies the venue featured mostly country, blue grass, and blues acts (thus CBGB) before transitioning over to punk rock acts later in the decade. Many well know performers of the punk rock era received their start and earliest exposure at the club, including the Ramones, Patti Smith, Television, Blondie, and Joan Jett. During the New Wave era, performers like Elvis Costello, Talking Heads and even early performances from the Police graced the stage in the now legendary venue. Located at 315 Bowery, which is situated near the northern section of Bowery before it splits into 3rd and 4th Avenues at Cooper square, the original building on the site was constructed in 1878 and was used as a tenement house for 10 families with a shop (liquor store) on the ground floor. In 1934, 315 and 313 were combined into one building and the façade was redesigned and constructed in the Art Deco style, as documented in the 1940 tax photo. At that time, the building was occupied by the Palace Hotel with a ground floor saloon.
  • Samuel Schmid Fait Escale Au Locle

    Samuel Schmid Fait Escale Au Locle

    Pascal Couchepin KEYSTONE FOOTBALL Sion et Bâle se qualifient pour le 1er tour veut aider de la Coupe UEFA. Pas YB. >>> PAGE 20 les parents Le conseiller fédéral entend soutenir le système des bons de garde. >>> PAGE 26 KEYSTONE Vendredi 31 août 2007 ● www.limpartial.ch ● N0 39684 ● CHF 2.– / € 1.30 JETONS DE PRÉSENCE Volte-face de la BCN Samuel Schmid fait escale au Locle KEYSTONE Fin de la polémique suscitée par la hausse des indemnités des administrateurs de la Banque cantonale (présidée par le socialiste Jean-Pierre Ghelfi): le conseil fait marche arrière. >>> PAGE 5 POPULATION Une croissance due aux étrangers La Suisse comptait 7,5 millions d’habitants à la fin de l’année dernière, soit 50 000 de plus qu’à fin 2005. Cette hausse, dans la lignée de celles enregistrées depuis 2000, est avant tout due à l’immigration. Le phénomène est par ailleurs plus marqué dans les zones urbaines que dans les campagnes. >>> PAGE 25 RICHARD LEUENBERGER JOURNÉE DES VILLES Le conseiller fédéral Samuel Schmid a participé Palme d’or Curiosités hier à l’assemblée de l’Union des villes suisses, réunie jusqu’à aujourd’hui au Locle. Patrimoine Les Journées Cent cinquante délégués d’exécutifs ont fait le déplacement. >>> PAGE 6 européennes se tiendront FRENETIC les 8 et 9 septembre. Le bois est à l’honneur RADIO-TV MUSIQUE SP de cette 14e édition. Découvertes Lumières en perspective. >>> PAGE 3 La grosse colère jurassiennes du patron de RTN Hier à Delémont, le chef Grand film Couronné à de l’Orchestre symphonique Cannes, «4 mois, A la tête des stations RTN, rassien et qui pourrait entraî- du Jura, Facundo Agudin, a 3 semaines, 2 jours» est une DAVID MARCHON RJB et RFJ, le Jurassien ner un accroissement des présenté la saison de émouvante balade tragique Pierre Steulet estime qu’il ne émissions communes entre Musique des Lumières.
  • “Punk Rock Is My Religion”

    “Punk Rock Is My Religion”

    “Punk Rock Is My Religion” An Exploration of Straight Edge punk as a Surrogate of Religion. Francis Elizabeth Stewart 1622049 Submitted in fulfilment of the doctoral dissertation requirements of the School of Language, Culture and Religion at the University of Stirling. 2011 Supervisors: Dr Andrew Hass Dr Alison Jasper 1 Acknowledgements A debt of acknowledgement is owned to a number of individuals and companies within both of the two fields of study – academia and the hardcore punk and Straight Edge scenes. Supervisory acknowledgement: Dr Andrew Hass, Dr Alison Jasper. In addition staff and others who read chapters, pieces of work and papers, and commented, discussed or made suggestions: Dr Timothy Fitzgerald, Dr Michael Marten, Dr Ward Blanton and Dr Janet Wordley. Financial acknowledgement: Dr William Marshall and the SLCR, The Panacea Society, AHRC, BSA and SOCREL. J & C Wordley, I & K Stewart, J & E Stewart. Research acknowledgement: Emily Buningham @ ‘England’s Dreaming’ archive, Liverpool John Moore University. Philip Leach @ Media archive for central England. AHRC funded ‘Using Moving Archives in Academic Research’ course 2008 – 2009. The 924 Gilman Street Project in Berkeley CA. Interview acknowledgement: Lauren Stewart, Chloe Erdmann, Nathan Cohen, Shane Becker, Philip Johnston, Alan Stewart, N8xxx, and xEricx for all your help in finding willing participants and arranging interviews. A huge acknowledgement of gratitude to all who took part in interviews, giving of their time, ideas and self so willingly, it will not be forgotten. Acknowledgement and thanks are also given to Judy and Loanne for their welcome in a new country, providing me with a home and showing me around the Bay Area.
  • American Foreign Policy, the Recording Industry, and Punk Rock in the Cold War

    American Foreign Policy, the Recording Industry, and Punk Rock in the Cold War

    Georgia State University ScholarWorks @ Georgia State University History Dissertations Department of History Spring 5-10-2017 Music for the International Masses: American Foreign Policy, The Recording Industry, and Punk Rock in the Cold War Mindy Clegg Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/history_diss Recommended Citation Clegg, Mindy, "Music for the International Masses: American Foreign Policy, The Recording Industry, and Punk Rock in the Cold War." Dissertation, Georgia State University, 2017. https://scholarworks.gsu.edu/history_diss/58 This Dissertation is brought to you for free and open access by the Department of History at ScholarWorks @ Georgia State University. It has been accepted for inclusion in History Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. MUSIC FOR THE INTERNATIONAL MASSES: AMERICAN FOREIGN POLICY, THE RECORDING INDUSTRY, AND PUNK ROCK IN THE COLD WAR by MINDY CLEGG Under the Direction of ALEX SAYF CUMMINGS, PhD ABSTRACT This dissertation explores the connections between US foreign policy initiatives, the global expansion of the American recording industry, and the rise of punk in the 1970s and 1980s. The material support of the US government contributed to the globalization of the recording industry and functioned as a facet American-style consumerism. As American culture spread, so did questions about the Cold War and consumerism. As young people began to question the Cold War order they still consumed American mass culture as a way of rebelling against the establishment. But corporations complicit in the Cold War produced this mass culture. Punks embraced cultural rebellion like hippies.
  • Media Ecologies: Materialist Energies in Art and Technoculture, Matthew Fuller, 2005 Media Ecologies

    Media Ecologies: Materialist Energies in Art and Technoculture, Matthew Fuller, 2005 Media Ecologies

    M796883front.qxd 8/1/05 11:15 AM Page 1 Media Ecologies Media Ecologies Materialist Energies in Art and Technoculture Matthew Fuller In Media Ecologies, Matthew Fuller asks what happens when media systems interact. Complex objects such as media systems—understood here as processes, or ele- ments in a composition as much as “things”—have become informational as much as physical, but without losing any of their fundamental materiality. Fuller looks at this multi- plicitous materiality—how it can be sensed, made use of, and how it makes other possibilities tangible. He investi- gates the ways the different qualities in media systems can be said to mix and interrelate, and, as he writes, “to produce patterns, dangers, and potentials.” Fuller draws on texts by Félix Guattari and Gilles Deleuze, as well as writings by Friedrich Nietzsche, Marshall McLuhan, Donna Haraway, Friedrich Kittler, and others, to define and extend the idea of “media ecology.” Arguing that the only way to find out about what happens new media/technology when media systems interact is to carry out such interac- tions, Fuller traces a series of media ecologies—“taking every path in a labyrinth simultaneously,” as he describes one chapter. He looks at contemporary London-based pirate radio and its interweaving of high- and low-tech “Media Ecologies offers an exciting first map of the mutational body of media systems; the “medial will to power” illustrated by analog and digital media technologies. Fuller rethinks the generation and “the camera that ate itself”; how, as seen in a range of interaction of media by connecting the ethical and aesthetic dimensions compelling interpretations of new media works, the capac- of perception.” ities and behaviors of media objects are affected when —Luciana Parisi, Leader, MA Program in Cybernetic Culture, University of they are in “abnormal” relationships with other objects; East London and each step in a sequence of Web pages, Cctv—world wide watch, that encourages viewers to report crimes seen Media Ecologies via webcams.
  • Rent Glossary of Terms

    Rent Glossary of Terms

    Rent Glossary of Terms 11th Street and Avenue B CBGB’s – More properly CBGB & OMFUG, a club on Bowery Ave between 1st and 2nd streets. The following is taken from the website http://www.cbgb.com. It is a history written by Hilly Kristal, the founder of CBGB and OMFUG. The question most often asked of me is, "What does CBGB stand for?" I reply, "It stands for the kind of music I intended to have, but not the kind that we became famous for: COUNTRY BLUEGRASS BLUES." The next question is always, "but what does OMFUG stand for?" and I say "That's more of what we do, It means OTHER MUSIC FOR UPLIFTING GORMANDIZERS." And what is a gormandizer? It’s a voracious eater of, in this case, MUSIC. […] The obvious follow up question is often "is this your favorite kind of music?" No!!! I've always liked all kinds but half the radio stations all over the U.S. were playing country music, cool juke boxes were playing blues and bluegrass as well as folk and country. Also, a lot of my artist/writer friends were always going off to some fiddlers convention (bluegrass concert) or blues and folk festivals. So I thought it would be a whole lot of fun to have my own club with all this kind of music playing there. Unfortunately—or perhaps FORTUNATELY—things didn't work out quite the way I 'd expected. That first year was an exercise in persistence and a trial in patience. My determination to book only musicians who played their own music instead of copying others, was indomitable.
  • Paula Guerra

    Paula Guerra

    Paula Guerra Lou Reed: rock and roll is so genial in its conception that some people would be willing to die for it (…). Music gives a pulse that allows you to dream. It’s an entire generation walking to the sound of a Fender bass. It’s necessary that people be willing to die for music, that is all. People die no matter what, so why not music? Die for it. Isn’t it pretty? To want to die for beauty? (McNeil & McCain, 2006: 45). The 1960’s, from an music aesthetic and expression point of view, were marked by an intense creativity that spread throughout all artistic and cultural mediums. We associate this era with a revolutionary mark, be in cultural, moral or social terms, with the importance of figures such as Rimbaud, north American black blues, rock pioneers, beat generation, Henry Miller, Malraux, Baudelaire, Marcuse, Indian gurus, Marx, Trotsky, Mao Tse Tung… (Paraire, 1992: 75-77). In the USA, rock acquired an institutionalization close to that of the traditional star system, with the role of the English pop movement, in particular that of the Beatles, one of the most remarkable in this respect. It will not, then, be out of place to consider that rock music throughout the -------- 1 This text was first published in Portuguese with the following reference: Guerra, P., 2010. A instável leveza do rock. Génese, dinâmica e consolidação do rock alternativo em Portugal. The unstable lightness of rock. Genesis, dynamics and consolidation of alternative rock in Portugal (1980-2010). Faculty of Arts of University of Porto, Porto.
  • Masterarbeit

    Masterarbeit

    MASTERARBEIT Titel der Masterarbeit „Where evil dwells – Das Cinema of Transgression und eine neue Ästhetik des Schocks im Undergroundfilm der 1980er“ Verfasser Jan-Hendrik Müller, BA angestrebter akademischer Grad Master of Arts (MA) Wien, 2014 Studienkennzahl lt. Studienblatt: A 066 582 Studienrichtung lt. Studienblatt: Masterstudium Theater-, Film und Medientheorie Betreuerin: Dr. Andrea Seier, M.A. Inhaltsverzeichnis I. Einleitung .......................................................................................................................... 5 1.1 Einleitung ...................................................................................................................... 5 1.2 Zur Idee ......................................................................................................................... 7 1.3 Zur Methode – Was ist eine „Minor history“? .............................................................. 9 II. Hauptteil ........................................................................................................................ 13 2.1 Die Geschichte des Undergroundfilm in den USA ..................................................... 13 2.1.1 Frühes Kino – The Cinema of Attraction ............................................................ 14 2.1.2 Der experimentelle Amateurfilm der 1930er Jahre – Frühe Avantgarde ............ 18 2.1.3 Die Entstehung des Undergroundfilm der 1960er ............................................... 21 2.1.4 Der strukturelle Film der 1970er ........................................................................
  • The Origins of Iconic Images from NYC's Musical History Explained

    The Origins of Iconic Images from NYC's Musical History Explained

    COLUMNS COLUMNS LANDMARKS MAX THE BRONX NEUHAUS' The places, spaces, and monuments of A column on "TIMES NYC's musical past, the gear and processes present, and future. that inform SQUARE" the music we make. when antonín dvoRák came to New York from the Old World, he was on a quest, as he put it, to “discov- er” American music, as if it were a rare earth element or it's short-sighted to claim a country a creature from the depths of the sea. In an 1895 essay has a single distinct sound. But even with glob- for Harper’s Magazine, the Czech composer wrote, from al hardware distribution as good as it has ever his house at 327 East 17th Street: “The music of the peo- been, we are all still interested in the kinds of ple is like a rare and lovely flower growing amidst en- creative restraints that geography puts on the croaching weeds. Thousands pass it, while others tram- QUEENS sounds we make. Harald Björk, a 2013 Red ple it under foot, and thus the chances are that it will Bull Music Academy participant, makes synthe- perish before it is seen by the one discriminating spirit sizer music in Sweden. We spoke with him about who will prize it above all else.” MANHATTAN the gear he uses, Swedish and otherwise, and This idea of one person entranced by a siren song how these machines have shaped his sound. while surrounded by the oblivious hordes is in keeping with Max Neuhaus’ “Times Square” installation, which RBMA: What Swedish synthesizers are popu- sits beneath a series of metal grates on Broadway be- lar in Sweden? tween 45th and 46th Streets.
  • N° 252 200 Formations Pôle Alternance De Bac À Bac +5

    N° 252 200 Formations Pôle Alternance De Bac À Bac +5

    LE QUINZOMADAIRE DE TOUTES VOS SORTIES Marseille + Bouches-du-Rhône CINÉ MUSIQUE EXPOS THÉÂTRE DANSE DU 25 NOVEMBRE AU 08 DÉCEMBRE www.journalventilo.fr GRATUIT N° 252 200 FORMATIONS PÔLE ALTERNANCE DE BAC À BAC +5 &&&'9w8:B7G:'%%. E6G88=6CDI"=6AA& B6GH:>AA: KZcYgZY^YZ&)]|&-]"HVbZY^YZ&%]|&-] >CK>I6I>DC<G6IJ>I:HJGLLL#HIJ9NG6B6#8DB Infoline 0891 36 05 28 (0,225 E/min.) RADIOO 92.3 FM - - - - - - - - - - - Rencontres d’Averroès Initiées en 1994, les Rencontres d’Averroès, qui s’exportent désormais avec succès, entre- prennent de « penser la Méditerranée des deux rives ». En rassemblant chercheurs, écrivains et artistes, il s’agit de rechercher l’harmonie et l’or- dre « là où règne la discorde » et d’écarter une vi- sion simpliste des tensions afi n de réfl échir ensem- Aurore Valade & Lætitia Bianchi - Plein Air / page 4 / ble (dans) un futur commun. Articulée autour des La lauréate 2008 du Prix Fondation HSBC pour incontournables tables rondes, prenant cette année la photographie revient dans sa ville natale pour pour thème « La Méditerranée, fi gures du tragique », une exposition prolongeant le travail mené de- la manifestation sera émaillée de rencontres littérai- puis cinq ans, à savoir une photographie ques- res, spectacles et projections de documentaires. tionnant la sphère privée et ses limites. Après une _JUSQU’AU 6/12 À MARSEILLE série présentant des personnes jouant leur propre rôle dans leur intérieur, Plein Air, comme son nom Une question essentielle a / page 16 / l’indique, déplace les gestes de l’intime dans l’espa- été sortie du terrain par un ce public via des compositions picturales baroques.

  • High School Psychology Elective. Bulletin No. 272. Montgomery County Public Schools, Rockville, Md. Curriculum Es

    DOCUMENT RESUME ED 113 238 SO 008 621 TITLE High School PsyChology Elective. Bulletin No. 272. INSTITUTION Montgomery County Public Schools, Rockville, Md. REPORT NO Bull-272 PUB DATE 74 NOTE 199p. EDRS PRICE M17-$0.76 BC-$9.51 Plus Postage DESCRIPTORS Curriculum es; *Elective-Subjects; Humanistic Education; H n Relations; Individual Development; Learning A _ties; Motivation; Perception; Personali y; *Psychology; *Schedule Modules; Secondary Education; Social Influences; *Social Sciences; Teaching Techniques ABSTRACT The main focus of this secondary-level psychology' course is that of enhancing student interest in and understanding of psychological concepts, principles, and'hypOtheses through exploration of their relationship to current and arresting topics and problems, including problems of individual development and interpersonal relations. The curriculum guide begins with a prerequisite introductory unit. Specific units following the introduction indlAde (1)perception, (2) motivation,(3) learning, .(4) thinkingy(5) developmental aspects, 46) personality, and (7) social influences. Within each of the major unit'tcpics are several subtopics. The course revolves around a module system of instruction covering one or several lessons. Each module contains the central principle, key terms, instructional objectives, activities, - normal-abnormal continuum, evaluation exercises, and references. A bibliography concludes the guide .which lists the books referred to in the lessons and activities. (Author/JR) *********************************************************************** Documents acquired by ERIC include many informal unpublished * materials not avairable from other sources. ERIC makes every effort * * to obtain the best copy Available. Nevertheless, items of marginal * * reproducibility are often encountered and this affects the quality * * of the microfiche and hardcopy reproductions ERIC makes available * via theERIC Document Reproduction Service (EDRS).