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Curriculum Vitae, Paris-Venice-Budapest-Skopje, Author Project of E.D
EVGENIJA DEMNIEVSKA [email protected] 1972 Finished the post-graduate studies at the Academy of Arts in Belgrade, SerBie 1973-76 Visited Japan, the Tokyo University of Arts - Tokyo GeiJutsu Daigaku as a fellow of the Japanese Government, MomBusho scholarship. 1976 Gained her Master's Degree at the Tokyo University of Arts - Tokyo GeiJutsu Daigaku Member of French artists society « La maison des artistes » since 1981 Active in painting, installations, video, interactive proJects, fax and Internet proJects with participation of artists and the spectators. AWARDS 1969 Painting award of the Academy of Fine Art, Belgrade 1981 Ransom award of the OctoBer Salon, Belgrade 1982 Painting award at the 23rd October Salon, Belgrade First prize for painting at the exhibition Belgrade Inspiration of Artists, Gallery of the Cultural Center, Belgrade 1983 Award for the portrait of Milena Pavlovic-Barili at the Biennial of Milena Pavlovic-Barili, Pozarevac Award of the Academy of Science and Art from ZagreB at the Triennial of Yugoslav Drawing, Sombor Award of the spectators at the Biennial of Yugoslav Art, New York 1986 Painting award at the Exhibition Ecka ‘85, Zrenjanin 1997 Internet project Evrinomin Gambit\Chaos in Action nominated as one of the three most original projects realized during the European Telework Week), Brussels, Belgium 2014 Digital work "Janus" was selected at the Call for projects of the Municipality of Montreuil, France. WORKS IN COLLECTIONS Museum of Contemporary Art, Belgrade National Museum, Belgrade Cit Museum of KraguJevac -
Tales of the Tape: Cassette Culture, Community Radio, and the Birth Of
Creative Industries Journal, 2015 http://dx.doi.org/10.1080/17510694.2015.1090229 Tales of the tape: cassette culture, community radio, and the birth of rap music in Boston Pacey Fostera* and Wayne Marshallb aManagement and Marketing Department, College of Management, University of Massachusetts-Boston, 100 Morrissey Blvd. Boston, MA 02125, USA; bLiberal Arts Department, Berklee College of Music, 1140 Boylston St. Boston, MA 02215, USA Recent scholarship on peer-oriented production and participatory culture tends to emphasize how the digital turn, especially the Internet and the advent of the so-called ‘social web’, has enabled new forms of bottom-up, networked creative production, much of which takes place outside of the commercial media. While remarkable examples of collaboration and democratized cultural production abound in the online era, a longer view situates such practices in histories of media culture where other convergences of production and distribution technologies enabled peer-level exchanges of various sorts and scales. This essay contributes to this project by examining the emergence of a local rap scene in Boston, Massachusetts in the mid- late 1980s via the most accessible ‘mass’ media of the day: the compact cassette and community radio. Introduction Recent scholarship on peer-oriented production and participatory culture tends to empha- size the special affordances of the digital turn, especially the Internet and the advent of the so-called ‘social web’ (Benkler 2006; Lessig 2008; Shirky 2008). While remarkable examples of collaboration and democratized cultural production abound in the online era, a longer view situates such practices in histories of media culture where other convergen- ces of production and distribution technologies enabled peer-level exchanges of various sorts and scales. -
Hmong Music in Northern Vietnam: Identity, Tradition and Modernity Qualification: Phd
Access to Electronic Thesis Author: Lonán Ó Briain Thesis title: Hmong Music in Northern Vietnam: Identity, Tradition and Modernity Qualification: PhD This electronic thesis is protected by the Copyright, Designs and Patents Act 1988. No reproduction is permitted without consent of the author. It is also protected by the Creative Commons Licence allowing Attributions-Non-commercial-No derivatives. If this electronic thesis has been edited by the author it will be indicated as such on the title page and in the text. Hmong Music in Northern Vietnam: Identity, Tradition and Modernity Lonán Ó Briain May 2012 Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music University of Sheffield © 2012 Lonán Ó Briain All Rights Reserved Abstract Hmong Music in Northern Vietnam: Identity, Tradition and Modernity Lonán Ó Briain While previous studies of Hmong music in Vietnam have focused solely on traditional music, this thesis aims to counteract those limited representations through an examination of multiple forms of music used by the Vietnamese-Hmong. My research shows that in contemporary Vietnam, the lives and musical activities of the Hmong are constantly changing, and their musical traditions are thoroughly integrated with and impacted by modernity. Presentational performances and high fidelity recordings are becoming more prominent in this cultural sphere, increasing numbers are turning to predominantly foreign- produced Hmong popular music, and elements of Hmong traditional music have been appropriated and reinvented as part of Vietnam’s national musical heritage and tourism industry. Depending on the context, these musics can be used to either support the political ideologies of the Party or enable individuals to resist them. -
Literature for the 21St Century Summer 2013 Coursebook
Literature for the 21st Century Summer 2013 Coursebook PDF generated using the open source mwlib toolkit. See http://code.pediapress.com/ for more information. PDF generated at: Sun, 26 May 2013 16:12:52 UTC Contents Articles Postmodern literature 1 Alice Munro 14 Hilary Mantel 20 Wolf Hall 25 Bring Up the Bodies 28 Thomas Cromwell 30 Louise Erdrich 39 Dave Eggers 44 Bernardo Atxaga 50 Mo Yan 52 Life and Death Are Wearing Me Out 58 Postmodernism 59 Post-postmodernism 73 Magic realism 77 References Article Sources and Contributors 91 Image Sources, Licenses and Contributors 94 Article Licenses License 95 Postmodern literature 1 Postmodern literature Postmodern literature is literature characterized by heavy reliance on techniques like fragmentation, paradox, and questionable narrators, and is often (though not exclusively) defined as a style or trend which emerged in the post–World War II era. Postmodern works are seen as a reaction against Enlightenment thinking and Modernist approaches to literature.[1] Postmodern literature, like postmodernism as a whole, tends to resist definition or classification as a "movement". Indeed, the convergence of postmodern literature with various modes of critical theory, particularly reader-response and deconstructionist approaches, and the subversions of the implicit contract between author, text and reader by which its works are often characterised, have led to pre-modern fictions such as Cervantes' Don Quixote (1605,1615) and Laurence Sterne's eighteenth-century satire Tristram Shandy being retrospectively inducted into the fold.[2][3] While there is little consensus on the precise characteristics, scope, and importance of postmodern literature, as is often the case with artistic movements, postmodern literature is commonly defined in relation to a precursor. -
Newsweek Article
Turkish Delight After so many decades of trying to become Western, Istanbul glories in the rediscovery of a very modern identity. European or not, it is one of the coolest cities in the world. By Owen Matthews and Rana Foroohar Newsweek International Aug. 29, 2005 issue - Spend a summer night strolling down Istanbul's Istiklal Caddesi, the pedestrian thoroughfare in the city's old Christian quarter of Beyoglu, and you'll hear something surprising. Amid the crowds of nocturnal revelers, a young Uzbek-looking girl plays haunting songs from Central Asia on an ancient Turkic flute called a saz. Nearby, bluesy Greek rembetiko blares from a CD store. Downhill toward the slums of Tarlabasi you hear the wild Balkan rhythms of a Gypsy wedding, while at 360, an ultratrendy rooftop restaurant, the sound is Sufi electronica— cutting-edge beats laced with dervish ritual. And then there are the clubs—Mojo, say, or Babylon—where the young and beautiful rise spontaneously from their tables to link arms and perform a complicated Black Sea line dance, the horon. The wonder is that each and every one of these styles is absolutely native to the city, which for much of its history was the capital of half the known world. The sounds of today's Istanbul convey something important. They're evidence of a cultural revival that's helping the city reclaim its heritage as a world-class crossroads. After decades of provincialism, decay and economic depression—not to mention the dreary nationalism mandated by a series of governments dominated by the military—Istanbul is re-emerging as one of Europe's great metropolises. -
The P0litics of S0und / the Culture 0F Exchange
The P0litics of S0und / The Culture 0f Exchange Online Panel Discussion Live from January 31 - March 23 2005 with Kenneth Goldsmith, Douglas Kahn and John Oswald Moderated by Lina Dzuverovic Lina Dzuverovic Subject: The P0litics of S0und / The Culture 0f Exchange Posted: Jan 31, 2005 2:12 PM The practice of cutting-up, appropriating and repurposing existing content in the creation of new artworks was central to 20th century artistic practice. From Marcel Duchamp’s ‘Erratum Musical’ (1913) which spliced together dictionary definitions of the word ‘imprimer’ with a score composed from notes pulled out of a hat, via William Burroughs’s and Brion Gysin’s ‘cut-up’ technique used to allow new meanings to ‘leak in’ by re-cutting existing texts, to John Oswald’s releases which mixed and altered several musical sources, the history of the 20th century avant-garde can be read as the history of appropriation. The availability, immediacy and ease of use of digital networked technologies in the last decade has made the link between the notion of 'the original' and artistic value more tenuous than ever, ushering in a new chapter in the debate around appropriation and the role of the author. The early years of the Internet enabled independent musical and artistic networks to flourish and operate somewhat ‘under the radar’ of commercial production, often establishing their own gift economies and adhering to rules decided by the network participants themselves. But this brief period of ‘making it up as we go along’ when it comes to file sharing, distribution and exchange is coming to an end in the face of endless attempts by the music industry to understand, co-opt, capitalize on and engage with cultures of exchange introduced by online networks and grassroots initiatives. -
Marc-Thesis.Pdf
THE LVN MIXTAPES: USING AUGMENTED AUDIOTAPES FOR STORY SHARING by Marc Exposito Gomez B.Sc., La Salle - Ramon Llull University (2015) Submitted to the Program in Media Arts and Sciences, School of Architecture and Planning, in partial fulfillment of the requirements for the degree of Master of Science in Media Arts and Sciences at the Massachusetts Institute of Technology September 2019 @ Massachusetts Institute of Technology, 2019. All rights reserved Author Signature redacted Program in Media Arts and Sciences August 2nd, 2019 Certified by Signature redacted , Deb Roy Professor, Program in Media Arts and Sciences Accepted by Signature redacted MASSACHU~SJTTS INSTITUTE >TodMachover OF TKWLOG-- A emic Head, Program in Media Arts and Sciences OCT04O19 Ti LIBRARES THE LVN MIXTAPES: USING AUGMENTED AUDIOTAPES FOR STORY SHARING by Marc Exposito Gomez Submitted to the Program in Media Arts and Sciences, School of Architecture and Planning, on August, 2nd, 2019 in partial fulfillment of the requirements for the degree of Master of Science in Media Arts and Sciences Abstract In the course of this thesis, I present a novel listening medium aimed to increase the awareness of the local community through story dissemination. Supported by the growing collection of recorded conversations from the Local Voices Network (LVN), I propose to use augmented audiotapes and the culture of mixtapes to physically embody the stories and views of the community. The use of cassettes provides a medium for self-reflection, generates curiosity for exploration, and ultimately enables face-to-face interactions and social sharing. This thesis describes the process of designing, building, and experimenting with this participatory media. -
1/ED. LETTER 14/10/04 11:05 Page 1
KAPAK2 14/10/04 11:10 Page 1 1/ED. LETTER 14/10/04 11:05 Page 1 ABOUT THE RC QUARTERLY h, the joys of spring! Having finally packed away our woolen sweaters and boots after a bitter winter, we thought we would do a little spring welcoming of our own. In this issue's Who's Who on Campus, we feature the impressive school gardens, and the dedicated staff who created a greenhouse just to maintain it. Did you know there are green parrots living in trees near the Plateau? Or that the Maze was originally a labyrinth created by a Sultan's jeweler? Neither did we. Read on! This issue also features a detailed profile of RC alumni in the Turkish diplomatic corps, past and present, that pays homage to the foreign policy contributions of several early pioneers (p. 34). Coincidentally, the profile came as the RC Model United Nations team held a three-day forum for 14 Istanbul schools to discuss -€3- policy issues affecting youth today (p. 13). As headmaster Livy -0- Merchant remarked at the opening assembly, "There is a particu¬ lar importance for Turkish youth to study international relations. This is a time when many students are interested only in their own future and welfare. But this is also a time when the future of this country is bound up with the future of the world political and economic systems. Turkey desperately needs young people who will give time or even their whole career to helping Turkey in this regard... If this conference inspires even five of you to enter into this field, it will be a wonderful contribution to the future of Turkey." We look forward to hearing more about these budding diplomats in future years. -
31295017082362.Pdf (961.5Kb)
D.I.Y. MUSIC PRODUCfiON: YOUR MUSIC, YOUR WAY- THE HISTORY A.~D PROCESS by Travis N. Nichols A SENIOR THESIS Ill GENERAL STUDIES Submitted to the General Studies Council in the College of Arts and Sciences at Texas Tech University in Partial fulfillment of the Requirements for the Degree in BACHELOR OF GENERAL STUDIES A}}Pfoved DR. ST~VEN1>AA10N Depattment of Music Chairperson of Thesis Committee DR. BRUCE CLARKE Department of English Accepted DR. i1fcHAEL scHOENEC'RE Director of General Studies May2002 ACKNOWLEOOMENTS I would like to thank Dr. Steven Paxton and Dr. Bruce Clarke for their help and consideration in writing this thesis. I would also like to thank Dr. Schoenecke and linda Gregston for their extensive support in my collegiate career. ii TABLE OF CONTENTS ACKNOWLEDGEMENTS .................................................................................. .ii CHAPTER I. INTRODUCTION ..................................................................... t II. Why DIY? THE HISTORY ....................................................... 2 III. THE PROCESS: DOING IT YOURSELF ................................. s IV. ACTION: AN EXAMPLE IN COMPLETION .......................... 9 V. AR1WORK FOR THE ALBUM .............................................. 13 VI. CONCLUSION ........................................................................ 15 BIBLIOGRAPHY ................................................................................................ t6 ... lll CHAPTER I INTRODUCTION It is a battle cry against corporate acquisition and -
Chapter 7 Chapter 7
CHAPTER 7 7 CHAPTER THE FUTURE OF CASSETTE CULTURE At the end of the frst decade of the 2000s, the audiocassette has become the object of a strange anachronous revival in the North American Noise scene. I am handed new cassette releases by Noisicians; tapes are sold at Noise shows, in small stores, and by online distributors; and cassettes are reviewed in fanzines and blogs. Many new Noise recordings are issued on tape only, and several cassette labels have sprung up over the past few years. Dominic Fernow (a.k.a. Prurient) of Hospital Productions argues that cassette tapes are essential to the spirit of Noise: “I can’t imagine ever fully stopping tapes, they are the symbol of the underground. What they represent in terms of availability also ties back into that original Noise ideology. Tapes are precious and sacred items, not disposable. It’s in- credibly personal, it’s not something I want to just have anyone pick up be- cause it’s two dollars and they don’t give a fuck” (Fernow 2006). All of this takes place years after the cassette has vanished from music retail and its playback equipment has become technologically obsolescent.1 Although a very few small independent stores carry newly released cassettes, new Noise tapes are more commonly distributed via mail order or through in- person exchange, most often directly with the artist. Cassettes, too, are everywhere in contemporary visual arts and fashion, both as nostalgic CHAPTER 7 CHAPTER symbols of 1980s pop culture and as iconic forms of new independent de- sign. -
Conference Programme.Pdf
easa EuropeanEuropean Association Association of Social of Anthropologists Social Anthropologists Association EuropéenneAssociation des Européenne Anthropologues des Anthropologues Sociaux Sociaux Timetable Tue 10 July Wed 11 July Thu 12 July Fri 13 July 09.00 – 09.30 Plenary A Plenary B Plenary C 09.30 – 10.00 10.00 – 10.30 10.30 – 11.00 11.00 – 11.30 Break Break Break Pluto reception 11.30 – 12.00 Workshop session 1 Workshop session 4 Workshop session 7 12.00 – 12.30 12.30 – 13.00 Registration 13.00 – 13.30 Lunch Lunch Lunch 13.30 – 14.00 Wenner-Gren Network convenors Grants workshop meeting 14.00 – 14.30 Getting published 14.30 – 15.00 Workshop session 2 Workshop session 5 Workshop session 8 15.00 – 15.30 15.30 – 16.00 16.00 – 16.30 Break Break Break 16.30 – 17.00 Workshop session 3 Workshop session 6 Members forum/ 17.00 – 17.30 Welcome AGM 17.30 – 18.00 Keynote 18.00 – 18.30 lecture Break Break Closing ceremony SA/AS & Wiley Berghahn reception reception 18.30 – 19.00 Welcome Roundtable Network meetings 19.00 – 19.30 reception Cruchi-fiction Applied 19.30 – 20.00 (200 capacity) ethnomusicology: concert/conference (19:00-20:45) (400 capacity) 20.00 – 20.30 Network meetings Conference banquet Bastille Day 20.30 – 21.00 (Starts 19:30) celebrations in Paris (infinite 21.00 – 21.30 capacity) 21.30 – 22.00 22.00 – 22.30 22.30 – 23.00 Cover art: Plateau de divination (Bénin) © Musée du quai Branly, photo : T. Ollivier, M. Urtado Fétiche anthropomorphe kono (Mali) © Musée du quai Branly, photo : C. -
East Meets West
travel istanbul Whether its aromas of spice and shoe polish, sights of dazzling ceramics, flavours of Loukoum and Kofte, touch of soft silks, or just the sound of boats chugging along the East meets Bosphorus, Istanbul is a city that keeps your sensory perceptions on red alert. Capital to three of the world’s greatest Empires, and west inspiration for Agatha Christie’s Murder on the Orient Express, Istanbul is home to What’s new in Istanbul? We explore the exquisite architecture, vibrant markets and Turkish delight epitomised by its heady mix top class restaurants. of traditional and modern culture Boosted by a burst of foreign investment and a burgeoning youth Words » Heidi Fuller-love population, this city is currently experiencing a renaissance. ‘Modern Istanbul has as much dynamism as New York,’ says Genco Gulan, director of the Istanbul Contemporary Art Museum. Cultural, economic, and financial centre of Turkey, modern Istanbul is a sprawling metropolis, split into 32 main districts, with most of the best Roman, Byzantine and Ottoman architectural gems contained in the city’s compact historical peninsula on the southern shore of the Golden Horn. This area can easily be explored on foot, but if you want to go further afield take a tram from Taksim Square, hop on the brand new metro line that fans out from Beyoğlu, or flag down a cheap yellow taxi. From ancient Yali architecture to new museums, like the Istanbul Modern; from bustling bazaars to state-of-the art hotels, such as the Four Seasons, modern Istanbul bridges the gap between cultures, styles and ages.