DOCSLIB.ORG

ASPECTS of the ART/SCIENCE EQUATION – MEDIA ART MEETS HIGH ENERGY PHYSICS Chris Henschke, School of Media & Communication

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
ASPECTS of the ART/SCIENCE EQUATION – MEDIA ART MEETS HIGH ENERGY PHYSICS Chris Henschke, School of Media & Communication ASPECTS OF THE ART/SCIENCE EQUATION – MEDIA ART MEETS HIGH ENERGY PHYSICS Chris Henschke, School of Media & Communication, RMIT University, Mel- bourne, Australia E-mail: [email protected] Abstract In this paper the argument is made that formal and methodological relationships exist between media art and particle physics. This argument is supported Fig. 1. Infra-red experiment (untitled detail) © Chris Henschke by examples from artist-in-residence projects under- physics, and these can be revealed taken by Chris Henschke at the Australian Synchro- arts have led to a mistrust of it within the tron. Through the development of collaborative through art / science residencies and experiments using a hands-on and emergent meth- projects. I will use my residency experi- sciences, and even in wider culture. Staf- odology, correlations were found between the two ford writes that ‘cultural bias, convinced disciplines, and material was developed for the ences to support this argument, and alt- hough largely limited to personal pro- of the superiority of written or proposi- production of artworks. The development of, and tional language… devalues sensory af- responses to the works are discussed, and, in con- jects and outcomes, the experiences clusion, a plea is made to artists working with gained during these activities provide fective and kinetic forms of communica- scientific research to be more critically aware and insights into the art / science equation. tion precisely because they often baffle engaged. verbal resolution’ [7]. And yet, although Keywords: media art, particle physics, Australian Historical and philosophical factors it may seem paradoxical, in science the Synchrotron, CERN The influential physicist and philosopher visualization and ‘witnessing of a phe- Karl Popper states that scientific discov- nomenon … is essential to its acceptance Introduction in the body of natural knowledge’ [8]. Art and science seem to be very different eries are born from processes of stimula- tion and the release of inspiration, which This has been the case since the time of disciplines, but are they really so una- Faraday, who made drawings to develop like? What happens when art comes into itself is not a scientific or logical pro- cess. Popper argues that every discovery his revolutionary understanding of elec- contact with science in settings such as tromagnetism and used public demon- the Australian Synchrotron and CERN, contains ‘an irrational element or a crea- tive intuition’, which the scientist then strations to increase people’s understand- the European Organization for Nuclear ing of his theories. Research? What results when these ‘critically judges, alters, or rejects’ in accordance with the epistemological worlds collide? The conflicts around the role of images framework of falsifiability [3]. Addition- al non-scientific forces also influence the in science are found even in the heart of The Australian Synchrotron is a device modern physics. The pillars of twentieth two hundred metres in circumference development of scientific “paradigms”, including historical, economic and polit- century physics, Einstein and Heisen- that accelerates electrons to ninety-nine berg, fundamentally disagreed over the percent of the speed of light; it is also the ical factors, as well as the intuitions and passions of the researchers [4]. Such interpretation of the same quantum me- community of scientists, engineers and chanical experiments, to the point where other personnel who harness the energy factors are also present in the develop- ment of art movements; the art critic Heisenberg stated that he found Ein- emitted from the device with which they stein’s visualizations ‘disgusting’ [9]. In conduct experiments. This is done in Ernest Gombrich pointing out that the ‘idea of pure observation has proved a contemporary physics, images are rou- accordance with the empirical method, a tinely used to assist in the analysis of rigorously structured process of develop- mirage in science no less than in art’ [5]. However, unlike the properties the even the most abstract properties (alt- ing theories based upon observations of hough contention over interpretation still natural phenomena. Scientists undertake physical sciences deal with, art does not need to objectively define or illustrate exists). Digital visualization tools are experiments to test their theories against widely used to represent data in physics, the phenomena in question, and, through specifics. Instead, to use an analogy pro- posed by philosopher Barbara Maria and many equivalent tools are used in adjusting both the theory and the exper- digital art. iment, arrive at a clear and precise fit of Stafford, art can be seen as a mirror held up to reflect aspects of the world, which theory to observation. This method Residency at the Australian Synchro- seems to be at odds with the practice of ‘collects and brings within its circumfer- ence all that lies scattered about us and tron, 2007 art, which is popularly perceived as be- The factors described above provided me ing driven by subjective, inward-looking, re-launches it in sharper or cloudier form’ [6]. The mirror of art does not with initial points of connection to the and irrationally inspired individuals [1]. scientists I worked with at the Australian Such clichéd generalizations tend to perfectly reflect reality, nor does it in- tend to. It is more like a fun-house mir- Synchrotron. I undertook two artist resi- describe a superficial disparity between dencies, in 2007 and 2010, respectively these ‘Two Cultures’ [2]. However, I ror, yet its distortions are sometimes constructed with a precision akin to the through the Arts Victoria and the Aus- argue that connections exist between the tralia Council 'Synapse' program, both of disciplines of media art and experimental exactitude found in science. Such image incongruences employed in the visual which were mediated through the Aus- Please reference as: [Author(s)-of-paper] (2013) [Title-of-paper] in Cleland, K., Fisher, L. & Harley, R. (Eds.) Proceedings of the 19th International Symposium of Electronic Art, ISEA2013, Sydney. http://ses.library.usyd.edu.au/handle/2123/9475 Page numbering begins at 1 at the start of the paper. tralian Network for Art and Technology. From discussions with various scientists and engineers at the complex, who all worked in ultra-specialized fields, each of which may take a lifetime to fully understand, I began to realize that the synchrotron is a device of such complex- ity that it is ultimately unknowable. That is, it is impossible for any one person to completely understand all of its scientific and technological dimensions, even among those who build such devices. This state is described by philosopher Jurgen Habermas' term “neue- unubersichlichkeit” – that is, a state of total unsurveyability in the modern Fig. 2. The New Sun (detail) © Chris Henschke world [17]. Habermas posits that this creates a pessimism towards complex The Protein Crystallography beamline is The New Sun (Fig. 2) is a twenty metre technology and its increasing ‘probabil- the highest energy beam at the Synchro- translucent print on acrylic panels that ity of dysfunctional secondary effects’, tron, and allows scientists to see struc- paints a ‘synchrotron portrait’, using the stating ‘forthright “helplessness” more tures on a molecular scale. I set up and synchrotron itself as both the subject of and more replaces attempts to find orien- conducted such an experiment, and de- the work and the brush used to paint it. tation determined by and directed toward veloped animations made from the data The piece was made by collaging the the future. It may be that the situation is taken from an insulin molecule I scanned synchrotron's engineering diagrams with objectively obscure’ [18]. However, in the X-ray beam. I was inspired to un- the light captured from the Optical Diag- given art’s its ability to express that conventionally capture and process the nostics, Infra-Red, Soft X-ray and Pro- which cannot be rationally comprehend- visual data by an eloquent outburst from tein Crystallography beamlines, overlaid ed, can art manifest, and thus maybe a usually reserved scientist, who told me with the visible spectrum of the sun. This even sublimate, such a state of unsur- that seeing the sample on its micron work attempts to convey the overwhelm- veyability? scale would be like gazing up at an infi- ingly complex and yet finely balanced nite sky of endlessly repeated electron nature of the synchrotron. Commis- During my residencies I used digital constellations. My result, empirical in a sioned in 2008, and developed with peo- media to develop processes that brought scientifically meaningless way, sought to ple in the science, engineering, and ex- together different aspects of the practices capture that poetic insight, using the raw ternal relations departments, the work used at the Synchrotron. These processes images to visually create what I felt it was initially designed to be placed in were loosely based on their methods of would be like to inhabit such a micro- front of the actual synchrotron, providing undertaking experiments and collecting cosmic space. an impossible view into the heart of the data and sought to probe the nature of device. The title of the mural is from an materials and in a sense materiality. The Accelerator experiment Einsturzende Neubauten song; the cho- techniques I developed allowed me to During my – residency I was inspired by rus of which is “The new sun burns more bring together formal and conceptual the accelerator physicists’ description of than it illuminates” [19]. Perhaps such elements of the synchrotron in various the precise combination of magnetic critical elements are too subtle, but if I combinations, often with unexpected fields and electric forces in the hundreds used more explicit means such as radia- results. of magnets that drive the Synchrotron, tion symbols, the more reactionary scien- which they call the “synchrotron tune”. tists may not have allowed the work to Infra-red Beamline experiment Several accelerator physicists and I de- be put up.
Load more

Recommended publications
  • Introduction Musicking As a Cultural Practice Unless Otherwise Noted, All
    Notes Introduction Musicking as a Cultural Practice Unless otherwise noted, all translations from German are my own. Likewise, all italics within quotations appear in the original text unless indicated by my own emphasis. 1. Hannah Arendt, Men in Dark Times (New York: Harcourt Brace & Company, 1968). 2. For a “utopian” reading of these emancipatory practices, see Slavoj Žižek, The Year of Dreaming Dangerously (London: Verso Press, 2012). 3. Friedrich Hölderlin, “Patmos,” in Hymns and Fragments, trans. Richard Sieburth (Princeton: Princeton University Press, 1984), 89. 4. For a damning assessment of this political era from a perspective similar to the critical theory of the Frankfurt School, see Robert Hullot-Kentor, Things Beyond Resemblance: Collected Essays on Theodor W. Adorno (New York: Columbia University Press, 2006), 2–3. 5. Since the early twentieth century, Berlin has maintained a strong leftist political tradition (especially, in its eastern boroughs) as well as a large and diverse alternative scene of artists, musicians, and writers. While first drafting this text, Berlin was governed by an unprecedented “red-red coalition” of the center-left Social Democratic Party of Germany and the far-left Party of Democratic Socialism, which succeeded the Socialist Unity Party of Germany, the Marxist–Leninist political party that had previously ruled East Germany. 6. Rolf Dieter Brinkmann, Briefe an Hartmut. 1974–1975 (Reinbek bei Hamburg: Rowohlt Verlag, 1999), 93. 150 / notes 7. For a late capitalist study of this ideological appropriation, see Joseph Heath and Andrew Potter, Nation of Rebels: Why Counterculture Became Consumer Culture (New York: HarperCollins Publishing, 1995). 8. EA80, 2 Takte Später, self-release, 1985, LP.
    [Show full text]
  • The New Soul of an Old Machine | 80S Essentials, Industrial Revolution
    80s Essentials, Industrial Revolution [Because the decade was a formative time for so much more than just our beloved heavy metal, today we're pleased to present you with a look at fifteen essential industrial albums from the 1980s.] I’m neither historian nor sociologist enough to speak to the politico- economic milieu that shaped industrial music’s formative clatterings, but a few general observations may suffice. The advanced industrial world was hardly being ground in the same way as by the ravenous gears of the late- eighteenth/early-nineteenth century Industrial Revolution (cf. Friedrich Engels on The Condition of the Working Class in England), but the 1970s and ‘80s saw an increasingly aggressive attack on the social welfare state that had so flourished in the three or four decades since the end of World War II. The elections of Margaret Thatcher, Ronald Reagan, and Helmut Kohl (in Britain, the U.S., and West Germany, respectively) ushered in an era of neoliberal government retrenchment that would largely define the domestic political debate in the years to follow, while throwing the (often uneasy) balance between capital and labor into disrepair throughout the rich world. Reagan’s tough-talking rhetoric meant that many of the signs of rapprochement and detente that had offered brief glimmers of, if not hope, then perhaps bleakly muted optimism in the 1970s gave way to a renewed era of Cold War stridency and military hand-wringing. In many ways, then, the same social, political, economic, and cultural context that led to the development of punk’s disaffected worldview and heavy metal’s increasingly doom-saying weightiness would also provide grist for the eternally wending mill of nascent musical experimentalism that gradually coalesced into industrial music.
    [Show full text]
  • Strange Sounds Strange Sounds This Page Intentionally Left Blank Strange Sounds
    Strange Sounds Strange Sounds This page intentionally left blank Strange Sounds Music, Technology, &Oulture TIMOTHY D. TAYLOR ROUTLEDGE NEW YORK LONDON Published in 2001 by Routledge 270 Madison Ave, NewYorkNY 10016 Published in Great Britain by Routledge 2 Park Square, Milton Park, Abingdon, Oxon, OX14 4RN Routledge is an imprint of the Taylor & Francis Group. Transferred to Digital Printing 2010 Copyright © 2001 by Routledge All rights reserved. No part of this book may be printed or reproduced or utilized in any form or by electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording or in any information storage or retrieval system, without permission in writing from the publisher. The publisher and author gratefully acknowledge permission to reprint the following: An earlier version of chapter 7 appeared as "Music at Home, Politics Afar" in Decomposition: Post-Dis­ ciplinary Performance, edited by Sue-Ellen Case, Philip Brett, and Susan Leigh Foster, © 2000 by Indiana University Press. Example 4.1, an exceprt from "Moon Moods," music by Harry Revel, © 1946, reprinted by permission of Michael H. Goldsen, Inc., and William C. Schulman. Figure 4.5 used courtesy of Capitol Records, Inc. Figure 7.2 and figure 7.3 reprinted by permission of Geert-Jan Hobijn. Figure 8.1 and figure 8.2 reprinted by permission of Synthetic Sa:dhus. Figure 8.3, figure 8.4, and figure 8.5 reprinted by permission of Tsunami Enterprises, Inc. Cataloguing-in-Publication Data is available from the Library of Congress. ISBN 0-415-93683-7 (hbk.) - ISBN 0-415-93684-5 (pbk.) Publisher's Note The publisher has gone to great lengths to ensure the quality of this reprint but points out that some imperfections in the original may be apparent.
    [Show full text]
  • Journal/Journal/Early-Yba-Videos- And-Their-Disobedient-Prehistory
    Early YBA videos and their disobedient prehistory Michael Bracewell May 2019 Issue 1 Title Early YBA videos and their disobedient prehistory Author(s) Michael Bracewell Article DOI https://doi.org/10.31452/bcj1.yba.bracewell Url https://contemporary.burlington.org.uk/journal/journal/early-yba-videos- and-their-disobedient-prehistory ISSN 2631-5661 Cite as Michael Bracewell: 'Early YBA videos and their disobedient prehistory', Burlington Contemporary Issue 1 (May 2019), https://doi.org/10.31452/bcj1.yba.bracewell About the author(s) Michael Bracewell is a writer based in West Sussex, England. Cover image: Still from Brontosaurus, by Sam Taylor-Johnson. 1994. Single-screen projection. (© Sam Taylor-Johnson; courtesy the artist). Early YBA videos and their disobedient prehistory by Michael Bracewell • May 2019 Disobedience, in the eyes of anyone who has read history, is man’s original virtue. It is through disobedience that progress has been made, through disobedience and through rebellion.1 1987 London. A sunny morning in late spring. Standing as though recently teleported to his present position, which is at the southern end of South Molton Street, is Stevo Pearce: founder of Some Bizzare Records, the intentionally misspelled label of choice for electro-futurists Soft Cell, Cabaret Voltaire and Depeche Mode; also psycho-dramatists The The, the new industrialist collective Test Dept. and their German equivalent, Einstürzende Neubauten. Stevo looks managerial: somewhat portly, suited, with an air of pinstripe gangster. He appraises his location, where the tireless commerce of the West End gives way to what is then, still, the old- world opulence of Bond Street and Mayfair – the district of art dealers – as though he has indeed arrived from another planet, rather than from a first-floor office barely a mile away, halfway down New Cavendish Street.
    [Show full text]
  • On the Picks... - HARD REPORT Peter Wolf, "Come As You Are", EMI
    THE More On The Picks... - HARD REPORT Peter Wolf, "Come As You Are", EMI. We sure Dokken, "Dream Warrior", Elektra.Don sure think it's the most obvious add this week. Pete's makes it look easy. There's nothing in this record you been out of circulation for 18 months, and it's nice to haven'theardbefore,butbetweenthecosmic hear a return to the sound that really made J. Geils (psychedelic?) production and rather bizarre pacing such a crowd pleaser.Love thekeyboards, the the guy's got you after about 15 seconds. You know double entendres and the cold close. just how he's doing it but you're powerless to resist. The huge automatic sales base should make "Dream PattySmyth, "Never Enough",Columbia. Warriorr just that. Has another new female voice this good surfaced since "Goodbye To You" charmed the world?? And Andy Taylor, "I Might Lie", MCA. Only Flock of although she's done well since then, this one's the Seagulls have a tougher image overhaul than Duran ticket to take her back to the top. A tip of the sheet to Duran (at rock radio) but damn ifMr. Taylor hasn't Rick Chertoff and the Hoots for their help on this turned the tablesinjust over 5minutes. The magnificent version of Baby Grand's best song. Marshalls are set on 11, there's nothiing prissy or frothy about the arrangement, and when he dials up Light of Day Soundtrack, Epic. How many Joan the solo, there's no doubt the man's a player. Multi Jett songs have you played? Five? Eight? Aside from format without a doubt.
    [Show full text]
  • Beats and Friends: a Check-List of Audio-Visual Material in the British Library
    BEATS AND FRIENDS: A CHECK-LIST OF AUDIO-VISUAL MATERIAL IN THE BRITISH LIBRARY http://www.bl.uk/reshelp/findhelprestype/sound/literature/literaturesound.html CONTENTS INTRODUCTION ................................................................................................... 3 WILLIAM S. BURROUGHS ..................................................................................... 5 ALLEN GINSBERG ................................................................................................ 16 JACK KEROUAC................................................................................................... 26 THE EAST COAST SCENE..................................................................................... 29 John Ashbery................................................................................................ 29 Amiri Baraka................................................................................................. 30 Ted Berrigan................................................................................................. 32 Kenward Elmslie ........................................................................................... 33 The Fugs....................................................................................................... 33 John Giorno.................................................................................................. 35 Ted Joans ..................................................................................................... 35 Leroi Jones...................................................................................................
    [Show full text]
  • Stronger Than Death: Here's Why We're Excited for the The's
    April 6, 2018 “Although comeback and reunion gigs are rarely seismic events these days, this news felt like a sudden thunderclap…” -- Annie Zaleski, Stereogum, 4/6/18 https://www.stereogum.com/1990290/stronger-than-death-heres-why-were-excited-for- the-thes-comeback/franchises/sounding-board/ Stronger Than Death: Here’s Why We’re Excited For The The’s Comeback Annie Zaleski @anniezaleski | April 6, 2018 - 4:09 pm CREDIT: Michel Delsol/Getty Images On Monday, The The announced North American tour dates. Although comeback and reunion gigs are rarely seismic events these days, this news felt like a sudden thunderclap: The eight shows mark the UK band’s first Stateside concerts since 2000, when founder/sole permanent member Matt Johnson was supporting NakedSelf, The The’s last proper studio album. In a Q&A accompanying the tour press release, Johnson explained that the death of his brother, the artist Andy “Dog” Johnson, who passed away in 2016 after spending nearly four years with a brain tumor, galvanized The The’s return. “The whole situation caused me to reflect deeply about what I want to do with my life, and so I decided to put a toe back in the water to feel the temperature,” he wrote. In a 2017 Financial Times interview, Johnson was less measured, and stressed the “urgency” he felt after losing his brother: “I’ve got to get back to what I love doing. I feel in a way as if someone’s turned on the oxygen supply again. I feel energized and excited.” That Johnson was jolted out of his inertia is somewhat of a small miracle.
    [Show full text]
  • Download the Booklet from Here
    One Man’s Weird Is Another Man’s World YYYYYY 4.23 All Covered In Darkness Pt. 1 107 BPM (K. Foakes/K. Nordine/D. Dragon) Just Isn’t Music / Rubber Frog Publishing / Hot Curl Music/BMI Contains a sample of ‘Audio Wallpaper’ by Ken Nordine and ‘Soul Teacher’ by The Dragons Drums by Dr Rubberfunk for Funkydown Productions Re-Mixed by Jeff Knowler after Mike Pelanconi, this is a different version to the original. Ken Nordine meets the Dragons in an unlikely deep space trip, Dr Rubberfunk is along for the ride. Now, Imagine YYYYYY 8.30 GIANT feat. Matt Johnson 108 BPM (M. Johnson) Complete Music / Universal Publishing Side guitar by Jeff Knowler Mixed by Jeff Knowler A cover of the closing track from The The’s classic ‘Soul Mining’ album, re-vocaled by Matt Johnson himself nearly 30 years later. This is a rework of the instrumental on ‘The Shape Of q Things That Hum’, a third ‘late night’ version is destined for ‘The oThers album, “and now the past has returned to haunt me” “There's no such thing as can’t, it gets confused with won’t" 0.59 intermission > a new language YYYYYYMalcolm McLaren (RIP) 62 BPM (P. Carpenter) Just Isn’t Music I A snatch of Mr P’s remix of ‘All Covered In Darkness’ (In 3s) and a breather before... Y 3.42 ¢ The Illectrik Hoax feat. Natural Self 130 BPM (K. Foakes/N. Pearn/Ashton/Stansfield/Kaffinetti/Gould) Just Isn’t Music / Full Thought Publishing / Carlin Music Corp/Stratsong Ltd Contains a sample of ‘Hammerhead’ by Rare Bird Natural Self appears courtesy of Tru Thoughts Ltd.
    [Show full text]
  • The Museum of Modern Art Department of Film
    The Museum of Modern Art Department of Film 11 West 53 Street, New York, N.Y. 10019 Tel: 212-708-9400 Coble: MODERNART Telex: 62370 MODART MUSIC VIDEO: THE INDUSTRY AND ITS FRINGES PRESS SCREENING ANNOUNCEMENT September 6-30, 1985 Equally striking in sound and image, music video is the subject of the exhibition MUSIC VIDEO: THE INDUSTRY AND ITS FRINGES, opening at The Museum of Modern Art on September 6. Including more than thirty videotapes, the 90-minute program runs chronologically from 1967 to the present. The survey includes such early tapes as Penny Lane and Strawberry Fields Forever by The Beatles and such recent works as Road to Nowhere, directed by David Byrne and Stephen Johnson with music by The Talking Heads, and Decoy, directed by Annabel Jankel and Rocky Morton with music by Miles Davis. Promotional tools of the music industry, music videos have brought to public attention some of the experimental image process techniques, such as kaleidoscopic and analog video synthesizer effects, developed by independent artists in the sixties, such as Woody and Steina Vasulka, Nam June Paik, and Ed Emshwiller. The music video artists have polished the techniques, shaping them into a cohesive medium that is a major force in popular culture. Popular tapes such as Beat It (1983), directed by Bob Giraldi with music by Michael Jackson, will be shown in the exhibition with more ex­ perimental works such as Sharkey's Day (1984), with music and direction by Laurie Anderson, and the rarely seen Frankie Teardrop (1978), produced by Paul Dougherty, Walter Robinson, and Edit de Ak with music by Suicide.
    [Show full text]
  • Smash-Hits-1982-01-2
    38p JANUARY 21-FEBRUARY 3 1982 volved ·re now ou secret h s bee he ers M"'ef ng for the f say hello e . en wave goodbye ayffello then wave goodb a-y hello then wave g ay he lo then wav av hji lo, wave g ay ~ello tfien ay t-eHo, say fl oodbye . Y oodb Words and music by D. Ball/ M. Almond. Reproduced by permission Metropolis/Warner Bros. Music Ltd. On Some Bizzare Records. 2 Volume 4 Number 2 SONGS i SAY HELLO, WAVE GOODBYESOFTCELL ! MAID OF ORLEANS ORCHESTRAL 11ANOEUVRES £ s LOVE PLUS ONE HAIRCUT ONE HUNDRED 0 i WE GOT THE BEAT THE GO-GO'S 3 JULIE SHAKIN' STEVENS } SENSES WORKING OVERTIME XTC Ji DROWNING lN BERLIN THE MOBILES 15 g i THE MODEL KRAFTWERK 19 e COMPUTER LOVE KRAFTWERK 19 f.; YELLOW PEARL PHILIP LYNOTT 22 "'g LANO SLIDE OLIVIA NEWTON-JOHN 24 ! BEST THAT YOU CAN DO CHRISTOPHER CROSS 25 0 .i SHE LOVED LIKE DIAMOND SPANDAU BALLET 27 .c= EASIER SAID THAN DONE SHAIATAK 27 ·2' ! F[ATUPES .c f DEPECHE MODE : BASILDON'S PREMIER BEAT ENSEMBLE ~ ARE DOWN TO A THREE PIECE FOLLOWING THE SUDDEN .F RESIGNATION Of VINCE CLARKE. WILL THEY LOSE THEIR ti MAGIC TOUCH? THEY RECKON NOT. 415 • ! THE GO-Go·s: RYE GIRLS WITH A MISSION - TO REPEAT o THEIR AMERICAN SUCCESS IN THE BRmSH ISLES. PRIMER 5.., PLUS PIN-UP. 8/9 li THE FUN BOY THREE AND BANANARAMA: BOYS AND ~ GIRLS COME OUT TO PLAY (TOGETHER) ON A NEW SINGLE. : THE FULL STOIIY IN QUOTES AND COLOUR.
    [Show full text]
  • ASCAP/BMI Comment
    Stuart Rosen Senior Vice President General Counsel November 20, 2015 Chief, Litigation III Section Antitrust Division U.S. Department of Justice 450 5th Street NW, Suite 4000 Washington, DC 20001 Re: Justice Department Review of the BMI and ASCAP Consent Decrees To the Chief of the Litigation III Section: BMI recently alerted its community of affiliated songwriters, composers and publishers to the profound impact 100% licensing would have on their careers, both creatively and financially, if it were to be mandated by the U.S. Department of Justice. In a call to action, BMI provided a letter, one for songwriters and one for publishers, to which their signatures could be added. The response was overwhelming. BMI received nearly 13,000 signatures from writers, composers and publishers of all genres of music, at all levels in their careers. Some of the industry's most well- known songwriters added their names, including Stephen Stills, Cynthia Weil, Steve Cropper, Ester Dean, Dean Pitchford, Congressman John Hall, Trini Lopez, John Cafferty, Gunnar Nelson, Lori McKenna, Shannon Rubicam and Don Brewer, among many others. Enclosed you will find the letters, with signatures attached. On behalf of BMI, I strongly urge you to consider the voices of thousands of songwriters and copyright owners reflected here before making a decision that will adversely affect both the creators, and the ongoing creation of, one ofAmerica's most important cultural and economic resources. Vert truly yours, Stuart Rosen 7 World Trade Center, 250 Greenwich Street, New York, NY 10007-0030 (212) 220-3153 Fax: (212) 220-4482 E-Mail: [email protected] ® A Registered Trademark of Broadcast Music, Inc.
    [Show full text]
  • RSD List 2020
    Artist Title Label Format Format details/ Reason behind release 3 Pieces, The Iwishcan William Rogue Cat Resounds12" Full printed sleeve - black 12" vinyl remastered reissue of this rare cosmic, funked out go-go boogie bomb, full of rapping gold from Washington D.C's The 3 Pieces.Includes remixes from Dan Idjut / The Idjut Boys & LEXX Aashid Himons The Gods And I Music For Dreams /12" Fyraften Musik Aashid Himons classic 1984 Electonic/Reggae/Boogie-Funk track finally gets a well deserved re-issue.Taken from the very rare sought after album 'Kosmik Gypsy.The EP includes the original mix, a lovingly remastered Fyraften 2019 version.Also includes 'In a Figga of Speech' track from Kosmik Gypsy. Ace Of Base The Sign !K7 Records 7" picture disc """The Sign"" is a song by the Swedish band Ace of Base, which was released on 29 October 1993 in Europe. It was an international hit, reaching number two in the United Kingdom and spending six non-consecutive weeks at number one on the Billboard Hot 100 chart in the United States. More prominently, it became the top song on Billboard's 1994 Year End Chart. It appeared on the band's album Happy Nation (titled The Sign in North America). This exclusive Record Store Day version is pressed on 7"" picture disc." Acid Mothers Temple Nam Myo Ho Ren Ge Kyo (Title t.b.c.)Space Age RecordingsDouble LP Pink coloured heavyweight 180 gram audiophile double vinyl LP Not previously released on vinyl Al Green Green Is Blues Fat Possum 12" Al Green's first record for Hi Records, celebrating it's 50th anniversary.Tip-on Jacket, 180 gram vinyl, insert with liner notes.Split green & blue vinyl Acid Mothers Temple & the Melting Paraiso U.F.O.are a Japanese psychedelic rock band, the core of which formed in 1995.The band is led by guitarist Kawabata Makoto and early in their career featured many musicians, but by 2004 the line-up had coalesced with only a few core members and frequent guest vocalists.
    [Show full text]