DOCSLIB.ORG

Two Years Later, PC East Starts to Fill Empty Lots Koala],” He Said at an Impromptu Meeting

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Two Years Later, PC East Starts to Fill Empty Lots Koala],” He Said at an Impromptu Meeting VOLUME XLII, ISSUE XXXVI THURSDAY, FEBRUARY 25, 2010 WWW.UCSDGUARDIAN.ORG ERIK JEPSEN/GUARDIAN >/,530),9;0,:*6330+, <-)+016?)43;7=< Black Student Union and supporters ditch university teach-in to host MEDIA ORGS speakers of their own. DEFEND FREE- By Angela Chen News Editor SPEECH RIGHTS Hundreds of students walked out of an administration-planned WEB POLL NO teach-in yesterday morning to attend a counter teach-in organized DO YOU AGREE WITH 63% by the Black Student Union. A.S. PRESIDENT UTSAV GUPTA’S The Feb. 24 Price Center protest YES began with a press conference held DECISION TO FREEZE STUDENT-MEDIA by the BSU, the % I FUNDING? 32 OPINION student organiza- DON’T KNOW Guest tion that declared commentary OUT OF campus climate to 133 VOTES % calls for 5 campus be in a “state of understanding. emergency” last By Angela Chen Page 4 Friday. The BSU News Editor has addressed the “toxic” environment with a rally JOHN HANACEK/GUARDIAN Student media heads are threatening legal and a list of 32 demands. BSU Black Student Union members held a counter teach-in on Feb. 24 to discuss the ‘Compton Cookout’ and institutional racism at UCSD. action against A.S. President Utsav Gupta’s for his Chair David Ritcherson called Friday-afternoon decision to freeze all funding to for the UCSD chancellor cabinet cation — with a “thorough, written President Utsav Gupta for his recent meeting all the BSU’s demands. student publications. to respond to the organization’s timeline for immediate action.” decision to freeze funding for all 33 “We will not allow any discus- Gupta announced Friday morning that he demands by March 4 — the same Press-conference speakers student media organizations, then sions of the budget crisis to affect wished to pull funding from controversial humor day as a systemwide protest against included history professor Daniel asked administrators to disregard newspaper the Koala, whose editor in chief made limited accessibility to higher edu- Widener, who applauded A.S. the current budget crisis in favor of See PROTESTpage 2 a racial slur on Student-Run Television the night before in reference to Black Student Union mem- bers protesting the Feb. 15 “Compton Cookout.” “We’ve tried, throughout this year, to redo [the media guidelines], and essentially not fund [the Two Years Later, PC East Starts to Fill Empty Lots Koala],” he said at an impromptu meeting. I don’t Price Center’s vacant retail Quarter 2003. Only five vendors have know if it’ll get rid of them, but on the part of A.S., been installed in the space since its we can defund them — we absolutely can defund spaces were originally opening, leaving three vacant slots. them, and I believe we must defund them.” designated to house a bank, “The students wanted the best of Gupta said he had the executive power to coffee shop and hair salon. both worlds,” Assistant Vice Chancellor freeze media-org funding because the current of Student Life Gary Ratcliff said. allocation of money for media organizations vio- lates Section II of the A.S. Constitution. The sec- By Ayelet Bitton “They wanted an expansion that was Associate News Editor going to be large enough to serve the tion states the role of the council is “to create and student body when we reached steady execute programs which serve the collective inter- Two years after the grand opening state enrollment, and they wanted the ests of the undergraduate population.” According fee as low as possible. What that meant to Gupta, the current system — which has funded of Price Center East, University Koala Centers officials said they are in the is there needed to be other sources of the since 1982— is hurting students, and final stages of filling the remaining revenue to pay to operate the building, therefore not serving the collective interest. store spaces with a bank, coffee shop, and retail was the answer.” Free speech organizations such as the and hair salon, as they promised. Price Center East already has a Foundation for Individual Rights in Education Price Center East opened in May number of food retailers, such as and American Civil Liberties Union have 2008, funded by the Price Center Tapioca Express and Burger King. JOHN HANACEK/GUARDIAN See FREEZEpage 2 Expansion Referendum — a $39 Three empty spaces — two on either side of the Sunshine Market, and one on the second quarterly student fee enacted in Spring See PRICEpage 2 floor by the Loft — will soon be filled with new student services. :762,5 -69,*(:; 50./;>(;*/ :<9-9,769; .(:7,9.(3365 05:0+, LOW Here’s your money back/ THURSDAY FRIDAY *VTPJZ Height: 4-7 ft. Height: 5-7 ft. $2.73 5L^)\ZPULZZ Here’s your punk rock back!" THURSDAY FRIDAY Wind: 3-5 mph Wind: 2-9 mph Arco, Chula Vista H 65 L 50 H 69 L 54 THURSDAY FRIDAY Water Temp: 61 F Water Temp: 61 F 407 E St. & 4th Ave. /LHK4LL[Z.YV\UK HIGH 3L[[LYZ[V[OL,KP[VY SATURDAY SUNDAY +Y\[OLYZ JAPANDROIDS Height: 4-5 ft. Height: 7-12 ft. $3.50 “ VANCOUVER NOISE-ROCK BAND SATURDAY SUNDAY Wind: 5-17 mph Wind: 3-14 mph Chevron, Pacific Beach *SHZZPÄLKZ SATURDAY SUNDAY PAGE 7 H 57 L 49 H 64 L 49 Water Temp: 61 F Water Temp: 61 F 1575 Garnet Ave. & Ingraham St. :\KVR\ 2 THE UCSD GUARDIAN THURSDAY, FEBRUARY 25, 2010 NEWS SO, YEAH, ANYWAYS By Marina Mizar :PTVUL>PSZVU Editor in Chief (S`ZZH)LYLaUHR Managing Editors 9LaH-HYHaTHUK :TY\[P(YH]PUK Copy Editors 2LSZL`4HYY\QV /H`SL`)PZJLNSPH4HY[PU News Editors (UNLSH*OLU (`LSL[)P[[VU Associate News Editor ;YL]VY*V_ Opinion Editor *OLY`S/VYP Associate Opinion Editor =PZOHS5H[HYHQHU Sports Editor 4H[[*YVZRL` Associate Sports Editor ,K^PU.VUaHSLa Focus Editor (WYPSSL4\ZJHYH Associate Focus Editor SUNNY-SIDE UP By Philip Rhie 1LUUH)YVNHU Hiatus Editor 4H[[OL^7LJV[ Associate Hiatus Editor ,YPR1LWZLU Photo Editor 1VOU/HUHJLR Associate Photo Editor ,TPS`2\ Design Editor *OYPZ[PUH(\ZOHUH Art Editors 7OPSPW9OPL :HYP;OH`LY Web Editor 5PJVSL;LP_LPYH Training and Development Page Layout 9LNPUH0W,TPS`2\1VUH[OHU:OHU5HVTP:OPMMTHU ;LYLZH;YPUO:PTVUL>PSZVU Copy Readers (T`.\aKHY4VUPJH/HPKLY1VUH[OHU2PT 4HZOH:VRVSV]5HVTP:^LV(UP[H=LYNPZ1V`JL@LO Web Designers 1HRL:JOULPKLY1LUU`;>HUN 4VUPJH)HJOTLPLY General Manager *;=")LUQVQ[\ZI\QWV5][\)KKMX\,MUIVL[*a5IZKP 3WITI\W.QTM 4PRL4HY[PULa Advertising Manager (SMYLKV/=PSHUV1Y Advertising Art Director ▶ PROTEST, from page 1 9VI*VYLH Marketing Team Leader discussions of our demands,” Widener /ZQM^IVKM?Q\P ,]HU*VVR Network Administrator said. Student Marketing and Events @LSLUH(RVWPHU+HYH)\2PYI`2VV After the press conference ended 2]LQKQIT*WIZL :OHUUVU>PU[LY:OH^U?\ at 11:30 a.m., participants marched Business Assistant ▶ FREEZE, from page 1 ;PMMHU`/HU from Library Walk to the official teach- Advertising Design and Layout in, scheduled to be held at the Price denounced Gupta’s actions as uncon- )YHUKVU*O\,]HU*VVR2PT*VVWLY Distributors Center East Ballroom. The crowd — stitutional, in violation of the First (SHYPJ)LYT\KLa:HS.HSSHNVZ:JV[[/H]YPZPR which included community members, Amendment. ;OL <*:+ .\HYKPHU PZ W\ISPZOLK 4VUKH`Z HUK as well as students from Cal State San FIRE sent Gupta a seven-page let- ;O\YZKH`ZK\YPUN[OLHJHKLTPJ`LHYI`<*:+Z[\KLU[Z HUK MVY [OL <*:+ JVTT\UP[` 9LWYVK\J[PVU VM [OPZ Bernandino, San Diego State and the ter requesting that he end the funding UL^ZWHWLY PU HU` MVYT ^OL[OLY PU ^OVSL VY PU WHY[ ^P[OV\[ WLYTPZZPVU PZ Z[YPJ[S` WYVOPIP[LK HSS University of Southern California — freeze immediately. YPNO[Z YLZLY]LK ;OL <*:+ .\HYKPHU PZ UV[ YLZWVUZPISL MVY[OLYL[\YUVM\UZVSPJP[LKTHU\ZJYPW[ZVYHY[;OL]PL^Z chanted slogans such as “Real Pain, Gupta said he is working with L_WYLZZLKOLYLPUKVUV[ULJLZZHYPS`YLWYLZLU[[OLVWPU PVUZVM[OL<*:+.\HYKPHU[OL<UP]LYZP[`VM*HSPMVYUPH Real Action”. UCSD legal counsel. VY (ZZVJPH[LK :[\KLU[Z ;OL <*:+ .\HYKPHU PZ M\UKLK Following speeches by theater “I’m not going to bow down to ZVSLS`I`HK]LY[PZPUN3VJR[OLKVVY professor Nadine George and LGBT threats of litigation,” he said. .LULYHS,KP[VYPHS! Center director Shaun Travers, A.S. Gregorian said he has contacted [email protected] 5L^[email protected] Associate Vice President of Diversity the ACLU and FIRE, and is work- -VJ\[email protected] /PH[\[email protected] Affairs Jasmine Phillips and BSU Vice ing closely with the Student Press Law [email protected] Chair Fnann Keflezighi called for the Center. Although lawyers from these :WVY[[email protected] 7OV[[email protected] attendees to walk out and attend a organizations have assured him that (K]LY[PZPUN! counter teach-in instead. they will represent the Koala in court, [email protected] “If you truly care about our uni- he said he plans to file a grievance -H_! versity, if you want to stand in soli- with the campus judicial board before darity, you will join me in walking involving outside action. ;OL<*:+.\HYKPHU out of this teach-in and joining us at “We’re essentially trying to resolve our teach-in,” Keflezighi said. this issue inside of UCSD first,” he said. .PSTHU+YP]L The majority of participants left Gregorian emphasized that Gupta’s 3H1VSSH*( the room and convened at the stairs actions were unconstitutional because <*:+.<(9+0(569. above the Triton statue. he froze funding due to content. Speakers at the counter teach- Gupta has chartered a media review with being recorded, and no one raised in included Cross-Cultural Center board to reevaluate the process of allo- their hand.” director Edwina Welch.
Load more

Recommended publications
  • Visual Metaphors on Album Covers: an Analysis Into Graphic Design's
    Visual Metaphors on Album Covers: An Analysis into Graphic Design’s Effectiveness at Conveying Music Genres by Vivian Le A THESIS submitted to Oregon State University Honors College in partial fulfillment of the requirements for the degree of Honors Baccalaureate of Science in Accounting and Business Information Systems (Honors Scholar) Presented May 29, 2020 Commencement June 2020 AN ABSTRACT OF THE THESIS OF Vivian Le for the degree of Honors Baccalaureate of Science in Accounting and Business Information Systems presented on May 29, 2020. Title: Visual Metaphors on Album Covers: An Analysis into Graphic Design’s Effectiveness at Conveying Music Genres. Abstract approved:_____________________________________________________ Ryann Reynolds-McIlnay The rise of digital streaming has largely impacted the way the average listener consumes music. Consequentially, while the role of album art has evolved to meet the changes in music technology, it is hard to measure the effect of digital streaming on modern album art. This research seeks to determine whether or not graphic design still plays a role in marketing information about the music, such as its genre, to the consumer. It does so through two studies: 1. A computer visual analysis that measures color dominance of an image, and 2. A mixed-design lab experiment with volunteer participants who attempt to assess the genre of a given album. Findings from the first study show that color scheme models created from album samples cannot be used to predict the genre of an album. Further findings from the second theory show that consumers pay a significant amount of attention to album covers, enough to be able to correctly assess the genre of an album most of the time.
    [Show full text]
  • The Singing Guitar
    August 2011 | No. 112 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com Mike Stern The Singing Guitar Billy Martin • JD Allen • SoLyd Records • Event Calendar Part of what has kept jazz vital over the past several decades despite its commercial decline is the constant influx of new talent and ideas. Jazz is one of the last renewable resources the country and the world has left. Each graduating class of New York@Night musicians, each child who attends an outdoor festival (what’s cuter than a toddler 4 gyrating to “Giant Steps”?), each parent who plays an album for their progeny is Interview: Billy Martin another bulwark against the prematurely-declared demise of jazz. And each generation molds the music to their own image, making it far more than just a 6 by Anders Griffen dusty museum piece. Artist Feature: JD Allen Our features this month are just three examples of dozens, if not hundreds, of individuals who have contributed a swatch to the ever-expanding quilt of jazz. by Martin Longley 7 Guitarist Mike Stern (On The Cover) has fused the innovations of his heroes Miles On The Cover: Mike Stern Davis and Jimi Hendrix. He plays at his home away from home 55Bar several by Laurel Gross times this month. Drummer Billy Martin (Interview) is best known as one-third of 9 Medeski Martin and Wood, themselves a fusion of many styles, but has also Encore: Lest We Forget: worked with many different artists and advanced the language of modern 10 percussion. He will be at the Whitney Museum four times this month as part of Dickie Landry Ray Bryant different groups, including MMW.
    [Show full text]
  • University of Birmingham from Microsound to Vaporwave
    University of Birmingham From Microsound to Vaporwave Born, Georgina; Haworth, Christopher DOI: 10.1093/ml/gcx095 Document Version Peer reviewed version Citation for published version (Harvard): Born, G & Haworth, C 2018, 'From Microsound to Vaporwave: internet-mediated musics, online methods, and genre', Music and Letters, vol. 98, no. 4, pp. 601–647. https://doi.org/10.1093/ml/gcx095 Link to publication on Research at Birmingham portal Publisher Rights Statement: Checked for eligibility: 30/03/2017 This is a pre-copyedited, author-produced version of an article accepted for publication in Music and Letters following peer review. The version of record Georgina Born, Christopher Haworth; From Microsound to Vaporwave: Internet-Mediated Musics, Online Methods, and Genre, Music and Letters, Volume 98, Issue 4, 1 November 2017, Pages 601–647 is available online at: https://doi.org/10.1093/ml/gcx095 General rights Unless a licence is specified above, all rights (including copyright and moral rights) in this document are retained by the authors and/or the copyright holders. The express permission of the copyright holder must be obtained for any use of this material other than for purposes permitted by law. •Users may freely distribute the URL that is used to identify this publication. •Users may download and/or print one copy of the publication from the University of Birmingham research portal for the purpose of private study or non-commercial research. •User may use extracts from the document in line with the concept of ‘fair dealing’ under the Copyright, Designs and Patents Act 1988 (?) •Users may not further distribute the material nor use it for the purposes of commercial gain.
    [Show full text]
  • The Grace of a Gesture Rafael Lozano-Hemmer Angelica Mesiti EM15
    Already Fifty Years! The Grace of a Gesture Rafael Lozano-Hemmer Angelica Mesiti EM15 • BIAN Ryoji Ikeda Artur Zmijewski Printemps du MAC Nocturnes Magazine of the contemporain Musée d’art de Montréal Volume 25, Number 1 — Summer 25, 2014 Volume editorial | 1 In his classic work The Gift, French anthropologist Marcel Mauss theorizes and reflects upon the giver, the gift and the recipient: “The objects are never completely separated from the men who exchange them,” he writes tellingly. An indissoluble link between the giver and the gift— the gift being a part of the giver—makes the act of giving not as innocent a transaction as it might seem. Indeed, it creates a social bond and an obligation to reciprocate on the part of the recipient. It creates relationships. Reciprocity and exchange are the basis of friendship, perhaps also of just and prosperous societies. Ultimately, reciprocity promotes a better way of living. Photo: George Fok © 2013 The month of June marks the fiftieth anniversary of the founding of the Musée d’art con- temporain, a museum that grew out of the wishes, the enterprise and, perhaps most impor- tantly, the donations of collectors and artists. The Musée’s very inception is the result of the kindness of givers. The Grace of a Gesture is our sprawling homage to the builders and makers of the MAC, a celebratory exhibition comprising some 200 artworks donated over the last fifty years—a formal act of reciprocity, in the form of an exhibition, for the generosity of the museum’s many donors and supporters.
    [Show full text]
  • Vivid LIVE First Artist Announced Anohni
    MEDIA RELEASE: Wednesday 24 February 2015 VIVID LIVE FIRST ARTIST ANNOUNCED: ANOHNI (OF ANTONY AND THE JOHNSONS) * BALLOT FOR TICKETS * FOUR NIGHTS ONLY, VIVID SYDNEY EXCLUSIVE “The most exquisite thing you will hear in your life” – Laurie Anderson (The Times, UK) Vivid Sydney and the Sydney Opera House today announced that one of music’s singular innovators - the towering, ever-transforming Anohni (known previously to audiences as Antony Hegarty of Antony and the Johnsons ) - will debut her latest work in four exclusive Vivid LIVE performances at the Sydney Opera House as part of Vivid Sydney , the world’s largest festival of light, music and ideas. Incorporating a series of immersive, sense-shifting moments, the show promises to be the transgender artist’s most ambitious and personal yet. Due to the expected high demand, tickets to Anohni’s Sydney-exclusive Vivid LIVE concerts on 27, 28, 30 and 31 May 2016 will be allocated by ballot. Following sold-out ballots for Morrissey (2015) and Kraftwerk 's 3D Catalogue retrospective (2013), Anohni ’s four Sydney-only Vivid LIVE performances will feature her fifth album and solo debut as Anohni , ‘Hopelessness’ , which raises the dramatic power of Antony and the Johnsons to new electronic heights. American electronic artist and producer Oneohtrix Point Never (who, along with Hudson Mohawke, collaborated on the new album) and Gaël Rakotondrabe (pianist from Antony and the Johnsons) will join Anohni on the Joan Sutherland Theatre stage in this exclusive Australian premiere. The shows also mark Anohni ’s return to the city that has embraced her from the start, from her 2003 visits supporting Lou Reed and 2005 Opera House performances (when the singer stole the all- star Leonard Cohen tribute show, Came So Far For Beauty ) to 2010’s memorable Antony and the Johnsons Concert Hall appearance.
    [Show full text]
  • Notes from the Underground: a Cultural, Political, and Aesthetic Mapping of Underground Music
    Notes From The Underground: A Cultural, Political, and Aesthetic Mapping of Underground Music. Stephen Graham Goldsmiths College, University of London PhD 1 I declare that the work presented in this thesis is my own. Signed: …………………………………………………. Date:…………………………………………………….. 2 Abstract The term ‗underground music‘, in my account, connects various forms of music-making that exist largely outside ‗mainstream‘ cultural discourse, such as Drone Metal, Free Improvisation, Power Electronics, and DIY Noise, amongst others. Its connotations of concealment and obscurity indicate what I argue to be the music‘s central tenets of cultural reclusion, political independence, and aesthetic experiment. In response to a lack of scholarly discussion of this music, my thesis provides a cultural, political, and aesthetic mapping of the underground, whose existence as a coherent entity is being both argued for and ‗mapped‘ here. Outlining the historical context, but focusing on the underground in the digital age, I use a wide range of interdisciplinary research methodologies , including primary interviews, musical analysis, and a critical engagement with various pertinent theoretical sources. In my account, the underground emerges as a marginal, ‗antermediated‘ cultural ‗scene‘ based both on the web and in large urban centres, the latter of whose concentration of resources facilitates the growth of various localised underground scenes. I explore the radical anti-capitalist politics of many underground figures, whilst also examining their financial ties to big business and the state(s). This contradiction is critically explored, with three conclusions being drawn. First, the underground is shown in Part II to be so marginal as to escape, in effect, post- Fordist capitalist subsumption.
    [Show full text]
  • Press Release
    View this email in your browser Press Release Museum of Contemporary Art Detroit For Interviews and Images Contact: Mike Kulick [email protected] Elysia Borowy­Reeder [email protected] 313.832.6622 MOCAD 2014 WINTER SEASON This Weekend At MOCAD ­ DEPE Resident Sameer Reddy Join MOCAD this weekend for a series of events with Department of Education and Public Engagement (DEPE) Resident Artist Sameer Reddy. Reddy's practice aims to catalyze spiritual catharsis through aesthetic encounter, drawing on his parallel professional practice as a healer. The Tabernacle, his installation at MOCAD, incarnates a sacred space within the secular walls of the museum, problematizing the physical and conceptual demarcation between holy and profane. PERFORMANCE: True East PERFORMANCE: The Sound of My Voice FAMILY DAY: Sandpainting and Mandala Making Video interview with the artist FINAL WEEKS ­ CLOSING SOON James Lee Byars: I Cancel All My Works At Death On view through May 4, 2014 I Cancel All My Works at Death is the first comprehensive survey of the plays, actions, and performances of James Lee Byars (Detroit 1932 ­ Cairo 1997). Spanning the period from 1960 (when he created his first action in Kyoto, Japan) to 1981 (when de Appel arts centre in Amsterdam presented a year­long survey), the exhibition, which is titled after Byars' now­famous speech act, adopts the premise that the artist and his work are better mis­remembered than re­experienced. I Cancel All My Works at Death therefore presents none of his actual performances; nor does it include objects made, owned, or used by him, nor vintage ephemera­­with the exception of obituaries published in newspapers at the time of his death.
    [Show full text]
  • Microgenres MOUG 2021 Presentation (6.531Mb)
    Microgenres Memory, Community, and Preserving the Present Leonard Martin Resource Description Librarian Metadata and Digitization Services University of Houston Brief Overview • Microgenres as a cultural phenomenon. • Metadata description for musical microgenres in a library environment using controlled vocabularies and resources. • Challenges and resources for identifying and acquiring microgenre musical sound recordings. • This presentation will focus on chopped and screwed music, vaporwave music, and ambient music. Microgenre noun /mi ∙ cro ∙ gen ∙ re/ 1. A hyper-specific subcategory of artistic, musical, or literary composition characterized that is by a particular style, form, or content. 2. A flexible, provisional, and temporary category used to establish micro- connections among cultural artifacts, drawn from a range of historical periods found in literature, film, music, television, and the performing and fine arts. 3. A specialized or niche genre; either machine-classified or retroactively established through analysis. Examples of Musical Microgenres Hyper-specific • Chopped and screwed music Flexible, provisional, and temporary • Vaporwave music Specialized or niche • Ambient music Ambient Music • Ambient music is a broad microgenre encompassing a breath of natural sounds, acoustic and electronic instruments, and utilizes sampling and/or looping material Discreet Music, Discreet Music, by Brian Eno, 1975, EG Records. to generate repetitive soundscapes. • Earlier works from Erik Satie’s musique d’ameublement (furniture music) to the musique concrete works of Éliane Radigue, Steve Reich’s tape pieces, and synthesizer albums of Wendy Carlos are all precursors of ambient music. • The term ambient music was coined by composer Brian Eno upon the release of Michigan Turquoise, Catch a Blessing. 2019. Genre tags: devotional, ambient, his album, “Discreet Music,” in 1975.
    [Show full text]
  • For More Information, Please Contact
    RIVER TO RIVER 2012 FULL PRELIMINARY SCHEDULE: SUNDAY JUNE 17 Bang on a Can Marathon June 17,12PM - June 18,12AM World Financial Center Winter Garden Bang on a Can brings its 25 Year celebration back downtown with its incomparable 12- hour super-mix of boundary-busting music from around the corner and around the globe. What started as a scruffy loft concert in Soho back in 1987, now ranks among the iconic annual concert events in NYC. This year’s edition features rare performances by some of the most innovative musicians of our time side-by-side with some of today’s newest music pioneers. Some highlights include Bang on a Can All-Stars, astonishing cellist Maya Beiser, Pauline Oliveros’ Deep Listening Band, sound pioneer Alvin Lucier, indie guitar sensation Kaki King, jazz genius Matthew Shipp, music by David Longstreth (Dirty Projectors), Thurston Moore (Sonic Youth), Steve Reich, David T Little, Ruby Fulton, Michael Harrison; film by Bill Morrison, and much more. Stay all Day! Presented by River To River Festival, Arts Brookfield and Bang on a Can. MONDAY JUNE 18 Movie Nights on the Elevated Acre presented in association with Tribeca Film Stella Days (2012) June 18, 8PM The Elevated Acre, 55 Water St. A small town cinema in rural Ireland becomes the setting for a dramatic struggle between faith and passion, Rome and Hollywood, and a man and his conscience. Martin Sheen stars as a priest in Stella Days, which encapsulates the dilemma of Ireland in the mid-1950’s – on the cusp of the modern but still clinging to the traditions of the church.
    [Show full text]
  • Anohni Hopelessness
    ANOHNI HOPELESSNESS CATALOG #: SC333 ABOUT THE ALBUM RELEASE DATE : MAY 6, 2016 FORMAT: CD/LP/DIGITAL ANOHNI has collaborated with Oneohtrix Point Never and Hudson Mohawke on the artist's latest work, HOPELESSNESS . CD BOX LOT: 25 LP BOX LOT: 50 Late last year, ANOHNI, the lead singer from Antony and the Johnsons, released “4 DEGREES", a bombastic dance track celebrating global boiling and collapsing biodiversity. Rather than taking refuge in good GENRE: ALTERNATIVE intentions, ANOHNI gives voice to the attitude sublimated within her behavior as she continues to consume KEY MARKETS: NEW YORK CITY, LOS in a fossil fuel-based economy. ANOHNI released “4 DEGREES,” the first single from her upcoming album ANGELES, SAN FRANCISCO, OAKLAND, SAN HOPELESSNESS , to support the Paris climate conference this past December. JOSE, CHICAGO, SEATTLE, PORTLAND, BOSTON, AUSTIN, MINNEAPOLIS The song emerged earlier last year in live performances. As discussed by ANOHNI: "I have grown tired of grieving for humanity, and I also thought I was not being entirely honest by pretending that I am not a part of the problem," she said. “’4 DEGREES' is kind of a brutal attempt to hold myself accountable, not just TERRITORY RESTRICTIONS: ONLY AVAILABLE valorize my intentions, but also reflect on the true impact of my behaviors.” IN THE UNITED STATES, CANADA, MEXICO & CENTRAL AMERICA The album, HOPELESSNESS , to be released world wide on May 6th 2016, is a dance record with soulful VINYL NOT RETURNABLE vocals and lyrics addressing surveillance, drone warfare, and ecocide. A radical departure from the singer’s symphonic collaborations, the album seeks to disrupt assumptions about popular music through the collision of electronic sound and highly politicized lyrics.
    [Show full text]
  • The Curationist Moment “Experiences”—Shows That, Due to the Primacy of Their Overarching Concept, Make the Curator, Rather Than the Artists, the Star
    ADHOC manifests itself in the proliferation of exhibitions packaged as The Curationist Moment “experiences”—shows that, due to the primacy of their overarching concept, make the curator, rather than the artists, the star. This explains the celebrity status of curators like the Serpentine Gallery’s Hans Ulrich Obrist and MoMA PS1’s Klaus Biesenbach. The former, known for his interviews with notable artists as well as multi-faceted group exhibitions like 2014’s Extinction Marathon: Visions of the Future, serves as Balzer’s chief subject; the book’s prologue is titled “Who is HUO?” and posits Obrist’s jet-setting, star-making career as the pinnacle of curationism. The latter curator is well-known in New York and elsewhere for his ambitious 2015 was full of electronic music curatorial concepts, like 2015’s multimedia Björk exhibition at MoMA or “curators,” but Oneohtrix Point 2014’s expansive Rockaway! exhibition, which featured large projects by Never’s ’90s culture-inspired Patti Smith, Adrián Villar Rojas, and Janet Cardiff, plus a group show, all Garden of Delete went beyond throughout Rockaway Beach. name-checking. Is there a Hans Ulrich Obrist or Klaus Biesenbach, then, of music? Not necessarily, but we certainly see the “curationist” phenomenon at work in music, too. Contemporary musicians and industry workers “curate” everything from music festivals to videos to playlists. Within the Everyone’s a curator these days. their own agency or identity—a electronic music milieu this year, the curationist impulse also led to the It’s an observation that spurred practice that seems necessary as we release of numerous multi-faceted, collaboration-heavy albums—“curated” art critic David Balzer to write spend more and more of our time group exhibitions, if you will, which, furthermore, often included plenty Curationism, a late 2014 book that online, interfacing with others under of “curated” extra-musical material, from videos to performances to art aims to break down the when, why, the guise of social media avatars objects to pop-up shops.
    [Show full text]
  • “Vaporwave Is (Not) a Critique of Capitalism”: Genre Work in an Online Music Scene
    Open Cultural Studies 2018; 2: 451-462 Research Article Andrew Whelan, Raphaël Nowak* “Vaporwave Is (Not) a Critique of Capitalism”: Genre Work in An Online Music Scene https://doi.org/10.1515/culture-2018-0041 Received June 1, 2018; accepted October 26, 2018 Abstract: Vaporwave, first emerging in the early 2010s, is a genre of music characterised by extensive sampling of earlier “elevator music,” such as smooth jazz, MoR, easy listening, and muzak. Audio and visual markers of the 1980s and 1990s, white-collar workspaces, media technology, and advertising are prominent features of the aesthetic. The (academic, vernacular, and press) writing about vaporwave commonly positions the genre as an ironic or ambivalent critique of contemporary capitalism, exploring the implications of vaporwave for understandings of temporality, memory and technology. The interpretive and discursive labour of producing, discussing and contesting this positioning, described here as “genre work,” serves to constitute and sediment the intelligibility and coherence of the genre. This paper explores how the narrative of vaporwave as an aesthetic critique of late capitalism has been developed, articulated, and disputed through this genre work. We attend specifically to the limits around how this narrative functions as a pedagogical or sensitising device, instructing readers and listeners in how to understand and discuss musical affect, the nature and function of descriptions of music, and perhaps most importantly, the nature of critique, and of capitalism as something meriting such critique. Keywords: vaporwave, internet genre, genre work, critique, online music scene, narrative Introduction Vaporwave is a genre of electronic music that emerged online in the early 2010s, with an aesthetic originally oriented to slowing down and looping ostensibly “kitsch” or “schmaltzy” music from the 1980s and 1990s.
    [Show full text]