Kathleen M. Campos Punk Poster Collection M2363
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Immersion Into Noise
Immersion Into Noise Critical Climate Change Series Editors: Tom Cohen and Claire Colebrook The era of climate change involves the mutation of systems beyond 20th century anthropomorphic models and has stood, until recent- ly, outside representation or address. Understood in a broad and critical sense, climate change concerns material agencies that im- pact on biomass and energy, erased borders and microbial inven- tion, geological and nanographic time, and extinction events. The possibility of extinction has always been a latent figure in textual production and archives; but the current sense of depletion, decay, mutation and exhaustion calls for new modes of address, new styles of publishing and authoring, and new formats and speeds of distri- bution. As the pressures and re-alignments of this re-arrangement occur, so must the critical languages and conceptual templates, po- litical premises and definitions of ‘life.’ There is a particular need to publish in timely fashion experimental monographs that redefine the boundaries of disciplinary fields, rhetorical invasions, the in- terface of conceptual and scientific languages, and geomorphic and geopolitical interventions. Critical Climate Change is oriented, in this general manner, toward the epistemo-political mutations that correspond to the temporalities of terrestrial mutation. Immersion Into Noise Joseph Nechvatal OPEN HUMANITIES PRESS An imprint of MPublishing – University of Michigan Library, Ann Arbor, 2011 First edition published by Open Humanities Press 2011 Freely available online at http://hdl.handle.net/2027/spo.9618970.0001.001 Copyright © 2011 Joseph Nechvatal This is an open access book, licensed under the Creative Commons By Attribution Share Alike license. Under this license, authors allow anyone to download, reuse, reprint, modify, distribute, and/or copy this book so long as the authors and source are cited and resulting derivative works are licensed under the same or similar license. -
DEAD CHANNEL SURFING: Cyberpunk and Industrial Music
DEAD CHANNEL SURFING: Cyberpunk and industrial music In the early 1980s from out of Vancouver, home of cyberpunk writer William Gibson and science fiction film-maker David Cronenberg, came a series of pioneering bands with a similar style and outlook. The popular synth-pop band Images in Vogue, after touring with Duran Duran and Roxy Music, split into several influential factions. Don Gordon went on to found Numb, Kevin Crompton to found Skinny Puppy, and Ric Arboit to form Nettwerk Records, which would later release Skinny Puppy, Severed Heads, Moev, Delerium and more. Controversial band Numb ended up receiving less attention than the seminal Skinny Puppy. Kevin Crompton (now called Cevin Key) joined forces with Kevin Ogilvie (Nivek Ogre) and began their career by playing in art galleries. After their friend Bill Leeb quit citing ‘creative freedom’ disputes, they embarked on a new style along with the help of newly recruited Dwayne Goettel. Leeb would go on to found Front Line Assembly with Rhys Fulber in 1986. The style of music created by these bands, as well as many similar others, has since been dubbed ‘cyberpunk’ by some journalists. Cyberpunk represents an interesting coupling of concepts. It can be dissected, as Istvan Csiscery-Ronay has shown, into its two distinct parts, ‘cyber’ and ‘punk’. Cyber refers to cybernet- ics, the study of information and control in man and machine, which was created by U.S. American mathematician Norbert Wiener fifty years ago. Wiener fabricated the word from the Greek kyber- netes, meaning ‘governor’, ‘steersman’ or ‘pilot’ (Leary, 1994: 66). The second concept, punk, in the sense commonly used since 1976, is a style of music incorporating do-it-yourself (d.i.y) techniques, centred on independence and touting anarchist attitudes. -
The Blank Generation
The History of Rock Music: 1976-1989 New Wave, Punk-rock, Hardcore History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page (Copyright © 2009 Piero Scaruffi) The Blank Generation (These are excerpts from my book "A History of Rock and Dance Music") Akron 1976-80 TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. The "blank generation" came out of a moral vacuum. While punks roamed the suburban landscape, blue-collar workers were feeling the pinch of an economic revolution: human society had left the industrial age and entered the post-industrial age, the age in which services (such as software) prevail over manufacturing. Computers now rule the world, from Wall Street to Boeing. The assembly line took away a bit of the personality of the worker, but that was nothing: the new service- based economy takes away the worker completely, physically. In the post-industrial society the individual is even less of a "person". The individual is merely a cog in a huge organism of interconnected parts that works at the beat of a gigantic network of computers. This highly sophisticated economy treats the individual as a number, as a statistic. The goal is no longer to create a robot that behaves like a human being, but to create a human being that behaves like a robot: robots are efficient and lead to manageable and profitable businesses, whereas humans are inefficient and difficult to manage. -
Immersion Into Noise
Immersion Into Noise Critical Climate Change Series Editors: Tom Cohen and Claire Colbrook The era of climate change involves the mutation of systems beyond 20th century anthropomorphic models and has stood, until recent- ly, outside representation or address. Understood in a broad and critical sense, climate change concerns material agencies that im- pact on biomass and energy, erased borders and microbial inven- tion, geological and nanographic time, and extinction events. The possibility of extinction has always been a latent figure in textual production and archives; but the current sense of depletion, decay, mutation and exhaustion calls for new modes of address, new styles of publishing and authoring, and new formats and speeds of distri- bution. As the pressures and re-alignments of this re-arrangement occur, so must the critical languages and conceptual templates, po- litical premises and definitions of ‘life.’ There is a particular need to publish in timely fashion experimental monographs that redefine the boundaries of disciplinary fields, rhetorical invasions, the in- terface of conceptual and scientific languages, and geomorphic and geopolitical interventions. Critical Climate Change is oriented, in this general manner, toward the epistemo-political mutations that correspond to the temporalities of terrestrial mutation. Immersion Into Noise Joseph Nechvatal OPEN HUMANITIES PRESS An imprint of MPublishing – University of Michigan Library, Ann Arbor, 2011 First edition published by Open Humanities Press 2011 Freely available online at http://hdl.handle.net/2027/spo.9618970.0001.001 Copyright © 2011 Joseph Nechvatal This is an open access book, licensed under the Creative Commons By Attribution Share Alike license. Under this license, authors allow anyone to download, reuse, reprint, modify, distribute, and/or copy this book so long as the authors and source are cited and resulting derivative works are licensed under the same or similar license. -
Industrial Introduction
Copyright © 2011 A.SE.FI. Editoriale Srl - Via dell’Aprica, 8 - Milano www.tsunamiedizioni.com Prima edizione Tsunami Edizioni, aprile 2011 - Le Tempeste 5 Tsunami Edizioni è un marchio registrato di A.SE.FI. Editoriale Srl La foto sulla copertina è di Thomas Boll Progetto copertina: Marco Fantin Finito di stampare nell’aprile 2011 dalla Gesp - Città di Castello (PG) ISBN: 978-88-96131-28-2 Tutti i diritti riservati. È vietata la riproduzione, anche parziale, in qualsiasi formato senza l’autorizzazione scritta dell’Editore. Per le foto nel testo l’autore e l’editore ringraziano: Pagina 112 - Jean Marmeisse Pagina 131 - Betty Cobb, Los Angeles Pagina 161 - Tracey Roberts Pagina 180 - Red Leather Heather Pagina 244 - Sirius Pagina 289 - Francesca Cerri Pagina 305 - Gili Shani La presente opera di saggistica è pubblicata con lo scopo di rappresentare un’analisi critica, rivolta alla pro- mozione di autori ed opere di ingegno, che si avvale del diritto di citazione. Pertanto tutte le immagini e i testi sono riprodotti con finalità scientifiche, ovvero di illustrazione, argomentazione e supporto delle tesi sostenute dall’autore. Nell’impossibilità di risalire agli aventi diritto delle fotografie pubblicate, l’Editore si dichiara disponibile a sanare ogni eventuale controversia. GIOVANNI ROSSI STORIA ED EVOLUZIONE DELLA MUSICA INDUSTRIALE 5 INDICE UNA NOTA PRIMA DI COMINCIARE... [7] PREFAZIONE di LUSTMORD [9] GENESI[S] [11] INDUSTRIAL INTRODUCTION [15] ELEMENTAL MUSIC [29] LA STANZA DELLE TORTURE [41] [S]CULTURA INDUSTRIALE [51] GUERRA TOTALE -
“I Was in a Position to Dismantle It”: Industrial Music
“I WAS IN A POSITION TO DISMANTLE IT”: INDUSTRIAL MUSIC APPROPRIATIONS OF WILLIAM S. BURROUGHS by Joseph Vecchio, A.A., B.A. A thesis submitted to the Graduate Council of Texas State University in partial fulfillment of the requirements for the degree of Master of Music with a major in Music May 2014 Committee Members: Kevin Mooney, Chair Ludim Pedroza Charles Ditto COPYRIGHT by Joseph Vecchio 2014 FAIR USE AND AUTHOR’S PERMISSION STATEMENT Fair Use This work is protected by the Copyright Laws of the United States (Public Law 94-553, section 107). Consistent with fair use as defined in the Copyright Laws, brief quotations from this material are allowed with proper acknowledgment. Use of this material for financial gain without the author’s express written permission is not allowed. Duplication Permission As the copyright holder of this work I, Joseph Vecchio, authorize duplication of this work, in whole or in part, for educational or scholarly purposes only. DEDICATION To Ruth, with all of my love. ACKNOWLEDGEMENTS I would like to thank Dr. Kevin Mooney for his unwavering support for this project, enthusiasm about the material, and wonderful editorial remarks. Thank you to Dr. Ludim Pedroza for being a true inspiration for a multidisciplinary approach to musicology. Thank you to Dr. Charles Ditto for his membership on my committee and eagerness to see this project carried to fruition. Ruth Vecchio, your knowledge of industrial music is encyclopedic and has been an extremely valuable tool in aiding the completion of this project, and your help with editing has been invaluable. -
EURASIA MAILORDER Avant List 2021/6/30 Updated How to Order
EURASIA MAILORDER Avant List 2021/9/1 updated How to Order 19 [NINETY SEVEN CIRCLES] (JAP / PRIVATE / 81 / WI/WP) EX+/EX+ USD 151 / EURO127 23 SKIDO [THE ASSASSINS WITH SOUL] (UK / ILLUMINATED PRODUCTION / 86 / 12EP) EX/EX USD 34 / EURO29 23 SKIDOO [COUP] (UK / ILLUMINATED / 83 / 12EP) M-/EX USD 52 / EURO44 23 SKIDOO [THE CULLING IS COMING] (UK / OPERATION TWILIGHT / 83 / WI) EX/EX USD 70 / EURO59 400 BLOWS [THE GOOD CLEAN ENGLISH FIST] (UK / CASTLE COMMUNICATIONS / 85 / ) EX/EX USD 25 / EURO21 8X8 [AZALEA'S ROOM] (UK / SUGARBUSH RECORDS (RED) / 16 / ) M/M USD 43 / EURO36 A FLOCK OF SEAGULLS [MODERN LOVE IS AUTOMATIC] (GER / TELDEC / 81 / 7EP) M-/EX USD 7 / EURO6 A.C.TEMPLE [BLOWTORCH] (UK / FURTHER / 88 / WI) EX/EX USD 18 / EURO15 A.P.C. TRACKS [VOL.2] (FRA / A.P.C. / / ) EX/EX USD 5 / EURO4 AD VISSER [SOBRIETAZ] (HOL / CBS / 82 / FOC) M-/EX USD 34 / EURO29 AFRICAN HEAD CHARGE [SONGS OF PRAISE] (FRA / ON-U SOUND / 90 / ) EX/EX USD 108 / EURO91 AFRIKADELIC [PITA PATA ( EXTRA LONG MIX ) +2] (GER / BCM RECORDS / / 12INCH) EX-/EX- USD 34 / EURO29 AKE PARMERUD [YTTRINGAR] (SWE / TON ART / 84 / FOC) M-/M- USD 117 / EURO98 AKIRA INOUE [RUNNING FENCE] (JAP / EXPRESS / 83 / 12INCH) EX-/EX- USD 7 / EURO6 AKSAK MABOUL [ONZE DANSES POUR COMBATTRE LA MIGRAINE] (BEL / CRAMMED/R.R. / 81 / ) EX/EX USD 70 / EURO59 AKSAK MABOUL [ONZE DANSES POUR COMBATTRE LA MIGRAINE] (BEL / CRAMMED/R.R. / 81 / ) EX-/EX- USD 43 / EURO36 AKSAK MABOUL [UN PEU DE L'AME DES BANDITS] (BEL / ATEM/CRAMMED / 81 / ) EX/EX USD 79 / EURO67 ALBERT MARCCEUR [ALBUM A COLORIER] (FRA -
Download and Print One Copy of Any Publication from the Public Portal for the Purpose of Private Study Or Research
Networking. Bazzichelli, Tatiana Publication date: 2008 Document Version Publisher's PDF, also known as Version of record Link to publication Citation for pulished version (APA): Bazzichelli, T. (2008). Networking. The Net as Artwork. Digital Aesthetics Research Center (DARC) Aarhus University. General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 24. Sep. 2021 Tatiana Bazzichelli Networking The Net as Artwork Preface by Derrick de Kerckhove Tatiana Bazzichelli Networking The Net as Artwork Preface by Derrick de Kerckhove Digital Aesthetics Research Center www.digital-aestetik.dk Layout and front cover by Jonas Frankki Cover image: “Giovanotti Mondani Meccanici” by Antonio Glessi-Andrea Zingoni, published in “Frigidaire” issue 42, May 1984, Primo Carnera Edition. Italian editing by Simonetta -
Les Marges Et Avant-Gardes Dans Le Rock
Présentation Dossier d’accompagnement de la conférence / concert du samedi 19 juin 2010 programmée dans le cadre du projet d’éducation artistique des Trans et des Champs Libres. Cycle : “Décryptage du rock” Conférence-concert # 2 “Le rock : marges et avant-gardes” Conférence de Pascal Bussy Concert de La Terre Tremble !!! Comme tous les arts, le rock possède ses marges et ses avant-gardes. Afin de compléter la lecture Les premières sont tissées par des créateurs particulièrement curieux qui, de ce dossier, n'hésitez pas sans négliger la tradition, l'associent à l'expérimentation et à la recherche. à consulter les dossiers Quant à ses avant-gardes, elles sont l'œuvre de musiciens qui marient d’accompagnement des le rock avec d'autres esthétiques, musicales ou non, augmentant par là conférences-concerts du sa capacité d'innovation. précédent cycle “Décryptage Au cours de cette conférence, nous aborderons l'histoire de ces courants des musiques actuelles” ainsi qui poussent le rock dans ses retranchements. Nous examinerons la diversité que les “Bases de données” de leurs influences, depuis les musiques extra-européennes jusqu'à la consacrées aux éditions 2005, musique électronique, en passant par le jazz libertaire, le minimalisme, et bien 2006, 2007, 2008 et 2009 des d'autres encore. Nous retracerons l'histoire de ces styles qui ont ainsi surgi aux Trans, tous en téléchargement frontières du rock, et dont les noms de code sont notamment rock progressif, gratuit, sur www.lestrans.com, rock industriel, avant-pop, post-rock, et rock bruitiste, chacune de ces familles rubrique Action culturelle. étant parfois marquée par des genres plus immédiatement identifiables comme le folk ou le psychédélisme. -
The Machine As Artist • Frederic Fol Leymarie, Juliette Bessette and G.W
The Machine as Art/ The Machine as Artist • Frederic Fol Leymarie, Juliette Bessette Smith and G.W. The Machine as Art/ The Machine as Artist Edited by Frederic Fol Leymarie, Juliette Bessette and G.W. Smith Printed Edition of the Special Issues Published in Arts www.mdpi.com/journal/arts The Machine as Art/ The Machine as Artist The Machine as Art/ The Machine as Artist Editors Frederic Fol Leymarie Juliette Bessette G.W. Smith MDPI • Basel • Beijing • Wuhan • Barcelona • Belgrade • Manchester • Tokyo • Cluj • Tianjin Editors Frederic Fol Leymarie Juliette Bessette G.W. Smith University of London Sorbonne University Space Machines Corporation UK France USA Editorial Office MDPI St. Alban-Anlage 66 4052 Basel, Switzerland This is a reprint of articles from the Special Issues published online in the open access journal Arts (ISSN 2076-0752) (available at: https://www.mdpi.com/journal/arts/special issues/Machine Art and https://www.mdpi.com/journal/arts/special issues/Machine Artist). For citation purposes, cite each article independently as indicated on the article page online and as indicated below: LastName, A.A.; LastName, B.B.; LastName, C.C. Article Title. Journal Name Year, Article Number, Page Range. ISBN 978-3-03936-064-2 (Hbk) ISBN 978-3-03936-065-9 (PDF) Cover image courtesy of Liat Grayver (www.liatgrayver.com). A detail of her robotically-assisted painting “LG02”. c 2020 by the authors. Articles in this book are Open Access and distributed under the Creative Commons Attribution (CC BY) license, which allows users to download, copy and build upon published articles, as long as the author and publisher are properly credited, which ensures maximum dissemination and a wider impact of our publications. -
Dypdykk I Musikkhistorien - Del 16: Industrial (16.10.2017 - TNB)
Dypdykk i musikkhistorien - Del 16: Industrial (16.10.2017 - TNB) Spilleliste pluss ekstra lyttetips: Forløpere Ballet mecanique (1924, rev. 1953) / George Antheil Symphony of sirens (1922) / Arseni Avraamov (Baku : Symphony of sirens : sound experiments in the russian avant-garde (2008) Dada Futurister Krautrock Kraftwerk Fluxus Minimalisme Brian Eno Gudfedrene In quest of the unusual (1974-76 (1978) / Cabaret Voltaire) Obsession (Voice of America (1980) / Cabaret Voltaire) Live at Southampton The Second Annual Report (1977) / Throbbing Gristle Still walking ; Hot on the heels of love (20 jazz funk greats (1979) / Throbbing Gristle) Black album (1975) / Boyd Rice [NON] Også viktig Ghost riders Suicide (1977) / Suicide Etter TG Psychic TV Chris & Cosey At the heart of it all (Scatology (1984) / Coil) Sheffield-scenen Blank clocks [The Future] (Horology 2 (2015) / The Future & Clock DVA) Mix-up (1979) / Cabaret Voltaire Sex works beyond entanglement [LP 4, side b) (Horology - DVAtion 78/79/80 (2012) / Clock DVA) Berlin / Tyskland Kollaps (1981) / Einstürzende Neubauten Yü-gung ; Sehnsucht ; Der tod ist ein dandy (Halber mensch (1985) / Einstürzende Neubauten) Die Tödliche Doris P16.D4 Die Krupps Der Plan Deutsch Amerikanische Freundschaft Die Grosse Untergangsshow - Festival Genialer Dilletanten - Berlin Tempodrom, 4. September 1981: Satisfactory - Din A Testbild Pou mon bibi - Sentimentale Jugend San Franscisco Alien soundtrack (1977) / Chrome Monte Cezazza Z’ev Survival Research Laboratories [filmklipp fra youtube] Phantom pain (Scheintot -
Networking: the Net As Artwork – Tatiana Bazzichelli
Tatiana Bazzichelli Networking The Net as Artwork Preface by Derrick de Kerckhove Tatiana Bazzichelli Networking The Net as Artwork Preface by Derrick de Kerckhove Digital Aesthetics Research Center www.digital-aestetik.dk Layout and front cover by Jonas Frankki Cover image: “Giovanotti Mondani Meccanici” by Antonio Glessi-Andrea Zingoni, published in “Frigidaire” issue 42, May 1984, Primo Carnera Edition. Italian editing by Simonetta Fadda English translation of chapters 1, 2, 7, Acknowledgements, Webliography, Captions and Afterword by Maria Anna Calamia, editing by Grace Wright English translation of chapters 3, 4, 5, 6 by Helen Pringle First proofreading by Jonas Frankki Last proofreading by Helen Pringle Copyright © Italian edition 2006, costlan editori s.r.l., Milan Copyright © English edition 2008, Digital Aesthetics Research Center, Aarhus University, and the author ISBN 87-91810-08-6 To Musti, Sergio and Bepi EAN 9788791810084 and to the infinite possibilities of being This research is part of the Digital Urban Living research centre, partly funded by the Danish Council for Strategic Research grant number 2128-07-0011 GNU Free Documentation License. Version 1.3, 3 November 2008 Permission is granted to copy, distribute and/or modify this document under the terms of the GNU Free Documentation License, Version 1.3 or any later version published by the Free Software Foundation; with no Invariant Sections, no Front-Cover Texts, and no Back-Cover Texts. A copy of the license is included in the section entitled “GNU Free Documentation License”. http://www.gnu.org/licenses A copy of the book can be found at www.digital-aestetik.dk Other reference materials on the subject: www.networkingart.eu 136 Hacker Ethics and Shared Networks Table of Contents Social Hacking , 136 Independent Magazines and Radical Websites, 149 Hackmeetings and Hacklabs, 163 The Netstrike, 170 179 Art on the Net and for the Net Net.art and Hacktivism, 179 8 Acknowledgements The Craftsmen of the Code, 188 Beyond the Limits of the Net, 197 Network vs.