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Feminist Technosciences Rebecca Herzig and Banu Subramaniam, Series Editors 1r.Roy, Molecular Feminisms.indd 1 1/28/19 1:10 PM 1r.Roy, Molecular Feminisms.indd 2 1/28/19 1:10 PM Molecular Feminisms BIOLOGY, BECOMINGS, AND LIFE IN THE LAB DEBOLEENA ROY University of Washington Press Seattle 1r.Roy, Molecular Feminisms.indd 3 1/28/19 1:10 PM Publication of this open monograph was the result of Emory University’s participa- tion in TOME (Toward an Open Monograph Ecosystem), a collaboration of the Association of American Universities, the Association of University Presses, and the Association of Research Libraries. TOME aims to expand the reach of long-form humanities and social science scholarship including digital scholarship. Additionally, the program looks to ensure the sustainability of university press monograph pub- lishing by supporting the highest quality scholarship and promoting a new ecology of scholarly publishing in which authors’ institutions bear the publication costs. Funding from Emory University and the Andrew W. Mellon Foundation made it possible to open this publication to the world. www.openmonographs.org Copyright © 2018 by Deboleena Roy Printed and bound in the United States of America Interior design by Thomas Eykemans Composed in Chaparral, typeface designed by Carol Twombly Cover design by Katrina Noble Cover photograph by Kheyal Roy-Meighoo and Koan Roy-Meighoo 22 21 20 19 5 4 3 2 All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage or retrieval system, without permission in writing from the publisher. -
Subkultura Vývoj Hudební Skupiny Radiohead a Její Vliv Na Dnešní
Tomáš Pokorný 416094 Subkultura „Pojem subkultura používám například při studování životního stylu mládeže, určitých sociálních a etnických vrstev, protestních hnutí nebo hodnotových představ delikventů. Škála projevů vyjadřujících distanci od převládající kultury je široká, od drobných změn až k radikálnímu popření.“ 1 „Významný sociolog a teoretik subkultur Cohen zastává názor, že subkultura vzniká, když určitý počet lidí s podobnými problémy se sociálním přizpůsobením má dostatečný počet interakcí a vytváří si vlastní pohled na společnost.“ 2 Z výše uvedených definic je jasné, co subkultura je. V hudebním prostředí se subkultura vyznačuje snahou oprostit se od všednosti hlavního proudu. Vývoj hudební skupiny Radiohead a její vliv na dnešní populární hudbu „Jsou tak dobří, až z toho jde strach“ Michael Stipe (R.E.M.) Vývoj Radiohead můžeme rozdělit do třech základních pilířů. První období se vymezuje od roku 1985 až do roku 1997, zde se budu věnovat projektu On a Friday až po album Ok Computer. Další období přichází s přelomovými alby Kid A a Amnesiac (2OO1). Třetí a poslední rozdělení zasahuje až do dnešní tvorby kapely. Dále se budu věnovat tomu, jaký vliv měla kapela na dnešní populární hudbu. 1985-1997 (On a Friday – Ok Computer) Na Oxfordské univerzitě se roku 1985 potkávají Thom Yorke, Ed O‘Brian, Phil Selway a Colin Greenwood a zakládají společně hudební skupinu. Později přibírají i Jonnyho Greenwooda. Podle dnů svých zkoušek si dávají název „On a Friday“ (V pátek). Obliba On a Friday roste především ve studentských kampusech a v oxfordských klubech. Počátkem roku 1991 vydávají svoji první „demo“ nahrávku s příznačným názvem „On a Friday Demo“. -
Radiohead: the Guitar Weilding, Dancing, Singing Commodity
Georgia State University ScholarWorks @ Georgia State University Communication Theses Department of Communication 2-23-2009 Radiohead: The Guitar Weilding, Dancing, Singing Commodity Selena Michelle Lawson Follow this and additional works at: https://scholarworks.gsu.edu/communication_theses Part of the Communication Commons Recommended Citation Lawson, Selena Michelle, "Radiohead: The Guitar Weilding, Dancing, Singing Commodity." Thesis, Georgia State University, 2009. https://scholarworks.gsu.edu/communication_theses/47 This Thesis is brought to you for free and open access by the Department of Communication at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Communication Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. RADIOHEAD: THE GUITAR WEILDING, DANCING, SINGING COMMODITY by SELENA LAWSON Under the Direction of Jeffery Bennett ABSTRACT In 2007, Radiohead released a downloadable album, In Rainbows, allowing consumers to pay what they thought the album was worth. The band responded to a moment of change in the music industry. Since then, other bands, like Nine Inch Nails and Coldplay, have made similar moves. Radiohead's capability to release an album and let the fans decide its worth relied on the image they built, which foregrounded their commodification. The historic move redefined the boundaries between art and commodity, a well know tension in popular music studies. The thesis focuses on popular music as communication in the changing industry. Using Radiohead’s album as a case study, it looks at the changing boundaries in the tension between art and commodity. The thesis examines Radiohead's performance, its mediation by the press, and what the album’s distribution method meant to the fans. -
Where Murakami Ends and Radiohead Begins: a Comparative Study
WHERE MURAKAMI ENDS AND RADIOHEAD BEGINS: A COMPARATIVE STUDY By Samuel JP Shaw Foreword: This is not an academic essay, in so far I do not wish for it to be taken too seriously. I am all too aware of the danger of comparative studies. In simply setting down the title above, I am likely to have to answer to the charge of pretension. However, I would not set about this task unless I believed that, on a basic level, there is some worth in it. And I believe there is. You can judge for yourself I must also point out that it is not my intention to try and make explicit links between my two subjects. I don’t mean to argue that they are coming from exactly the same place and not for a moment do I wish to suggest that my interpretations are the only ones there can be. You may disagree with all that I say. I have simply noted a range of similarities, which I have tentatively explored in a way which, I hope, insults neither subject and complements both. This study is not designed for the reader to leave thinking, ‘Wow! Radiohead and Murakami are just like each other!’ Quite simply, this is not the case. My aim instead is that the reader will leave thinking ‘Hey! That makes me look at Radiohead/Murakami in a different way’. 1 Where I begin: I started reading Murakami in the spring of 2002. I first heard Radiohead a long time before that, but their music had probably at this same time become a bigger feature in my life than ever before. -
OK Computer Ou L'émergence D'un Rock Syncrétique Chez Radiohead
OK Computer ou l’émergence d’un rock syncrétique chez Radiohead Benjamin Lassauzet To cite this version: Benjamin Lassauzet. OK Computer ou l’émergence d’un rock syncrétique chez Radiohead. Lisa, 2019, XVI (1). hal-03244408 HAL Id: hal-03244408 https://hal.uca.fr/hal-03244408 Submitted on 1 Jun 2021 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. Benjamin Lassauzet OK Computer ou l’émergence d’un rock syncrétique chez Radiohead « Dans deux décennies, [OK Computer] sera envisagé comme un album clé, un chef-d’œuvre expérimental et iconoclaste qui osa entraîner le rock bien loin des images et constructions d’antan » Nick Kent, Libération, 17 juin 19971. Après plus de vingt ans d’existence, l’album OK Computer n’a pas fini de fasciner. Et si l’étonnement initial tend à s’émousser, la portée de son message apparaît plus clairement qu’à sa sortie. Il n’est qu’à consulter les critiques rédigées suite à la parution de l’album, qui font apparaître deux remarques récurrentes. D’une part, les commentateurs reconnaissent avoir sous-estimé le groupe sur la base de leurs deux premiers albums (Pablo Honey, 1993 ; The Bends, 1995) : trop vite considéré comme un énième avatar post-Nirvana suite au succès planétaire de « Creep » (avec ses paroles auto-dépréciatrices et ses oppositions dynamiques très marquées), Radiohead peinait, en effet, à s’extraire d’une image encombrante le poursuivant depuis ses débuts. -
Corpus Antville
Corpus Epistemológico da Investigação Vídeos musicais referenciados pela comunidade Antville entre Junho de 2006 e Junho de 2011 no blogue homónimo www.videos.antville.org Data Título do post 01‐06‐2006 videos at multiple speeds? 01‐06‐2006 music videos based on cars? 01‐06‐2006 can anyone tell me videos with machine guns? 01‐06‐2006 Muse "Supermassive Black Hole" (Dir: Floria Sigismondi) 01‐06‐2006 Skye ‐ "What's Wrong With Me" 01‐06‐2006 Madison "Radiate". Directed by Erin Levendorf 01‐06‐2006 PANASONIC “SHARE THE AIR†VIDEO CONTEST 01‐06‐2006 Number of times 'panasonic' mentioned in last post 01‐06‐2006 Please Panasonic 01‐06‐2006 Paul Oakenfold "FASTER KILL FASTER PUSSYCAT" : Dir. Jake Nava 01‐06‐2006 Presets "Down Down Down" : Dir. Presets + Kim Greenway 01‐06‐2006 Lansing‐Dreiden "A Line You Can Cross" : Dir. 01‐06‐2006 SnowPatrol "You're All I Have" : Dir. 01‐06‐2006 Wolfmother "White Unicorn" : Dir. Kris Moyes? 01‐06‐2006 Fiona Apple ‐ Across The Universe ‐ Director ‐ Paul Thomas Anderson. 02‐06‐2006 Ayumi Hamasaki ‐ Real Me ‐ Director: Ukon Kamimura 02‐06‐2006 They Might Be Giants ‐ "Dallas" d. Asterisk 02‐06‐2006 Bersuit Vergarabat "Sencillamente" 02‐06‐2006 Lily Allen ‐ LDN (epk promo) directed by Ben & Greg 02‐06‐2006 Jamie T 'Sheila' directed by Nima Nourizadeh 02‐06‐2006 Farben Lehre ''Terrorystan'', Director: Marek Gluziñski 02‐06‐2006 Chris And The Other Girls ‐ Lullaby (director: Christian Pitschl, camera: Federico Salvalaio) 02‐06‐2006 Megan Mullins ''Ain't What It Used To Be'' 02‐06‐2006 Mr. -
©Psychology's Feminist Voices, 2016
1 Psychology’s Feminist Voices Oral History Project Interview with Gillian Einstein 2016 Interviewed by Jenna MacKay and Lisa Feingold Toronto, ON February 26, 2016 Voices, When citing this interview,Feminist please use the following citation: Einstein, G. (2016, February 26). Interview by J. MacKay & L. Feingold [Video Recording]. Psychology’s Feminist Voices Oral History and Online Archive Project. Toronto, ON. For permission to use this interview in published work, please contact: ©Psychology’s Alexandra Rutherford, PhD Project Director, Psychology’s Feminist Voices [email protected] ©Psychology’s Feminist Voices, 2016 2 Psychology’s Feminist Voices Oral History Project Interview with Gillian Einstein Interviewed by Jenna MacKay and Lisa Feingold Toronto, ON February 26, 2016 JM: Jenna MacKay, Interviewer LF: Lisa Feingold, Interviewer GE: Gillian Einstein, Interview participant --------------------------------------------------------------------------------------------- 2016 JM: So Lisa and I are going to take turns asking questions. I guess I’ll let Lisa get started, unless, do you have any questions for us before we begin? GE: No, I just think this is a great project. LF: We always start off our interviews by asking for the historicalVoices, record if you could please state your name and the date and place of your birth. GE: My name is Gillian Einstein. The date of my birth is June 13th, 1952, and I was born in New York City, New York, United States. LF: Great. So we also like to start out by askingFeminist about when you developed a feminist identity, or how did that emerge? GE: I honestly think I was born this way (laughs). I think the first moment of understanding it was actually, I think I was probably seven years old and there was a film series in this little town that I lived in on Saturdays for kids about great people and they had one on Marie Curie. -
Event Modelling for Policymakers & Valuation
EVENT MODELLING FOR POLICYMAKERS & VALUATION ANALYSTS IN DISRUPTIVE INNOVATION MARKETS: DIGITAL DOWNLOAD STRATEGIES FOR RADIOHEAD’S IN RAINBOWS & NINE INCH NAILS’ THE SLIP A L E X B U R N S (Refereed) ([email protected]) ‘There’s an unlimited supply.’ – The Sex Pistols, ‘EMI’, Never Mind the Bollocks, Here’s the Sex Pistols (1978) ‘Yes, it’s pay what you want, including free. Really.’ – Radiohead, In Rainbows.com digital download site (2007) ‘I think the way [Radiohead] parlayed it into a marketing gimmick has certainly been shrewd. But if you look at what they did, though, it was very much a bait and switch to get you to pay for a MySpace-quality stream as a way to promote a very traditional record sale. There’s nothing wrong with that, but I don’t see that as a big revolution [that] they’re kinda [sic] getting credit for. To me that feels insincere. It relies upon the fact that it was quote-unquote ‘first,’ and it takes the headlines with it.’ – Nine Inch Nails’ Trent Reznor, Triple J’s ‘Hack’ interview (Chartier, 2008). 1. Introduction: Two Market Events & Four Initial Reactions 1.1 Paper Overview & Problem Statement Market events force journalists, policymakers and valuation analysts to make judgments on the basis of ambiguous and incomplete information. This paper explores why Chris Anderson, Scott Anthony and other strategists applaud Radiohead’s In Rainbows (2007) and Nine Inch Nails’ The Slip (2008) as two market events about online digital downloads that might dramatically alter the digital music industry’s structure, firms, and business models. -
2014 Annual Meeting November 13-14 3 2014 INS Abstract Awards AAAS Building, 12Th & H Streets, N.W
INTERNATIONAL NEUROETHICS SOCIETY NEWSLETTER SEPTEMBER 2014 IN THIS ISSUE 2014 Annual Meeting November 13-14 3 2014 INS Abstract Awards AAAS building, 12th & H Streets, N.W. Washington, DC 4 INS at FENS 5 Meet a Member Laura Yenisa Cabrera 7 Presidential Commission Submission by the INS 8 Brochure Announcement Don’t miss the Annual Meeting of the International Neuroethics Society at the beautiful American Association for the Advancement of Science (AAAS) 10 2014 IAB Meeting building on November 13th and 14th—right before the Society for Report Neuroscience Meeting (September 15). There is a remarkable line-up of speakers and captivating topics. Check out 11 What Are INS the speakers and full schedule. On Friday, at the all-day meeting you will hear from Congressman Chaka Fattah, several NIH directors, Henry Members Doing? Markram from the Human Brain Project, Stephen Hauser from the Presidential Commission for the Study of Bioethical Issues, and many others 13 Calendar from across the globe. Descriptions of two of the exciting meeting sessions are available on our 14 Social Media website: Neuroscience in the Courts – International Case Studies Neuroscience and Human Rights In addition to the panels, there are networking opportunities at breakfast, lunch and two receptions – one featuring a poster session. Tell your colleagues. Send your students. (Continued on Page 2) 1 INTERNATIONAL NEUROETHICS SOCIETY NEWSLETTER SEPTEMBER 2014 A public program “Robots and Society” will be held on Thursday evening, November 13 from 5 – 7 p.m. Discussion will focus on advances in knowledge President about human cognition and emotion and their application to the design and Barbara Sahakian function of robotic-like devices in sectors from manufacturing to health care. -
Coding OK Computer: Categorization and Characterization of Disruptive Harmonic and Rhythmic Events in Rock Music
Coding OK Computer: Categorization and Characterization of Disruptive Harmonic and Rhythmic Events in Rock Music by Nathaniel Emerson Adam A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music Theory) in the University of Michigan 2011 Doctoral Committee: Professor Walter T. Everett, Chair Associate Professor Ramon Satyendra Assistant Professor Karen J. Fournier Assistant Professor Sheila C. Murphy © Nathaniel Emerson Adam 2011 To Laura Hope ii Acknowledgements First and foremost, I want to acknowledge and thank my advisor and friend, Walt Everett. His work inspired me to pursue research in rock analysis, and he personally guided that pursuit, generously providing constant support and assistance. This work is a tribute to him. Many thanks also to the members of my committee, for the experiences in their classrooms and for their encouragement and suggestions in the development of this project. I must acknowledge Thom, Johnny, Ed, Colin, Phil, and Nigel for creating such beautiful and provocative music in the first place. I can’t wait to see what they do next. My love and thanks go out to Zach and to Brent for providing years of stimulating conversation and musical collaboration, and constantly challenging me to think about music better and more deeply. When I started graduate school, Blair, Phil, Danny, and David went out of their way to make me feel welcome and embrace me as a colleague. I’m extremely grateful for their example, their mentoring, and their friendship. Thanks to them and to all of my other colleagues at the University of Michigan, especially Bryan, Michael, Alison, and Abby; spending time with them made it easier to stay sane. -
Gender, Sex, and Health Research
C o J Volume N NR September /septembre CONTENTS / TABLE DES MATIÈRES Gender, Sex, and Health/ Le genre, le sexe et la santé Guest Editorial / Collaboration spéciale Gender, Sex, and Health Research: Developments and Challenges Jan Angus Discourse / Discours The Gendered Ovary: Whole Body Effects of Oophorectomy Gillian Einstein, April S. Au, Jason Klemensberg, Elizabeth M. Shin, Nicole Pun An Integrative Review of Nurse Attitudes Towards Lesbian, Gay, Bisexual, and Transgender Patients Une recherche de synthèse sur les attitudes du personnel infirmier à l’égard des lesbiennes, gais, bisexuels et transgenres Caroline Dorsen Nurses’ Work With LGBTQ Patients: “They’re Just Like Everybody Else, So What’s the Difference?” Le travail du personnel infirmier avec des patientes LGBTQ : « Elles sont comme les autres, alors quelle est la différence? » Brenda L. Beagan, Erin Fredericks, Lisa Goldberg Supporting Fathers’ Efforts to Be Smoke-Free: Program Principles Soutenir l’effort des pères qui souhaitent cesser de fumer : principes pour un programme John L. Oliffe, Joan L. Bottorff, Gayl Sarbit Reaching Adolescent Girls Through Social Networking: A New Avenue for Smoking Prevention Messages Toucher les adolescentes au moyen du réseautage social : une nouvelle avenue pour les messages de prévention du tabagisme Laura Louise Struik, Joan L. Bottorff, Mary Jung, Claire Budgen Ingram School of Nursing, McGill University Understanding Gendered Expectations and Exemptions Experienced by Male Double-Duty Caregivers: A Qualitative Secondary Analysis -
CONFERENCE PROGRAM Thursday 8 May 2014 | Aula – IDHEAP 14H00
CONFERENCE PROGRAM Thursday 8 May 2014 | Aula – IDHEAP 14h00-14h15 Opening Cynthia KRAUS, University of Lausanne & Anelis KAISER, University of Bern 14h15 -14h30 Welcome Franciska KRINGS, Vice-Rector, University of Lausanne 14h30-15h30 Keynote lecture Prof. Rebecca JORDAN-YOUNG, Barnard College Sex as Chimera: Tools for (Un)Thinking Difference 15h30-16h30 Keynote lecture Prof. Gillian EINSTEIN, Linköping University, Dalla Landa School of Public Health, University of Toronto When Does a Difference Make a Difference? Examples from Situated Neuroscience Chair: Anelis Kaiser 16h30-17h00 Break 17h00-18h00 Keynote lecture Prof. Georgina RIPPON, Aston University Functional Neuroimaging (FNI) and Sex/Gender Research : of Differences, Dichotomies and Entanglement 18h00-19h00 Keynote lecture Prof. Anne FAUSTO-STERLING, Brown University How Your Generic Baby Acquires Gender Chair: Cynthia Kraus Friday 9 May 2014 | Aula – IDHEAP 9h00-9h30 Presentation Isabelle DUSSAUGE, University of Uppsala & Sigrid SCHMITZ, University of Vienna Neurogenderings Network and Neurogenderings II Conference Chair: Anelis Kaiser 9h30-10h00 Introduction Cynthia KRAUS, University of Lausanne A Dissensus Conference For What? Feminism, Brain Research, and Democratic Practices Anelis KAISER, University of Bern Empirical NeuroGenderings: Outline of a Research Program 10h00-10h30 Break 10h30-12h00 Session 1 Hardwired brains? Plastic brains? Critical reflections Giordana GROSSI, State University New York at New Paltz Hardwired: History of a Misleading Metaphor Annelies KLEINHERENBRINK,