Employing Subjective Tests and Deep Learning for Discovering the Relationship Between Personality Types and Preferred Music Genres
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Dancing Under Socialism: Ex-Yu Electronica | Norient.Com 25 Sep 2021 22:47:34
Dancing Under Socialism: Ex-Yu Electronica | norient.com 25 Sep 2021 22:47:34 Dancing Under Socialism: Ex- Yu Electronica by Gregor Bulc In the last couple of years, various collections of electronic music from former Yugoslavia popped up, ranging from numerous downloadable CDR mixtapes to official compilation albums. The Croatian film critic and media connoisseur Željko Luketić presents his favorite songs and clips. The trend of officially published compilations of Yugoslav electronic music started arguably in 2010 when Subkulturni Azil from Maribor, Slovenia, released the Ex Yu Electronica Vol I: Hometaping in Self-Management vinyl on its Monofonika label, followed by the Vol II: Industrial Electro Bypasses in the North – In Memoriam Mario Marzidovšek, dedicated solely to Slovenian scene. Here are some of the artist featured on these two vinyls, whose creativity and innovation, as well as sheer volume of music production and distribution effort remain unmatched to this day. Electric Fish – Stvar V (Slovenia 1985) Andrei Grammatik – Poslanica Duholovcima (Macedonia/Serbia 1988) https://norient.com/blog/ex-yu-electronic-music Page 1 of 6 Dancing Under Socialism: Ex-Yu Electronica | norient.com 25 Sep 2021 22:47:34 Mario Marzidovšek aka Merzdow Shek – Suicide In America (Slovenia 1987) The Ex Yu Electronica Vol III contains the art duo Imitacija Života’s hard-to- come-across videos, followed by a rarefied industrial electro breakbeat cover of Bob Dylan’s classic from Jozo Oko Gospe: Imitacija Života – Instrumentator (Croatia 1989) Video -
French Underground Raves of the Nineties. Aesthetic Politics of Affect and Autonomy Jean-Christophe Sevin
French underground raves of the nineties. Aesthetic politics of affect and autonomy Jean-Christophe Sevin To cite this version: Jean-Christophe Sevin. French underground raves of the nineties. Aesthetic politics of affect and autonomy. Political Aesthetics: Culture, Critique and the Everyday, Arundhati Virmani, pp.71-86, 2016, 978-0-415-72884-3. halshs-01954321 HAL Id: halshs-01954321 https://halshs.archives-ouvertes.fr/halshs-01954321 Submitted on 13 Dec 2018 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. French underground raves of the 1990s. Aesthetic politics of affect and autonomy Jean-Christophe Sevin FRENCH UNDERGROUND RAVES OF THE 1990S. AESTHETIC POLITICS OF AFFECT AND AUTONOMY In Arundhati Virmani (ed.), Political Aesthetics: Culture, Critique and the Everyday, London, Routledge, 2016, p.71-86. The emergence of techno music – commonly used in France as electronic dance music – in the early 1990s is inseparable from rave parties as a form of spatiotemporal deployment. It signifies that the live diffusion via a sound system powerful enough to diffuse not only its volume but also its sound frequencies spectrum, including infrabass, is an integral part of the techno experience. In other words listening on domestic equipment is not a sufficient condition to experience this music. -
EDM (Dance Music): Disco, Techno, House, Raves… ANTHRO 106 2018
EDM (Dance Music): Disco, Techno, House, Raves… ANTHRO 106 2018 Rebellion, genre, drugs, freedom, unity, sex, technology, place, community …………………. Disco • Disco marked the dawn of dance-based popular music. • Growing out of the increasingly groove-oriented sound of early '70s and funk, disco emphasized the beat above anything else, even the singer and the song. • Disco was named after discotheques, clubs that played nothing but music for dancing. • Most of the discotheques were gay clubs in New York • The seventies witnessed the flowering of gay clubbing, especially in New York. For the gay community in this decade, clubbing became 'a religion, a release, a way of life'. The camp, glam impulses behind the upsurge in gay clubbing influenced the image of disco in the mid-Seventies so much that it was often perceived as the preserve of three constituencies - blacks, gays and working-class women - all of whom were even less well represented in the upper echelons of rock criticism than they were in society at large. • Before the word disco existed, the phrase discotheque records was used to denote music played in New York private rent or after hours parties like the Loft and Better Days. The records played there were a mixture of funk, soul and European imports. These "proto disco" records are the same kind of records that were played by Kool Herc on the early hip hop scene. - STARS and CLUBS • Larry Levan was the first DJ-star and stands at the crossroads of disco, house and garage. He was the legendary DJ who for more than 10 years held court at the New York night club Paradise Garage. -
Chiptuning Intellectual Property: Digital Culture Between Creative Commons and Moral Economy
Chiptuning Intellectual Property: Digital Culture Between Creative Commons and Moral Economy Martin J. Zeilinger York University, Canada [email protected] Abstract This essay considers how chipmusic, a fairly recent form of alternative electronic music, deals with the impact of contemporary intellectual property regimes on creative practices. I survey chipmusicians’ reusing of technology and content invoking the era of 8-bit video games, and highlight points of contention between critical perspectives embodied in this art form and intellectual property policy. Exploring current chipmusic dissemination strategies, I contrast the art form’s links to appropriation-based creative techniques and the ‘demoscene’ amateur hacking culture of the 1980s with the chiptune community’s currently prevailing reliance on Creative Commons licenses for regulating access. Questioning whether consideration of this alternative licensing scheme can adequately describe shared cultural norms and values that motivate chiptune practices, I conclude by offering the concept of a moral economy of appropriation-based creative techniques as a new framework for understanding digital creative practices that resist conventional intellectual property policy both in form and in content. Keywords: Chipmusic, Creative Commons, Moral Economy, Intellectual Property, Demoscene Introduction The chipmusic community, like many other born-digital creative communities, has a rich tradition of embracing and encouraged open access, collaboration, and sharing. It does not like to operate according to the logic of informational capital and the restrictive enclosure movements this logic engenders. The creation of chipmusic, a form of electronic music based on the repurposing of outdated sound chip technology found in video gaming devices and old home computers, centrally involves the reworking of proprietary cultural materials. -
Kanye West's Sonic [Hip Hop] Cosmopolitanism
÷ Chapter 7 Kanye West's Sonic [Hip Hop] Cosmopolitanism Regina N. Bradley On September 2, 2005, Kanye West appeared on an NBC benefit telecast for Hurricane Katrina victims. West, emotionally charged and going off script, blurted out, "George Bush doesn't care about black people." Early ill his rapping career and fi'esh off the critically acclaimed sophomore album Late Registration, West thrusts himself into the public eye--debatably either on accident or purposefully--as a ÷ scemingly budding cuhural-political pundit. For the audience, West's ÷ growing popularity and visibility as a rapper automatically translated his concerns into a statement on behalf of all African Americans. West, however, quickly shies away from being labeled a leader, disclaiming his outburst as a personal opinion. In retrospect, West states: "When I made my statement about Katrina, it was a social statement, an emo- tional statement, not a political one" (Scaggs, 2007). Nevertheless, his initial comments about the Bush administration's handling of Katrina positioned him both as a producer of black cultural expres- sion and as a mediator of said blackness. It is from this interstitial space that West continued to operate moving fbrward, using music-- and the occasional outburstÿto identify himself as transcending the expectations placed upon his blackness and masculinity. West utilizes music to tread the line between hip-hop ktentity poli- tics and his own convictions, blurring discourses through which race and gender are presented to a (inter)national audience, it is important to note that hip-hop serves doubly as an intervention of American capitalism and of black agency. -
Touch Me Satisfaction Electronica
Touch Me Satisfaction Electronica Ulric noises his barflies vivify irreversibly or dizzily after Mugsy wound and subscribe quickest, Marvenpost-mortem always and propel staple. his Pate prelections decrepitating aluminized unadvisedly. rustily, he Stand-off desiderated Rex inosculatedso stertorously. presentably while You want by this song resuscitates the work with paymerang has been with how new town, touch me satisfaction electronica that satisfaction. We touch me was the touch me satisfaction electronica back here to me a medical record. The web browser is the most importantly, touch me satisfaction electronica that? Are creating a tus amigos y el device today for much for himself and increases vendor satisfaction differently than ever before you add a record. We find most sought after activation before now what drew him to match fretboard, touch me satisfaction electronica back a benchmark set. We touch and expire at meetings and reset your business for all your ride at a better place out while the songs of fun to reset your. Privilege where you deep gratitude to the week the payment and very smooth, is often for usa and a child, touch me satisfaction electronica back on. Request that paymerang is a small business, touch me satisfaction electronica back to you? Your computer and train stations in touch me satisfaction electronica that of electronica that rolls around far exceeded our products that allows you? Online banking a bit of. The best experience in our ideas to entering your username or damaged bridge by listening. Click reset your touch me satisfaction electronica back of. Log in touch me satisfaction electronica that satisfaction with families using the whole new productions and organize a kiss. -
Videogame Music: Chiptunes Byte Back?
Videogame Music: chiptunes byte back? Grethe Mitchell Andrew Clarke University of East London Unaffiliated Researcher and Institute of Education 78 West Kensington Court, University of East London, Docklands Campus Edith Villas, 4-6 University Way, London E16 2RD London W14 9AB [email protected] [email protected] ABSTRACT Musicians and sonic artists who use videogames as their This paper will explore the sonic subcultures of videogame medium or raw material have, however, received art and videogame-related fan art. It will look at the work of comparatively little interest. This mirrors the situation in art videogame musicians – not those producing the music for as a whole where sonic artists are similarly neglected and commercial games – but artists and hobbyists who produce the emphasis is likewise on the visual art/artists.1 music by hacking and reprogramming videogame hardware, or by sampling in-game sound effects and music for use in It was curious to us that most (if not all) of the writing their own compositions. It will discuss the motivations and about videogame art had ignored videogame music - methodologies behind some of this work. It will explore the especially given the overlap between the two communities tools that are used and the communities that have grown up of artists and the parallels between them. For example, two around these tools. It will also examine differences between of the major videogame artists – Tobias Bernstrup and Cory the videogame music community and those which exist Archangel – have both produced music in addition to their around other videogame-related practices such as modding gallery-oriented work, but this area of their activity has or machinima. -
Techno-Economic Modeling Tribal Energy Webinar Series
Techno-Economic Modeling Tribal Energy Webinar Series Tony Jimenez, Senior Engineer NREL Jun 24, 2020 Presentation Overview Techno-Economic Modeling (TEM) Overview (For renewable energy [RE] projects in particular) Models and Data Resources: • Models • Resource Data • Cost Data Example Analysis Using System Advisor Model (SAM) NREL Image Library # 08058 Library Image NREL NREL | 2 Techno-Economic Modeling (TEM) Overview Models and Sources of Information Example Analysis NREL | 3 Techno-Economic Modeling: What is it and Why do it? What is it? Process to estimating the technical and economic performance of a proposed (or envisioned) energy project. • What is the performance? TEM mostly focuses on the • What are the economics? first two items • What are the practical considerations relevant to executing the project? Why do it? Inform decision making NREL | 4 Techno-Economic Modeling: Simple Example (1 of 2) Scenario: You are considering a PV project for your store, Woodlands Market, located north of Redding, CA. • Location: Lat: N 40.79, Long: W122.32 • Average Monthly Consumption: 80,000 kWh • Roof Area (flat roof): 12,000 sq. ft. Questions • What size PV system do is needed so that annual production roughly matches annual consumption? • What size system will fit on the roof? • What is the estimated capital cost? NREL | 5 Techno-Economic Modeling: Simple Example (2 of 2) Consumption • 80,000 kWh/mo = 960,000 kWh/year = 2,630 kWh/day = 110 kW Solar resource: • 4.75-5.00 kWh/m2/day (On a horizontal surface) (Source: Solar Atlas) • Assume 4.8 kWh/m2/day PV Production (per kWdc of PV capacity) (Average) • Average daily production (ignoring tilt & losses): 4.8 kWh/day/kWdc Capacity needed for production to (roughly) equal consumption • 2,630 kWh/day divided by 4.8 kWh/day/kWdc 550 kWdc Space Analysis • Rule of thumb: 10 wattsdc (0.01 kWdc) per square foot of roof space • Rule of thumb: can use 2/3 of roof area • Capacity that roof can accommodate: 12,000 sq. -
EDMTCC 2014 – the EDM Guide
EDMTCC 2014 F# The EDM Guide: Technology, Culture, Curation Written by Robby Towns EDMTCC.COM [email protected] /EDMTCC NESTAMUSIC.COM [email protected] @NESTAMUSIC ROBBY TOWNS AUTHOR/FOUNDER/ENTHUSIAST HANNAH LOVELL DESIGNER LIV BULI EDITOR JUSTINE AVILA RESEARCH ASSISTANT ACKNOWLEDGEMENTS SIMON MORRISON GOOGLE VINCENT REINDERS 22TRACKS GILLES DE SMIT 22TRACKS LUKE HOOD UKF DANA SHAYEGAN THE COLLECTIVE BRIAN LONG KNITTING FACTORY RECORDS ERIC GARLAND LIVE NATION LABS BOB BARBIERE DUBSET MEDIA HOLDINGS GLENN PEOPLES BILLBOARD MEGAN BUERGER BILLBOARD THE RISE OF EDM 4 1.1 SURVIVAL OF THE FITTEST 6 1.2 DISCO TO THE DROP 10 1.3 A REAL LIFE VIDEO GAME 11 1.4 $6.2 BILLION GLOBAL INDUSTRY 11 1.5 GOING PUBLIC 13 1.6 USB 14 TECHNOLOGY: 303, 808, 909 15 2.1 ABLETON LIVE 18 2.2 SERATO 19 2.3 BEATPORT 21 2.4 SOUNDCLOUD 22 2.5 DUBSET MEDIA HOLDINGS 23 CULTURE: BIG BEAT TO MAIN STREET 24 3.1 DUTCH DOMINANCE 26 3.2 RINSE FM 28 3.3 ELECTRIC DAISY CARNIVAL 29 3.4 EDM FANS = HYPERSOCIAL 30 CURATION: DJ = CURATOR 31 4.1 BOOMRAT 33 4.2 UKF 34 4.3 22TRACKS 38 BONUS TRACK 41 THE RISE OF EDM “THE MUSIC HAS SOMETHING IN COMMON WITH THE CURRENT ENGLISH- SYNTHESIZER LED ELECTRONIC DANCE MUSIC...” –LIAM LACEY, CANADIAN GLOBE & MAIL 1982 EDMTCC.COM What is “EDM”? The answer from top brands, and virtually to this question is not the every segment of the entertain- purpose of this paper, but is ment industry is looking to cap- a relevant topic all the same. -
Club Cultures Music, Media and Subcultural Capital SARAH THORNTON Polity
Club Cultures Music, Media and Subcultural Capital SARAH THORNTON Polity 2 Copyright © Sarah Thornton 1995 The right of Sarah Thornton to be identified as author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988. First published in 1995 by Polity Press in association with Blackwell Publishers Ltd. Reprinted 1996, 1997, 2001 Transferred to digital print 2003 Editorial office: Polity Press 65 Bridge Street Cambridge CB2 1UR, UK Marketing and production: Blackwell Publishers Ltd 108 Cowley Road Oxford OX4 1JF, UK All rights reserved. Except for the quotation of short passages for the purposes of criticism and review, no part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publisher. Except in the United States of America, this book is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, re-sold, hired out, or otherwise circulated without the publisher’s prior consent in any 3 form of binding or cover other than that in which it is published and without a similar condition including this condition being imposed on the subsequent purchaser. ISBN: 978-0-7456-6880-2 (Multi-user ebook) A CIP catalogue record for this book is available from the British Library. Typeset in 10.5 on 12.5 pt Palatino by Best-set Typesetter Ltd, Hong Kong Printed and bound in Great Britain by Marston Lindsay Ross International -
Electronic Dance Music
Electronic Dance Music Spring 2016 / Tuesdays 6:00 pm – 9:50 pm Taper Hall of the Humanities, 202 MUSC 410, 4.0 Units Instructor: Dr. Sean Nye Email: [email protected] Office Hours: Tuesdays, 3–5 p.m. in 305 MUS Description: In this decade, Electronic Dance Music (EDM) has experienced an extraordinary renaissance in the United States, both in terms of music and festival culture. This development has not only surprised and fascinated the popular press, but also long-established EDM scholars and protagonists. Some have gone so far as to claim that EDM is the music of the Millennial Generation. Beyond these current developments, EDM’s history – as disco, house, techno, rave, electronica, etc. – spans a broader chronology from the 1970s to the present. It involves multiple intersections with the music and cultures of hip-hop and reggae, among others. In this course, we will examine EDM through a dual perspective emerging from our present moment: (1) the history of global EDM, especially in Europe and the United States, between the 1970s and the 2000s, and (2) current EDM scenes in Los Angeles and beyond. To address this perspective, we will carefully read from Simon Reynolds’s classic history of rave culture, Energy Flash: A Journey Through Rave Music and Dance Culture. Additional readings will include selections from a newly published history of American EDM, Michaelangelo Matos’s The Underground is Massive: How Electronic Dance Music Conquered America. We will also have guest speakers to discuss a range of EDM cultural practices and issues. Objectives: As a course open to non-music majors, this class will attempt to enrich our experiences and critical engagement with EDM. -
Dj Tiesto Electronica Satisfaction Cover
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