DOCSLIB.ORG

Noisy Fields: Interference and Equivocality in the Sonic Legacies of Information Theory

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Noisy Fields: Interference and Equivocality in the Sonic Legacies of Information Theory NOISY FIELDS: INTERFERENCE AND EQUIVOCALITY IN THE SONIC LEGACIES OF INFORMATION THEORY A Dissertation Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Nicholas Adrian Knouf August 2013 © 2013 Nicholas Adrian Knouf Some rights reserved (see Appendix A). NOISY FIELDS: INTERFERENCE AND EQUIVOCALITY IN THE SONIC LEGACIES OF INFORMATION THEORY Nicholas Adrian Knouf, Ph.D. Cornell University 2013 Noisy Fields: Interference and Equivocality in the Sonic Legacies of Information eory discusses the ways in which noise causes interferences within disciplinary fields. Noise tends to bring diverse disciplinary approaches together, interfering in their constitution and their dynamics. I understand noise to be more than ei- ther positive revolutionary potential or negative disruption; instead, noise functions equivocally, possessing aspects of each pole in varying degrees. As such, it is vi- tal to follow the machinations of noise. Considering noise as a material-discursive phenomenon, I trace its intersections with sonic practices and information theory. Noise was a key point of contention in the early debates surrounding the develop- ment of information theory,and I examine some situations that provide alternatives to the standard formulations. I then trace the interrelationships between informa- tion theory, noise, and early electronic music in the 1950s, outlining how artistic experiences necessitated the development of new information theories. Consider- ing the confluence of sound and information in finance, I show how noise is both understood as a potential source of monetization while ultimately confounding at- tempts at complete capture. I turn to the nexus of speech, the voice, and noise, to consider situations of parrhesia, or “fearless speech”, that consists of noisy interfer- ences within social systems via the activity of robotic performing objects. Finally, I listen to the electronic vocal manipulations of Maja Ratkje and Holly Herndon iv to consider a micropolitics of the noisy voice. In sum, I show how the analysis of noise requires a transdisciplinary approach in order to elucidate the complicated dynamics of its interferences. Biosketch Nicholas Adrian Knouf was born in Fort Dodge, Iowa. He received his Bachelor’s degree in Engineering and Applied Science from the California Institute of Tech- nology in 2002. He worked as a research assistant and lab manager in a cognitive neuroscience laboratory from 2002–2005, conducting research on face and object perception using functional MRI. He received his Master’s degree in Media Arts and Sciences from the Massachusetts Institute of Technology in 2007. He com- pleted his PhD in Information Science at Cornell University in August 2013. Be- ginning in the fall of 2013 he will be an Assistant Professor of Cinema and Media Studies at Wellesley College. Acknowledgements I have been privileged to receive a tremendous amount of support—intellectual, emotional, and financial—throughout my graduate career. My dissertation committee has been incredibly accommodating over the past six years, understanding my continual need to integrate theory and practice and the consequent challenges of such an approach. I chose Cornell because I knew I could work with my chair, Phoebe Sengers, someone who would understand my idiosyn- cratic interests and support me in my own peripatetic path. Her ability to navigate differing disciplinary fields is a continual source of inspiration. Tarleton Gillespie has always provided probing questions that helped me to frame my work in more precise ways. I have worked closely with Timothy Murray in both his capacity as a member of my committee, as well as his position as Director of the Cornell Society for the Humanities. Tim’s support, insight, and friendship has been indispensable while navigating the trajectories of academia. In María Fernández I found someone committed to the close study of the history of new media arts, and her suggestions and knowledge have always helped me to produce better work. I have been honored to receive financial support that provided focused periods of writing; support to attend conferences and visit festivals or archives; and materi- als for the construction of artworks. I finished the dissertation through the support vii of the Mellon/ACLS Dissertation Completion Fellowship for the 2012–2013 aca- demic year. Previously, I was the recipient of a Andrew W. Mellon Foundation Graduate Fellowship at the Cornell Society for the Humanities during their 2011– 2012 theme year on “Sound: Culture, eory, Practice, Politics”. I also want to thank the Cornell Department of Information Science for the fellowship I received in my first year. I received travel support as a Intel Science and Technology Cen- ter for Social Computing Graduate Researcher, many times from the Cornell Uni- versity Graduate School, and via a Rose Goldsen Graduate Award to attend the transmediale festival. I additionally received funding for my artistic projects from the Cornell Council for the Arts and via a commission from turbulence.org. One of the most stimulating periods during my time at Cornell was the year that I spent as a Graduate Fellow at the Cornell Society for the Humanities. e camaraderie I felt during our discussions, lunches, and workshops highlighted the best aspects of academia. With my fellow Graduate Fellow Sarah Ensor we navi- gated the ups and downs of the academic job market. e other Fellows provided just the right mix of intellectual challenges and support. I am proud to consider them amongst my colleagues: Eliot Bates, Marcus Boon, Duane Corpis, Miloje Despic, Ziad Fahmy, Nina Sun Eidsheim, Andrea Hammer, Brian Hanrahan, Michael Jonik, Jeanette S. Jouili, Damien Keane, Brandon LaBelle, Yongwoo Lee, Eric Lott, Roger Moseley, Norie Neumark„ James Nisbet, Trevor Pinch, Jonathan Skinner, Jennifer Stoever-Ackerman, and Emily ompson. My home at Cornell was the Information Science Program and Department and the Culturally-Embedded Computing Group (CEmCom). I want to thank the following for their support throughout my time there: Phil Adams, Eric P. S. viii Baumer, Kirsten Boehner, Dan Cosley, Paul Ginsparg, Maria Håkansson, Hrönn Brynjarsdóttir Holmer, Nitesh Goyal, Shion Guha, Hansen Hsu, Steven Jackson, Laewoo Kang, Jofish Kaye, Vera Khovanskaya, Carl Lagoze, Lucian Leahu, Gilly Leshed, Meena Natarajan, Karin Patzke, Stephen Purpura, Sadat Shami, Niranjan Sivakumar, Jenn om, eresa Velden, Janet Vertesi, Kaiton Williams, and David Williamson. My future home will be in the Cinema and Media Studies Program at Wellesley College. I look forward to working with my new colleagues there, Maurizio Viano and Winifred Wood. Portions of this work have been presented in many venues over the past six years, and I want to acknowledge the feedback, thought-provoking questions, and generosity I received from audience members and colleagues: University at Buffalo; Wellesley College; Pratt Institute; Stevens Institute of Technology; Society for Lit- erature, Science, and the Arts; Society for the Social Studies of Science; Science Studies Research Group at Cornell University; Department of Information Sci- ence Breakfast Series; Finger Lakes Environmental Film Festival at Ithaca College; transmediale; Piksel; University of California at Berkeley; dis/connecting/media; Emerson College; Upgrade! Boston; and Oberlin College. Friends and colleagues near and far have provided much needed personal and professional support: Rosemary Adessa, Mary Ahl, Saba Alemayehu, Stewart Auyash, TashPreetimaB., KarenM. Brummund, JessicaCarnevale, Mickey Casad, Nicole Casi, John Criscitello, Carl DiSalvo, Park Doing, Kevin Ernste, Jessica Evett, Renate Ferro, Cara Frankowicz, Leslie Garcia, Lindsey Glover, Anthony W. Graves, Jo-Anne Green, Monica Haller, Megan Halpern, Minnie Jardine, Patrick ix Lichty, Christine Liu, Polly Nordstrand, Julian Oliver, Elvira Dyangani Ose, Arzu Ozkal, Molly Reichert, Corinne Russell, Wylie Schwartz, omas Shevory, Chris- tine Stenglein, Rebekah Billings Stout, Orkan Telhan, Helen orington, Danja Vasiliev, Emily Rudolf Rocker Votruba, Wendy O. Williams, Hyejong Yoo, Pa- tricia R. Zimmermann, and Jonathan Zorn. Patricia Moses and Tom Haller provided much-appreciated hospitality during the final writing of the dissertation. Christoph Both provided me with a copy of his dissertation. e archivists at the Rockefeller Archive Center helped in tracking down names and initials. Many thanks to Gimme Coffee, CTB, Mexeo, e Shop, Stella’s, Madeline’s, and Man- ndible Cafe for fueling my work. My family has always supported me throughout this long educational journey. My aunt, Linda Arneson, provided needed gustatory and emotional support. Sadly my sister, Robin, and my dad, Philip, were not able to see this to the end. Yet I know they are looking upon its completion in joy. ank you to my mom for everything. Ixchel has left her furriness on everything I do. In the end, thanks to Claudia, whose passion, intelligence, and support infuses this work. ank you for being with me on this journey. Contents Biosketch v Acknowledgements vi Contents x List of Figures xiii Preface xvii Introduction 1 NoisyPractices ............................ 2 OnNoise ............................... 10 ChapterBreakdown .......................... 19 I Noisy Legacies of Information Theory 23 1 Excursus: On Other Information Theories 25 Shannon’s Pre-Histories . 27 Contemporaries of Shannon’s eory . 36 CONTENTS
Load more

Recommended publications
  • DAIRY MART and Gone to Sleep in Defeat
    TUESDAY, JUNE 4, 1968 t - PAGE TWENTY-POUR Average Daily Net Frees Run HmtrlifHtfr lEoftting fipraU) fVtr T lu Week Ended The Weather Jane 1, 1N8 Card Party Set Fair tonight. Low 60 to 60. About Town iianrlfFfitFr lEuming Sunny and warm tomorrow. I 15,055 First Ohurch of Christ, To Benefit FISH High In upper 80s. HaneheMter-—A City o f ViOage Chmrm SolenttiA M^Il have its regular The Consultation of Church testimony mooting tomorrow at Union (COCU) committee is VOL. LXXXVn, NO. 209 (THIRTT-SIX PAGES—TWO SECTIONS) 8 ip.m. at the church. MANCHESTER, CONN., WEDNESDAY. JUNE 6, 1968 (OlMelfled AdvertWng on F^ie S3) PRICE TEN CENTS sponsoring a card party Thurs­ A mU-<week Bible study will day, June 20, at 8 p.m. at Sec­ be conducted tomorrow at 7:80 ond Congregational Church. pm., at ’PrinVty Covenant Proceeds will be used to aid in Church. the establishment of FISH, an interdenominational service or­ The Master Mason degree ganization, in Manchester. win be conferred at a meeting FISH is being organized !n of Uriel Lodge of Masons Sat­ Manchester to help those in urday at 7:30 p.in. at the Ma­ need during an illness or an sonic Temple, Merrow. A roaat emergency. Donations are need­ beef dinner will be served at RFK Critical After Shooting ed if the program is to be put 0:30. Officers will r^earse for in operation by July 1 as the degree work Friday at 7:30 GLASS INSTALLED p.m. at the Mlasonic Temple.
    [Show full text]
  • Issue 148.Pmd
    email: nightshift@oxfordmusic.net website: nightshift.oxfordmusic.net Free every month. NIGHTSHIFT Issue 148 November Oxford’s Music Magazine 2007 Little Fish Fins are going swimmingly for Oxford’s brightest new rock sprats - interview inside NIGHTSHIFT: PO Box 312, Kidlington, OX5 1ZU. Phone: 01865 372255 NEWNEWSS Nightshift: PO Box 312, Kidlington, OX5 1ZU Phone: 01865 372255 email: nightshift@oxfordmusic.net AS HAS BEEN WIDELY Oxford, with sold-out shows by the REPORTED, RADIOHEAD likes of Witches, Half Rabbits and a released their new album, `In special Selectasound show at the Rainbows’ as a download-only Bullingdon featuring Jaberwok and album last month with fans able to Mr Shaodow. The Castle show, pay what they wanted for the entitled ‘The Small World Party’, abum. With virtually no advance organised by local Oxjam co- press or interviews to promote the ordinator Kevin Jenkins, starts at album, `In Rainbows’ was reported midday with a set from Sol Samba to have sold over 1,500,000 copies as well as buskers and street CSS return to Oxford on Tuesday 11th December with a show at the in its first week. performers. In the afternoon there is Oxford Academy, as part of a short UK tour. The Brazilian elctro-pop Nightshift readers might remember a fashion show and auction featuring stars are joined by the wonderful Metronomy (recent support to Foals) that in March this year local act clothes from Oxfam shops, with the and Joe Lean and the Jing Jang Jong. Tickets are on sale now, priced The Sad Song Co. - the prog-rock main concert at 7pm featuring sets £15, from 0844 477 2000 or online from wegottickets.com solo project of Dive Dive drummer from Cyberscribes, Mr Shaodow, Nigel Powell - offered a similar deal Brickwork Lizards and more.
    [Show full text]
  • CCRMA Fall Concert 2013
    Romain Michon is a PhD candidate at CCRMA. After graduating from two bachelors in Musicology and Computer Science in Ireland and in France, he completed a Department of Music Stanford University Masters degree in computer music at the university of Lyon (France). He worked as an engineer in several research center in computer music such as the Institut de Recherche et Coordination Acoustique/Musique (IRCAM), the Groupe de Recherche en Acoustique et en Musique Electronique (GRAME) and the Centre Interdisciplinaire d'Etudes et de Recherches sur l'Expression Contemporaine (CIEREC). Romain’s research interest mainly focuses on digital signal processing, mobile platform and web-technology for music. CCRMA Tim O'Brien is a second year Masters student at CCRMA. His interests include signal processing, progressive rock, and interesting noises. Prior to Stanford, Tim composed and preformed with various bands in New York. He holds a B.S. in physics from the University of Virginia. Fall Concert Rufus Olivier Jr.: a student of David Briedenthal of the Los Angeles Philharmonic. Member, Stanford Woodwind Quintet. Principal bassoonist of the San Francisco Opera Orchestra and S.F. Ballet Orchestra formerly with Los Angeles Philharmonic and San Francisco Symphony. International soloist and recording artist. Teaches at Mills College and Stanford University. Leland C. Smith was born in Oakland, California in 1925. He began composing in 1938 and first studied with Darius Milhaud at age 15. He did some dance band work and then served in a Navy band (and combo) for two and a half years. He studied with Roger Sessions in Berkeley, where he served as his assistant, and received his B.A.
    [Show full text]
  • Garage House Music Whats up with That
    Garage House Music whats up with that Future funk is a sample-based advancement of Nu-disco which formed out of the Vaporwave scene and genre in the early 2010s. It tends to be more energetic than vaporwave, including elements of French Home, Synth Funk, and making use of Vaporwave modifying techniques. A style coming from the mid- 2010s, often explained as a blend of UK garage and deep home with other elements and strategies from EDM, popularized in late 2014 into 2015, typically mixes deep/metallic/sax hooks with heavy drops somewhat like the ones discovered in future garage. One of the very first house categories with origins embeded in New York and New Jersey. It was named after the Paradise Garage bar in New york city that operated from 1977 to 1987 under the prominent resident DJ Larry Levan. Garage house established along with Chicago home and the outcome was home music sharing its resemblances, affecting each other. One contrast from Chicago house was that the vocals in garage house drew stronger impacts from gospel. Noteworthy examples consist of Adeva and Tony Humphries. Kristine W is an example of a musician involved with garage house outside the genre's origin of birth. Also understood as G-house, it includes very little 808 and 909 drum machine-driven tracks and often sexually explicit lyrics. See likewise: ghettotech, juke house, footwork. It integrates components of Chicago's ghetto house with electro, Detroit techno, Miami bass and UK garage. It includes four-on-the-floor rhythms and is normally faster than a lot of other dance music categories, at approximately 145 to 160 BPM.
    [Show full text]
  • (At) Miracosta
    The Creative Music Recording Magazine Jeff Tweedy Wilco, The Loft, Producing, creating w/ Tom Schick Engineer at The Loft, Sear Sound Spencer Tweedy Playing drums with Mavis Staples & Tweedy Low at The Loft Alan Sparhawk on Jeff’s Production Holly Herndon AI + Choir + Process Ryan Bingham Crazy Heart, Acting, Singing Avedis Kifedjian of Avedis Audio in Behind the Gear Dave Cook King Crimson, Amy Helm, Ravi Shankar Mitch Dane Sputnik Sound, Jars of Clay, Nashville Gear Reviews $5.99 No. 132 Aug/Sept 2019 christy (at) miracosta (dot) edu christy (at) miracosta (dot) edu christy (at) miracosta (dot) edu christy (at) miracosta (dot) edu christy (at) miracosta (dot) edu christy (at) miracosta (dot) edu Hello and welcome to Tape Op 10 Letters 14 Holly Herndon 20 Jeff Tweedy 32 Tom Schick # 40 Spencer Tweedy 44 Gear Reviews ! 66 Larry’s End Rant 132 70 Behind the Gear with Avedis Kifedjian 74 Mitch Dane 77 Dave Cook Extra special thanks to Zoran Orlic for providing more 80 Ryan Bingham amazing photos from The Loft than we could possibly run. Here’s one more of Jeff Tweedy and Nels Cline talking shop. 83 page Bonus Gear Reviews Interview with Jeff starts on page 20. <www.zoranorlic.com> “How do we stay interested in the art of recording?” It’s a question I was considering recently, and I feel fortunate that I remain excited about mixing songs, producing records, running a studio, interviewing recordists, and editing this magazine after twenty-plus years. But how do I keep a positive outlook on something that has consumed a fair chunk of my life, and continues to take up so much of my time? I believe my brain loves the intersection of art, craft, and technology.
    [Show full text]
  • The Madoffization of Society
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE CRS0010.1177/0896920512446760Monaghan and O’FlynnCritical Sociology 4467602012 provided by University of Limerick Institutional Repository Article Critical Sociology 1 –19 The Madoffization of Society: © The Author(s) 2012 Reprints and permission: A Corrosive Process in an Age of sagepub.co.uk/journalsPermissions.nav DOI: 10.1177/0896920512446760 Fictitious Capital crs.sagepub.com Lee F. Monaghan University of Limerick, Ireland Micheal O’Flynn The Open University in Ireland Abstract In 2009, US financier Bernard (Bernie) L. Madoff was jailed for 150 years after pleading guilty to running a massive ponzi scheme. While superficial condemnation was widespread, his US$65 billion fraud cannot be understood apart from the institutions, practices and fictions of contemporary finance capitalism. Madoff’s scam was rooted in the wider political prioritization of accumulation through debt expansion and the deregulated, desupervised and criminogenic environment facilitating it. More generally, global finance capital reproduces many of the core elements of the Madoff scam (i.e. mass deception, secrecy and obfuscation), particularly in neoliberalized Anglophone societies. We call this ‘Madoffization’. We suggest that societies are ‘Madoffized’, not only in the sense of their being subject to the ill-effects of speculative ponzi finance, but also in the sense that their prioritization of accumulation through debt expansion makes fraudulent practices, economic collapse and scapegoating inevitable. Keywords crisis, fictitious capital, financialization, fraud, neoliberalism, political economy Introduction In 2009, Bernard (Bernie) L. Madoff, a US financier, was jailed for 150 years after pleading guilty to running a ponzi scheme where he defrauded billions of dollars from his clients.
    [Show full text]
  • Mediated Music Makers. Constructing Author Images in Popular Music
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Helsingin yliopiston digitaalinen arkisto Laura Ahonen Mediated music makers Constructing author images in popular music Academic dissertation to be publicly discussed, by due permission of the Faculty of Arts at the University of Helsinki in auditorium XII, on the 10th of November, 2007 at 10 o’clock. Laura Ahonen Mediated music makers Constructing author images in popular music Finnish Society for Ethnomusicology Publ. 16. © Laura Ahonen Layout: Tiina Kaarela, Federation of Finnish Learned Societies ISBN 978-952-99945-0-2 (paperback) ISBN 978-952-10-4117-4 (PDF) Finnish Society for Ethnomusicology Publ. 16. ISSN 0785-2746. Contents Acknowledgements. 9 INTRODUCTION – UNRAVELLING MUSICAL AUTHORSHIP. 11 Background – On authorship in popular music. 13 Underlying themes and leading ideas – The author and the work. 15 Theoretical framework – Constructing the image. 17 Specifying the image types – Presented, mediated, compiled. 18 Research material – Media texts and online sources . 22 Methodology – Social constructions and discursive readings. 24 Context and focus – Defining the object of study. 26 Research questions, aims and execution – On the work at hand. 28 I STARRING THE AUTHOR – IN THE SPOTLIGHT AND UNDERGROUND . 31 1. The author effect – Tracking down the source. .32 The author as the point of origin. 32 Authoring identities and celebrity signs. 33 Tracing back the Romantic impact . 35 Leading the way – The case of Björk . 37 Media texts and present-day myths. .39 Pieces of stardom. .40 Single authors with distinct features . 42 Between nature and technology . 45 The taskmaster and her crew.
    [Show full text]
  • The Sculpted Voice an Exploration of Voice in Sound Art
    The Sculpted Voice an exploration of voice in sound art Author: Olivia Louvel Institution: Digital Music and Sound Art. University of Brighton, U.K. Supervised by Dr Kersten Glandien 2019. Table of Contents 1- The plastic dimension of voice ................................................................................... 2 2- The spatialisation of voice .......................................................................................... 5 3- The extended voice in performing art ........................................................................16 4- Reclaiming the voice ................................................................................................20 Bibliography ....................................................................................................................22 List of audio-visual materials ............................................................................................26 List of works ....................................................................................................................27 List of figures...................................................................................................................28 Cover image: Barbara Hepworth, Pierced Form, 1931. Photographer Paul Laib ©Witt Library Courtauld Institute of Art London. 1 1- The plastic dimension of voice My practice is built upon a long-standing exploration of the voice, sung and spoken and its manipulation through digital technology. My interest lies in sculpting vocal sounds as a compositional
    [Show full text]
  • April 2021 New Releases
    April 2021 New Releases SEE PAGE 15 what’s featured exclusives inside PAGE 3 RUSH Releases Vinyl Available Immediately 79 Music [MUSIC] Vinyl 3 CD 11 ROY ORBISON - HEMINGWAY, A FILM BY JON ANDERSON - FEATURED RELEASES Video THE CAT CALLED DOMINO KEN BURNSAND LYNN OLIAS OF SUNHILLOW: 48 NOVICK. ORIGINAL 2 DISC EXPANDED & Film MUSIC FROM THE PBS REMASTERED DOCUMENTARY Films & Docs 50 MVD Distribution Independent Releases 78 Order Form 81 Deletions & Price Changes 84 THE FINAL COUNTDOWN DONNIE DARKO (UHD) ACTION U.S.A. 800.888.0486 (3-DISC LIMITED 203 Windsor Rd., Pottstown, PA 19464 EDITION/4K UHD+BLU- www.MVDb2b.com RAY+CD) WO FAT - KIM WILSON - SLY & ROBBIE - PSYCHEDELONAUT TAKE ME BACK RED HILLS ROAD DONNIE DARKO SEES THE LIGHT! The 2001 thriller DONNIE DARKO gets the UHD/4K treatment this month from Arrow Video, a 2-disc presentation that shines a crisp light on this star-studded film. Counting PATRICK SWAYZE and DREW BARRYMORE among its luminous cast, this first time on UHD DONNIE DARKO features the film and enough extras to keep you in the Darko for a long time! A lighter shade of dark is offered in the limited-edition steelbook of ELVIRA: MISTRESS OF THE DARK, a horror/comedy starring the horror hostess. Brand new artwork and an eye-popping Hi-Def presentation. Blue Underground rises again in the 4K department, with a Bluray/UHD/CD special of THE FINAL COUNTDOWN. The U.S.S. Nimitz is hurled back into time and can prevent the attack on Pearl Harbor! With this new UHD version, the KIRK DOUGLAS-led crew can see the enemy with crystal clarity! You will not believe your eyes when you witness the Animal Kingdom unleashed with two ‘Jaws with Claws’ horror movies from Severin Films, GRIZZLY and DAY OF THE ANIMALS.
    [Show full text]
  • Nb Artistes Ville Région / Province… Nom De L'événement Création (Ou Manifestatio Nb D'artistes Manifestation De Reprise) N
    Année de Mois de la Mois de la Nb artistes Ville Région / Province… Nom de l'événement création (ou manifestatio Nb d'artistes manifestation de reprise) n Festival Afrique du Sud Johannesburg Gauteng Street Art Cinemart 2018 10 Festival Afrique du Sud Johannesburg Gauteng City of Gold Art Festival 2013 10 12 Meeting of Styles South Festival Afrique du Sud Johannesburg Gauteng Africa 2018 4 12 Anfiteatro de Poéticas Festival Argentine Esteban Echeverria Buenos Aeres Urbanas 2019 9 Festival Australie Benalla Victoria Wall to Wall festival 2015 4 23 Festival Australie Bendigo Victoria Paint Jam 8 Festival Australie Brisbane Queensland BSAF 2016 5 115 Nouvelle Galle du Festival Australie Caringbah Sud Walk the Wall Festival 2018 11 40 Festival Australie Darwin Territoire du Nord Darwin Street Art Festival 2017 9 17 Festival Australie Frankston Victoria The big Picture Festival 2018 3 10 Festival Australie Jamestown Australie du Sud Jamestown mural fest 9 18 Festival Australie Melbourne Victoria Can’t do Tomorrow 2020 2 54 Festival Australie partout Stencil Art Prize 2009 x 70 Nouvelle Galle du Festival Australie Port Kembla Sud Wonderwalls Festival 2012 2 10 Festival Australie Rochester Victoria Rochester Mural Festival 2015 2 8 Davies Construction Festival Australie Sheffield Tasmanie International Mural Fest 2003 4 9 Nouvelle Galle du Festival Australie The Entrance Sud Chalk Urban Art 2005 1 Année de Mois de la Mois de la Nb artistes Ville Région / Province… Nom de l'événement création (ou manifestatio Nb d'artistes manifestation de reprise)
    [Show full text]
  • Movies from the 1970S
    1 / 2 Movies From The 1970s A look at the Bollywood films that shaped 1970s. Arguably the most influential decade vis-à-vis its impact on India's popular culture, the decade .... Best movies of the 1970s: From Chinatown to Foxy Brown · Badlands (1973) · The Devils (1971) · Moonraker (1979) · Chinatown (1974) · The Wicker .... Vansploitation: Like hot-rod and biker movies of the 1950s and 1960s, the 1970s was the golden age of movies about vans.. Top Ten Sci-Fi Movies of the 1970s ... things happened in the cinema of the seventies, but it was not a great decade for science fiction movies.. Indie movies today show the real Manhattan... like Pi or Girlfight. My favorite NYC 70s movie is Serpico - Al Pacino wears some tough clothes!. I would say 1960's to 1970's, somewhere in that range. Two pivotal films that reinvented the genre of wuxia movie making came out in the late 1960's: King Hu's .... The 140 Essential 1970s Movies. #140. The Last House on the Left (1972) 62% #139. The Towering Inferno (1974) 69% #138. The Tenant (1976) 88% #137. Sholay (1975) 92% #136. Watership Down (1978) 82% #135. Grey Gardens (1975) #134. Salò o le 120 giornate di Sodoma (Salò, or the 120 Days of Sodom) (1979) #133. Pink .... Best 70s movies · 1. The Godfather Part II (1974) · 2. Star Wars (1977) · 3. Alien (1979) · 4. One Flew Over The Cuckoo's Nest (1975) · 5. Jaws (1975) · 6. Apocalypse .... '70s kung fu movies are some of the most badass martial arts films of all time due to their fearless actors and fighters.
    [Show full text]
  • Popular Music in Germany the History of Electronic Music in Germany
    Course Title Popular Music in Germany The History of Electronic Music in Germany Course Number REMU-UT.9811001 SAMPLE SYLLABUS Instructors’ Contact Information Heiko Hoffmann heiko.hoffmann@nyu.edu Course Details Wednesdays, 6:15pm to 7:30pm Location of class: NYU Berlin Academic Center, Room “Prenzlauer Berg” (tbc) Prerequisites No pre-requisites Units earned 2 credits Course Description From Karlheinz Stockhausen and Kraftwerk to Giorgio Moroder, D.A.F. and the Euro Dance of Snap!, the first nine weeks of class consider the history of German electronic music prior to the Fall of the Wall in 1989. We will particularly look at how electronic music developed in Germany before the advent of house and techno in the late 1980s. One focus will be on regional scenes, such as the Düsseldorf school of electronic music in the 1970s with music groups such as Cluster, Neu! and Can, the Berlin school of synthesizer pioneers like Tangerine Dream, Klaus Schulze and Manuel Göttsching, or Giorgio Moroder's Sound of Munich. Students will be expected to competently identify key musicians and recordings of this creative period. The second half of the course looks more specifically at the arrival of techno, a new musical movement, and new technology in Berlin and Germany in the turbulent years after the Fall of the Berlin Wall, up to the present. Indeed, Post-Wall East Berlin, full of abandoned spaces and buildings and deserted office blocks, was the perfect breeding ground for the youth culture that would dominate the 1990s and led techno pioneers and artists from the East and the West to take over and set up shop.
    [Show full text]