Critic-2013-7.Pdf

Total Page:16

File Type:pdf, Size:1020Kb

Critic-2013-7.Pdf Student Tickets $79 (+BF) WIN YOURSELF SOME TICKETS! TWO AWESOME CHANCES TO GET YOURSELF TO THE GIG THETHE QUESTQUEST FORFOR. THETHE ULTIMATEULTIMATE AEROGUITARSMITHAEROGUITARSMITH Thursday 18th April 12pm at Market Day RECREATERECREATE ANAN AEROSMITHAEROSMITH ANTHEMANTHEM and win your at tickets to the concert check out OUSA Facebook for details on how to win. STUDENT TICKETS $79(+BF) LIMITED NUMBERS AVAILABLE AT THIS PRICE, BOOK NOW AT FORSYTH BARR 2 | STADIUM, fb.com/critictearohi REGENT THEATRE OR THE EDGAR CENTER WITH STUDENT ID. EDITOR Callum Fredric [email protected] Issue 07 | April 15, 2013 | critic.co.nz DEPUTY EDITOR Zane Pocock [email protected] TECHNICAL EDITOR Sam Clark DESIGNER Dan Blackball 16 FEATURE WRITERS Loulou Callister-Baker, Maddy Phillipps NEWS FEATURES NEWS TEAM Zane Pocock, Claudia Herron, 06 | Anonymous Jerk Knocks 16 | Evidence of a Mid-Life Crisis Bella Macdonald Over Cones Loulou Callister-Baker discovers boxes in the attic containing evidence of a SECTION EDITORS 07 | Lord Monckton man’s mid-life crisis, complete with nude Sam McChesney, Basti Menkes, sketches and low-quality weed. Baz Macdonald, Josef Alton, 08 | Racist Danish Runs Gus Gawn, Tristan Keillor Rampant 20 | Three Fables of Dunedin’s Forgotten Flatters 09 | Driver admits liability in Shamelessly stealing Loulou’s idea, CONTRIBUTORS cycle death Callum Fredric tells three untold stories Thomas Stevenson, Josie Cochrane, from Dunedin’s past based on books and Sarah Bayly, Thomas Raethel, documents found at a friend’s flat. Sara Lamb-Miller, Jamie Breen, Catherine Poon, Nick Jolly, 26 | The Little Foetus in the Lucy Hunter, Gerard Barbalich, Pink Knitted Cap Campbell Ecklein, Jess Cole, A poem by Maddy Phillipps in memory Phoebe Harrop, Elsie Stone, of the little foetus in the pink knitted cap. Elsie Jacobson, M & G, Glitter Grrl, Based on a true story. Jessica Bromell, Dr. Nick, Charlotte Doyle, Ella Booray, Lyle Skipsey, Jack Montgomerie REGULAR STUFF Critic would like to thank the archival 06-15 News staff at the University of Otago 16-27 Features Hocken Library for their assistance with the cover of this issue. 28-33 Columns HOCKEN COLLECTIONS, UARE TAOKA O HĀKENA, UNIVERSITY OF OTAGO 34-39 Culture 06 40-41 Letters AD SALES 42 Comics PLANET MEDIA DUNEDIN LTD Tama Walker, Tim Couch, Gus Gawn, Josh Hannigan Critic is a member of the Aotearoa Student Press Association (ASPA). Disclaimer: the views presented within this publication do not necessarily represent the views of the Editor, Planet Media, or OUSA. Press Council: people with a complaint against a newspaper should planetmedia.co.nz first complain in writing to the Editor and then, if not satisfied with the response, complain to the Press Council. Complaints should be [email protected] addressed to the Secretary, PO Box 10-879 The Terrace, Wellington. P.O. Box 1436, Dunedin | (03) 479 5335 | [email protected] | critic.co.nz critic.co.nz | 3 Enjoy your night... ... without regret KNOW YOUR LIMIT, THINK ABOUT HOW MUCH YOU DRINK If you would like to talk to someone about your drinking please call or email 03 479 8463 Practice Nurse Chris Griffiths in confidence at Student Health Services [email protected] EDITORIAL The Magical Neverland of Dunedin unedin exists on a different plane from the rest of the world. It’s a magical place, where money appears D in your bank account every Tuesday, you can sleep until midday every day of the week, and there are very few consequences for anything you do. No other town has the same sense of charm and mystique. I still remember driving into Dunedin for the first time – as my car reached the top of the hill overlooking the city from the north, I immediately fell in love with the place. Even the warm summer breeze is quintessentially, distinctively Dunedin. You know what I’m talking about. Most people finish their degrees after four or five years in Dunedin and move to Wellington, Auckland, Australia, or London. It sounds very glam at the time, and people often claim to be sooo over Dunedin after the end of fourth year. But almost invariably, they end up missing the place hugely by March or April of their first year in the real world. No one is immune. You too will miss Dunedin when you leave. All your friends live within walking distance. You can do 10-hour weeks for most of the year while getting paid. All your friends are students and thus are nearly always free to hang out. When you’re working full-time, don’t kid yourself that you’ll live the high life four times a week with the old gang, like Dunedin but with cooler bars. Your friends will be working long hours, having children, and living in remote suburbs on the outskirts of town. You will see them approximately ¼ as often. These are the glory days. Make the most of your time in Neverland, and don’t waste your last couple of years in Dunedin feeling too old for the place. Because of its magical, timeless nature, Dunedin is perfectly suited for fables of years gone by. People like Julian Stoner (see page 22) would struggle to last three days in the real world without resorting to charity, yet he lasted three full years in Dunedin. Even baby boomers can enjoy their midlife crises without ever truly comprehending the stereotypes they have become (see page 16). But as in Michael Jackson’s Neverland and classic fables like Hansel and Gretel, the under-tens often face trials and tribu- lations in Dunedin – Maddy Phillipps dedicates a poem to the short life of the Little Foetus in the Pink Knitted Cap on page 24. This week, a bright-eyed and bushy-tailed bunch of aspiring news writers take the first step toward making the most of their time in Neverland. Nine have written news articles. Only four will survive the brutal cull over the next few weeks. The Great Intern Massacre of 2013 will go down in Dunedin history as yet another real-life fable. Good luck to you all. -Callum Fredric critic.co.nz | 5 NEWS The queue at 10am on Tuesday. heart-wrenching for students who missed out very upset, as the party was “the only reason Hyde Street on the limited ticket supply. [she] had come to Dunedin.” Students who couldn’t get their hands on one of Critic also spoke to a fourth-year student who Sold Out the 3500 tickets reportedly threatened to sneak missed out on a ticket. “Struth mate, it’s an ab- in through neighbouring properties. However, solute abomination and I’m absolutely ropeable. BY Bella Macdonald the money raised by ticket sales is designed I’m aborting the party altogether,” he vented. to cover costs for extra security personnel to ickets to the infamous Hyde Street keg remove anyone without an official wristband Conversely, some of those who opposed the party sold out by midday when they went from the street. ticketing system were not willing to miss out T on sale at OUSA on both Monday 8 and on the epic day, and planned on creating their Tuesday 9 April. Despite many students taking to Facebook own street parties. to complain about OUSA endorsing the new Although the 500 tickets available on Monday ticketing system, Hernandez believed most Hyde Street residents were allocated 11 tickets per were sold from 9am instead of 11am as publicised, students were generally supportive. “There’s person to give to their friends. This proved to be OUSA President Francisco Hernandez reported the odd Facebook troll, but meh, we’re just trying a lucrative business for those who charged their that “every man and his dog had lined up – there to help the tenants run a sweet and safe party.” friends $10 for the $2 ticket, making a healthy was a dog at the front door when we arrived profit to fund their day of festivities. at 9am.” Critic wonders, however, where the While OUSA was forced to cull numbers in order women and cats were. for the event to go ahead, the segregation of Critic goes to print on Thursday nights, and as certain groups has caused huge offence to those such will be providing extensive coverage of Tuesday morning saw approximately 250 stu- left out of the now-exclusive event. First-year the event in next week’s issue. In the mean- dents queued up before sales started. Not only students could only attend if they had been time, Critic TV’s exclusive footage will air on was the pouring rain a damper on the day, but invited by a resident or lived in a neighbouring Wednesday at 1pm in the Main Common Room exclusion from the social event of the year was street. One first-year student told Critic she was of Union Hall. Anonymous Jerk Knocks Over Cones BY CALLUM FREDRIC n unknown vandal systematically knocked down two lines of road cones two main drinking nights of the week. Alcohol the cones had not yet been returned to their A set up to protect the path on the Museum may have been a contributing factor to the of- original upright positions, potentially causing Lawn while it was being repaved. fence, as it is known to reduce inhibitions, confusion among pedestrians wishing to use The crime was committed on Thursday particularly in young people. the path. Fortunately, the cones do not appear night, which is regarded by many as one of the As Critic went to print on Thursday night, to have sustained lasting damage. 6 | fb.com/critictearohi NEWS emissions in 2009.
Recommended publications
  • Autechre Confield Mp3, Flac, Wma
    Autechre Confield mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic Album: Confield Country: UK Released: 2001 Style: Abstract, IDM, Experimental MP3 version RAR size: 1635 mb FLAC version RAR size: 1586 mb WMA version RAR size: 1308 mb Rating: 4.3 Votes: 182 Other Formats: AU DXD AC3 MPC MP4 TTA MMF Tracklist 1 VI Scose Poise 6:56 2 Cfern 6:41 3 Pen Expers 7:08 4 Sim Gishel 7:14 5 Parhelic Triangle 6:03 6 Bine 4:41 7 Eidetic Casein 6:12 8 Uviol 8:35 9 Lentic Catachresis 8:30 Companies, etc. Phonographic Copyright (p) – Warp Records Limited Copyright (c) – Warp Records Limited Published By – Warp Music Published By – Electric And Musical Industries Made By – Universal M & L, UK Credits Mastered By – Frank Arkwright Producer [AE Production] – Brown*, Booth* Notes Published by Warp Music Electric and Musical Industries p and c 2001 Warp Records Limited Made In England Packaging: White tray jewel case with four page booklet. As with some other Autechre releases on Warp, this album was assigned a catalogue number that was significantly ahead of the normal sequence (i.e. WARPCD127 and WARPCD129 weren't released until February and March 2005 respectively). Some copies came with miniature postcards with a sheet a stickers on the front that say 'autechre' in the Confield font. Barcode and Other Identifiers Barcode (Sticker): 5 021603 128125 Barcode (Printed): 5021603128125 Matrix / Runout (Variant 1 to 3): WARPCD128 03 5 Matrix / Runout (Variant 1 to 3, Etched In Inner Plastic Hub): MADE IN THE UK BY UNIVERSAL M&L Mastering SID Code
    [Show full text]
  • Generative Rhythmic Models
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Scholarly Materials And Research @ Georgia Tech GENERATIVE RHYTHMIC MODELS A Thesis Presented to The Academic Faculty by Alex Rae In Partial Fulfillment of the Requirements for the Degree Master of Science in Music Technology in the Department of Music Georgia Institute of Technology May 2009 GENERATIVE RHYTHMIC MODELS Approved by: Professor Parag Chordia, Advisor Department of Music Georgia Institute of Technology Professor Jason Freeman Department of Music Georgia Institute of Technology Professor Gil Weinberg Department of Music Georgia Institute of Technology Date Approved: May 2009 TABLE OF CONTENTS LIST OF TABLES . v LIST OF FIGURES . vi SUMMARY . viii I INTRODUCTION . 1 1.1 Background . 6 1.1.1 Improvising Machines . 6 1.1.2 Theories of Creativity . 8 1.1.3 Creativity and Style Modeling . 10 1.1.4 Graphical Models . 10 1.1.5 Music Information Retrieval . 11 II QAIDA MODELING . 14 2.1 Introduction to Tabla . 15 2.1.1 Theka . 19 2.2 Introduction to Qaida . 20 2.2.1 Variations . 21 2.2.2 Tihai . 22 2.3 Why Qaida? . 22 2.4 Methods . 24 2.4.1 Symbolic Representation . 29 2.4.2 Variation Generation . 31 2.4.3 Variation Selection . 35 2.4.4 Macroscopic Structure . 38 2.4.5 Tihai . 38 2.4.6 Audio Output . 39 2.5 Evaluation . 40 iii III LAYER BASED MODELING . 47 3.1 Introduction to Layer-based Electronica . 49 3.2 Methods . 51 3.2.1 Source Separation . 55 3.2.2 Partitioning .
    [Show full text]
  • Sonik84full.Pdf
    ww Depeche Mode by D.A. Pennebaker Chris Hegedus 101The Movie David Dawkins ΑΘΗΝΑ Προπώληση εισιτηρίων από 01.03.13 στα ταμεία του θεάτρου Badminton ΔΕΥΤΕΡΑ 01.04.13 Ολυμπιακά Ακίνητα Γουδή. Tηλ: 13855 & 210.88.40.600 Photo: Anton Corbijn. Design: Dimitris Panagiotakopoulos Kινηματογράφος ΘΕΣΣΑΛΟΝΙΚΗ Ολύμπιον Προπώληση εισιτηρίων από 01.03.13 στα ταμεία του Kινηματογράφου Ολύμπιον ΣΑΒΒΑΤΟ 06.04.13 Πλατεία Αριστοτέλους 10. Τηλ: 2310 378400 ΧΟΡΗΓΟΣ Μοναδικός. Καθημερινός. Αληθινός sonik_dm_21x27.5.indd 1 27/02/2013 3:32 μ.μ. 4 | LOGΙΝ Μηνιαίο μουσικό περιοδικό Mάρtιος 2013 ISSN: 1790-1960 Περιεχόμενα 6 My Latest Obsession 10 αναγνώστες του SONIK μας γνωστοποιούν το τελευταίο τους κόλλημα 10 SONIK World Τάσεις, εξελίξεις και προτάσεις από την παγκόσμια μουσική σφαίρα EDITORIAL 14 SONIK Greek Τάσεις, εξελίξεις και προτάσεις από την ελληνική μουσική σκηνή Τις μέρες που κλείνουμε το παρόν τεύχος, το YouTube έχει γεμίσει και αγορά σχόλια επιδοκιμασιών (αλλά και –αναμενόμενα– ειρωνειών) για το spoken word single/video “Lightning Bolts” του Nick Cave. Πέρα 18 Nick Cave «Υπάρχουν τραγούδια που πεθαίνουν με το πέρασμα του χρόνου. από τις υπερβολές περί αρχαίας τραγωδίας, μεταφορών περί κε- Οι καλές συνθέσεις σου, όμως, κάνουν μόνες τους φανερή ραυνών του Δία κ.α., ένας στίχος πρέπει να ανησυχήσει τη δική μας, την παρουσία τους.» εγχώρια μουσική ελίτ που απαξιεί να ασχοληθεί σοβαρά με το 22 Warren Ellis θέμα: «Στην Αθήνα οι νέοι κλαίνε από τα δακρυγόνα – εγώ είμαι «Από τη στιγμή που έφυγε ο Mick Harvey, το βάρος για μερικά στην πισίνα του ξενοδοχείου μου μαυρίζοντας». Δεν ξέρω αν χρει- ζητήματα έπεσε ακόμα περισσότερο στους ώμους του Nick.» αζόμαστε συμπόνια, αν οι εικόνες αυτές δεν βοηθούν τον τουρι- 28 The ch-ch-changing face of David Bowie σμό, αν απλώς είναι λαϊκίστικες κορώνες, αν απευθύνονται καν σε μας.
    [Show full text]
  • Newslist Drone Records 31. January 2009
    DR-90: NOISE DREAMS MACHINA - IN / OUT (Spain; great electro- acoustic drones of high complexity ) DR-91: MOLJEBKA PVLSE - lvde dings (Sweden; mesmerizing magneto-drones from Swedens drone-star, so dense and impervious) DR-92: XABEC - Feuerstern (Germany; long planned, finally out: two wonderful new tracks by the prolific german artist, comes in cardboard-box with golden print / lettering!) DR-93: OVRO - Horizontal / Vertical (Finland; intense subconscious landscapes & surrealistic schizophrenia-drones by this female Finnish artist, the "wondergirl" of Finnish exp. music) DR-94: ARTEFACTUM - Sub Rosa (Poland; alchemistic beauty- drones, a record fill with sonic magic) DR-95: INFANT CYCLE - Secret Hidden Message (Canada; long-time active Canadian project with intelligently made hypnotic drone-circles) MUSIC for the INNER SECOND EDITIONS (price € 6.00) EXPANSION, EC-STASIS, ELEVATION ! DR-10: TAM QUAM TABULA RASA - Cotidie morimur (Italy; outerworlds brain-wave-music, monotonous and hypnotizing loops & Dear Droners! rhythms) This NEWSLIST offers you a SELECTION of our mailorder programme, DR-29: AMON – Aura (Italy; haunting & shimmering magique as with a clear focus on droney, atmospheric, ambient music. With this list coming from an ancient culture) you have the chance to know more about the highlights & interesting DR-34: TARKATAK - Skärva / Oroa (Germany; atmospheric drones newcomers. It's our wish to support this special kind of electronic and with a special touch from this newcomer from North-Germany) experimental music, as we think its much more than "just music", the DR-39: DUAL – Klanik / 4 tH (U.K.; mighty guitar drones & massive "Drone"-genre is a way to work with your own mind, perception, and sub bass undertones that evoke feelings of total transcendence and (un)-consciousness-processes.
    [Show full text]
  • Social Spatialisation EXPLORING LINKS WITHIN CONTEMPORARY SONIC ART by Ben Ramsay
    Social spatialisation EXPLORING LINKS WITHIN CONTEMPORARY SONIC ART by Ben Ramsay This article aims to briefly explore some the compositional links that exist between Intelligent Dance Music (IDM) and acousmatic music. Whilst the central theme of this article will focus on compositional links it will suggest some ways in which we might use these links to enhance pedagogic practice and widen access to acousmatic music. In particular, the article is concerned with documenting artists within Intelligent Dance Music (IDM), and how their practices relate to acousmatic music composition. The article will include a hand full of examples of music which highlight this musical exchange and will offer some ways to use current academic thinking to explain how IDM and acousmatics are related, at least from a theoretical point of view. There is a growing body of compositional work and theoretical research that draws from both acousmatics and various forms of electronic dance music. Much of this work blurs the boundaries of electronic music composition, often with vastly different aesthetic and cultural outcomes. Elements of acousmatic composition can be found scattered throughout Intelligent Dance Music (IDM) and on the other side of the divide there are a number of composers who are entering the world of acousmatics from a dance music background. This dynamic exchange of ideas and compositional processes is resulting in an interesting blend of music which is able to sit quite comfortably inside an academic framework as well as inside a more commercial one. Whilst there are a number of genres of dance music that could be described in terms of the theories that would normally relate to acousmatic music composition practices, the focus of this article lies particularly with Intelligent Dance Music.
    [Show full text]
  • Exploring Compositional Relationships Between Acousmatic Music and Electronica
    Exploring compositional relationships between acousmatic music and electronica Ben Ramsay Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy De Montfort University Leicester 2 Table of Contents Abstract ................................................................................................................................. 4 Acknowledgements ............................................................................................................... 5 DVD contents ........................................................................................................................ 6 CHAPTER 1 ......................................................................................................................... 8 1.0 Introduction ................................................................................................................ 8 1.0.1 Research imperatives .......................................................................................... 11 1.0.2 High art vs. popular art ........................................................................................ 14 1.0.3 The emergence of electronica ............................................................................. 16 1.1 Literature Review ......................................................................................................... 18 1.1.1 Materials .............................................................................................................. 18 1.1.2 Spaces .................................................................................................................
    [Show full text]
  • Processes and Systems in Computer Music
    Processes Processes and systems and systems in computer in computer music; from music; from meta to matter meta to matter DR TONY MYATT DR TONY MYATT 05 2 The use of the terms ‘system’ and ‘process’ to generate works of music are often applied to the output of composers such as Steve Reich or Philip Glass, and also to Serial composers [1]2 from Schoenberg to Stockhausen, or to the works of experimentalists like John Cage. This may be where these terms are most clearly expressed, in either the material of the work or in the discourse that surrounds it, but few composers would not claim that systematic processes lie at the root of their work, in the methods they use to generate, manipulate, or control sound. The grand narrative of twentieth century classical music to move away from the tonal system of harmony has prompted experimental composers to push at the boundaries of music to discover approaches that create original musics. With the advent of the computer age and the use of computers to control and generate sound, it appeared to many that it was inevitable this new technology might take forward the concept of music. Computers, as we will see, were initially employed as tools that sustained traditional concepts of music, but as Cage hinted in 1959, and maybe for the same reason, perhaps this is now changing. In this essay, I will discuss how these early approaches to systematic process developed a canon of computer music, and in particular algorithmic systems and processes that reflected an underlying vision of what computer technologies were thought to hold in store, from a utopian and rationalist perspective.
    [Show full text]
  • Autechre Oversteps Mp3, Flac, Wma
    Autechre Oversteps mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic Album: Oversteps Country: UK Released: 2010 Style: Abstract, IDM, Ambient MP3 version RAR size: 1108 mb FLAC version RAR size: 1851 mb WMA version RAR size: 1631 mb Rating: 4.7 Votes: 846 Other Formats: AAC APE AA XM MIDI AU MP2 Tracklist A1 r ess A2 ilanders A3 known B1 pt2ph8 B2 qplay B3 see on see B4 Treale C1 os veix3 C2 O=0 C3 d-sho qub D1 st epreo D2 redfall D3 krYlon D4 Yuop Companies, etc. Copyright (c) – Warp Records Limited Phonographic Copyright (p) – Warp Records Limited Credits Artwork [Art] – The Designers Republic Mastered By – NS* Producer [Ae Production] – Brown*, Booth* Notes The box set (printed and debossed rigid slipcase) consists of double heavyweight 180gram vinyl, each disc packed in its own printed inner and outer card sleeves and a 900mm x 600mm double- sided poster printed on Offenbach ultra fine stock, folded within its own card sleeve. Included free with all orders from Bleep.com is a 320kbps LAME encoded MP3 version of the album and 16bit / 44.1kHz or 24bit / 44.1kHz WAV (selectable) version of the album (available to download from Bleep.com). Copies bought elsewhere contain a download code for the 320kbps MP3 version. ℗ 2010 Warp Records Limited © 2010 Warp Records Limited Made in the EU Barcode and Other Identifiers Matrix / Runout (A Side run-out): 85685 1A WARPLP 210 NS Matrix / Runout (B Side run-out): 85685 1B WARPLP 210 Matrix / Runout (C Side run-out): 85685 1C WARPLP 210 NS Matrix / Runout (D Side run-out): 85685 1D WARPLP
    [Show full text]
  • College of Business Ist L Department of Accountancy and Business Law
    COLLEGE OF BUSINESS IST L DEPARTMENT OF ACCOUNTANCY AND BUSINESS LAW..............................1 DEPARTMENT OF APPLIED AND INTERNATIONAL ECONOMICS................7 DEPARTMENT OF COMMERCE...........................................................................16 DEPARTMENT OF FINANCE AND PROPERTY STUDIES................................23 DEPARTMENT OF HUMAN RESOURCE MANAGEMENT...............................36 DEPARTMENT OF INFORMATION SYSTEMS...................................................43 DEPARTMENT OF MANAGEMENT AND INTERNATIONAL BUSINESS......45 DEPARTMENT OF MANAGEMENT SYSTEMS..................................................53 DEPARTMENT OF MARKETING..........................................................................64 UBLICATIONS P USINESS B OLLEGE OF C College of Business Publications 1 DEPARTMENT OF ACCOUNTANCY AND BUSINESS LAW 1 Refereed journal articles Adams, M., & Hossain, M. (1998). Managerial discretion and voluntary disclosure. Journal of Accounting and Public Policy, 17(3), 245-281. Allan, B. C. (1998). Repossession: A critical appraisal of the new rules. New Zealand Business Law Quarterly, 4(3), 134-155. Berkahn, M. (1998). Shared monopolies and tacit collusion: Applying competition law to the petrol industry. New Zealand Business Law Quarterly, 4(2), 87-111. Blake, J., Amat, O., & Dowds, J. (1998). The drive for quality: The impact on accounting in the wine industry. The Journal of Wine Research, 19(2). Botica Redmayne, N. (1998). Making sound audit judgements. Chartered Accountants Journal, 77(6), 31-35.
    [Show full text]
  • Dance Music Simon Halstead
    After Techno and Rave: Status and Validity in Post- Dance Music by Simon Halstead Submitted for the degree of Doctor of Philosophy Department of Music and Sound Recording University of Surrey July 2009 © Simon Halstead 2009 ProQuest Number: 27558661 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 27558661 Published by ProQuest LLO (2019). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLO. ProQuest LLO. 789 East Eisenhower Parkway P.Q. Box 1346 Ann Arbor, Ml 48106- 1346 Abstract This dissertation explores the idea of electronica as a descendent of electronic dance music, which, although embodying many related aesthetic qualities, operates within a different set of musical values. This needs to be understood in the context of how dance music's character, form and modes of performance relate to its specific cultural function. Repetitive beats (as espoused by house and techno in particular) comprise part of the cultural experience of rave. In combination with drug technologies and an ethos of collectivity, rave encapsulates a set of political phenomena that are entrenched within the formal and textural priorities of dance music. I discuss how modes of reception are affected by changes in these priorities, and to what extent post-dance music neglects the physicality that defines the political dimension of dance music's relationship to the body.
    [Show full text]
  • 2015 LOCAL CONTENT New Zealand Television
    2015 LOCAL CONTENT New Zealand Television CONTENTS 2015 AT A GLANCE – FREE-TO-AIR TELEVISION EXECUTIVE SUMMARY 2015 3 2015 Key Trends 3 PART 1. LOCAL CONTENT BY CHANNEL 6 PART 2. PRIME TIME LOCAL CONTENT 12 PART 3. FIRST RUN LOCAL CONTENT 16 PART 4. REPEATED LOCAL CONTENT 21 PART 5. TRENDS BY GENRE 22 APPENDIX 1: Notes on methodology 32 APPENDIX 2: First run local content by genre and channel since 2000 33 APPENDIX 3: 2015 Totals 34 APPENDIX 4: NZ On Air funded programmes 2015 35 APPENDIX 5: List of NZ On Air funded programmes broadcast in 2015 (18-hour day) 37 APPENDIX 6: List of all local content broadcast in 2015 (18-hour day) 40 PURPOSE: Each year since 1989 NZ On Air has measured the amount of local content broadcast on New Zealand’s main free-to-air television channels. This report is an important way NZ On Air monitors the amount of local programming available freely to New Zealanders. While the numbers fluctuate by year, this data is collated to provide a way to assess trends over time. 2015 AT A GLANCE – FREE-TO-AIR TELEVISION Local content increased First run programming é decreased by 278 hours, 2.4% accounting for from 2014, an additional 298 hours caused mainly by 17% extended Māori of the broadcast schedule Television transmission (6am – midnight) and an increase (18% in 2014) in General Factual 12,836 programming hours of local content screened on New Zealand’s six major 36% free-to-air TV channels (6am – midnight, of prime time hours up from 12,538 hours (6pm-10pm) were local content in 2014, see fig.3) (the same as 2014) screened the most first run local content and News, Current Affairs 2015 and Sport comprise played the most local 43% content in prime time of total local hours.
    [Show full text]
  • Coalition Threatens Sewer
    anmft. waiwfay. oct. » , im f - Houtewffe^s tweet potato product ft no pie in the sky MANCHF.STFR L S WORLD \ started reqiMMing' them," she Mrs. RobhuiM began to look int» ment were then established m a tV w A m o a tM J Urn sweet potatoes are shipfled Mrs. Robinson said the pies Had explained, admitting the ingre­ the idea o f cdmmercially prodbts MildiHghuildiHg that formerly Roused a whole to Cher-Dac. where tHtyare already been picked up b y m a jo r OPECstiakMfp Lgffjf PiNfelMitfir dients in her pies were “ pretty ingherpies. Although she had done Dairy l^wen. ITiecdmpaigropened grocery distributors, and the com­ 1 W IS *. iMtlm. — What gtarred basic — hot it was die prnmnlions some interior design and public skinned and processed into pie • tlw dupam of many a its doors May 15 and the i m Yam lining. Mrs. Robinson said about 27 pany recently signed a government OfiMet o f them that made them difrerent . ” relations work, she was “ basically E Sam pfes were s h ip j^ in Jbne. teaws qiigfflofw resigfw hoop K » iMtMMiafeier has bMome mriity for pies were protkiced from each contract allowing It to market the She said she had never really a housewife.” f 'The product logo — Yam E Sam, ‘IMsaM >Bi1i0 r 8 RoWnson Sl^poond box of yams. pies on 90 military bases thought about pursatng mass pro­ Suddenly. Mrs.'Robinson found a caricature of a sweet potato p a g v S IS WiW- RoMiisofi is fouMdei* and . M il in its infancy, the company nationwide.
    [Show full text]