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Artist Song 2 Unlimited Maximum Overdrive 2 Unlimited Twilight Zone 2Pac All Eyez On Me 3 Doors Down When I'm Gone 3 Doors Down Away From The Sun 3 Doors Down Let Me Go 3 Doors Down Behind Those Eyes 3 Doors Down Here By Me 3 Doors Down Live For Today 3 Doors Down Citizen Soldier 3 Doors Down Train 3 Doors Down Let Me Be Myself 3 Doors Down Here Without You 3 Doors Down Be Like That 3 Doors Down The Road I'm On 3 Doors Down It's Not My Time (I Won't Go) 3 Doors Down Featuring Bob Seger Landing In London 38 Special If I'd Been The One 4him The Basics Of Life 98 Degrees Because Of You 98 Degrees This Gift 98 Degrees I Do (Cherish You) 98 Degrees Feat. Stevie Wonder True To Your Heart A Flock Of Seagulls The More You Live The More You Love A Flock Of Seagulls Wishing (If I Had A Photograph Of You) A Flock Of Seagulls I Ran (So Far Away) A Great Big World Say Something A Great Big World ft Chritina Aguilara Say Something A Great Big World ftg. Christina Aguilera Say Something A Taste Of Honey Boogie Oogie Oogie A.R. Rahman And The Pussycat Dolls Jai Ho Aaliyah Age Ain't Nothing But A Number Aaliyah I Can Be Aaliyah I Refuse Aaliyah Never No More Aaliyah Read Between The Lines Aaliyah What If Aaron Carter Oh Aaron Aaron Carter Aaron's Party (Come And Get It) Aaron Carter How I Beat Shaq Aaron Lines Love Changes Everything Aaron Neville Don't Take Away My Heaven Aaron Neville Everybody Plays The Fool Aaron Tippin Her Aaron Watson Outta Style ABC All Of My Heart ABC Poison Arrow Ad Libs The Boy From New York City Afroman Because I Got High Air -
Contemporary African
Hassan Hajjaj Morocco’s “Andy Wahloo” What to collect at the fair: Our selection of 15 artists 1-54 London A Limitless Retelling of History Diptyk n°42. février-mars 2018 >> 1 SPECIAL ISSUE: 1-54 LONDON Are you looking to optimise business travel for your company and make it easy for your staff to travel in comfort and peace of mind ? Royal Air Maroc will make your business travel smooth and enjoyable. Connectivity : Modern fleet of 56 aircraft with an average age of 8 years that cover 97 destinations in 4 continents. Network from UK: - a daily direct flight from both Heathrow and Gatwick to Casablanca - 3 weekly direct flights from Manchester to Casablanca - twice weekly direct flights from Heathrow to Rabat Cost Effectiveness: Outstanding fares Bespoke service regardless of the size of the business Frequent Flyer Corporate program Renown Expertise : Awarded the 4-star rating from Skytrax Voted Best Regional Airline to Africa for 3 years running 2015, 2016, 2017. London office : +44 (0)20 7307 5820│Call center : 020 7307 5800│royalairmaroc.com diptyk Rue Mozart, Résidence Yasmine, quartier Racine, Casablanca 20000, Morocco +212 5 22 95 19 08/15 50 [email protected] www.diptykblog.com © Jean-François Robert Director and Editor-in-chief Meryem Sebti editor’s note Artistic Director and Graphic Designer Sophie Goldryng A partner of the 1-54 Contemporary African Art Fair Project Manager and Copy Editor since its first London edition in 2013, Diptyk is now proud Marie Moignard to present its very first issue in English. As an African publication alive to the present day realities of Moroccan Administrative Manager and life, our bimonthly magazine has been documenting the Commercial Back-Office contemporary art scene on the continent since 2009. -
M************************************************W*************** Reproductions Supplied by EDRS Are the Best That Can Be Made from the Original Document
DOCUMENT RESUME ED 344 578 IR 015 527 AUTHOR Prinsloo, Jeanne, Ed.; Criticos, Costes, Ed. TITLE Media Matters in South Africa. Selected Papers Presented at the Conference on Developing Media Education in the 1990s (Durban, South Africa, September 11-13, 1990). INSTITUTION Natal Univ., Durban (South Africa). Media Resource Centre. REPORT NO ISBN-0-86980-802-8 PUB DATE 91 NOTE 296p. PUB TYPE Collected Works - Conference Proceedings (021) EDRS PRICE MF01/PC12 Plus Postage. DESCRIPTORS Educational Television; Elementary Secondary Education; Film Study; Foreign Countries; Higher Education; Instructional Films; *Instructional Materials; Mass Media Role; Media Research; *Media Selection; Teacher Education; Visual Literacy IDENTIFIERS *Media Education; *South Africa ABSTRACT This report contains a selection of contributed papers and presentations from a conference attended by 270 educators and media workers committed to formulate a vision for media education in South Africa. Pointing out that media education has been variously described in South Africa as visual literacy, mass media studies, teleliteracy, and film studies, or as dealing with educational technology or educational media, the introduction cites a definition of media education as an exploration of contemporary culture alongside more traditional literary texts. It is noted that this definition raises issues for education as a whole, for traditional language study, for media, for communication, and for u0erstanding the world. The 37 selected papers in this collection are presented in seven categories: (1) Why Media Education? (keynote paper by Bob Ferguson); (2) Matters Educational (10 papers on media education and visual literacy); (3) Working Out How Media Works (4 papers on film studies, film technology, and theory); (4) Creating New Possibilities for Media Awareness (9 papers on film and television and 4 on print media);(5) Training and Empowering (2 papers focusing on teachers and 4 focusing on training producers); (6) Media Developing Media Awareness (2 papers); and (7) Afterthoughts (I paper). -
Liberated Punks Accelerate China’S Musical Evolution
About blogs Just another WordPress weblog Liberated Punks Accelerate China’s Musical Evolution From Pigface and Ministry to PiL and Killing Joke, drummer Martin Atkins has pounded the skins for some very loud punks. But he didn't realize that China's underground sound would throw him into a time machine and dial it back to the '70s and '80s, when bands were pushing the envelope on conventional rock and not really caring how you felt about it. Atkins shot 80 hours of video from his 2006 trip into Asia's 21st century powerhouse, and chopped it down into the recently released documentary Sixteen Days in China . Listening Post caught up with him to talk about China's greatest bands you've never heard and more. Wired.com: How did your experiences with Ministry and your other bands match up to the scene you witnessed in China? Martin Atkins: I think time and location has more relevance, like London in 1977, New York in 1980 or maybe Chicago 1989. These were cities that had exploding scenes that I managed to be a small part of. Add to that some entrepreneurial what-the-fuck-ness, and there you go! The backdrop is different, but the immersion, the focus on just the music and attitude feels like a definite ripple from those times. It doesn't feel strategized in a careerist way. The guys in D-22, who now have a label called Maybe Mars, and their venue reminded me of the vibe of CBGB's. While I was over there, I saw the club on CNN, and that rang a bell for me. -
“Bad Girls Do It Well”
“Bad Girls Do It Well” Musical Exoticism and Commodifying Difference in the 21st Century ____________________________________________________________________ Pauline Hunse (3995364) MA Thesis - Applied Musicology June 2017 Supervisor: Dr. O. Panteleeva Faculty of Humanities Utrecht University Table of contents Introduction 3 1. Musical exoticism: musicology and postcolonial studies 5 1.1 Exoticism as a Musical Borrowing 5 1.2 From “Exotic-Style Only” to “All the Music in Full Context" 5 1.3 Timothy Taylor: Beyond Exoticism 6 1.4 Music as a Signifier of Exoticism 7 1.5 Orientalism and Postcolonial Analysis 8 1.6 The 21st Century: Authenticity, Hybridity, Global Bass 8 1.7 M.I.A.: a Hybrid Musician 9 2. “Bad Girls:” Exotic Signifiers or Sonic Stereotypes? 11 2.1 Mathangi, Maya, M.I.A 11 2.2 The Music 11 2.3 The Video 13 2.4 The Reception of “Bad Girls” 14 3. Commodifying Others: Musical Borrowings and Collaborations 16 3.1 “Jimmy”: Signifying a Global East 17 3.2 The Aboriginal Voice on a Record 18 4. Discussion 20 4.1 Autoexoticism in the 21st Century 20 5. Conclusion 22 Bibliography 23 Online sources 24 Discography 25 List of figures 26 Appendices Appendix 1. Abstract 27 Appendix 2. Lyrics “Bad Girls” 28 2 Introduction “Musical exoticism” is a term that I got familiar with during the bachelor programme Musicology at Utrecht University. We studied exoticism as a stylistic phenomenon which gained most of its popularity in eighteenth century opera. When I became interested in the subject, I noticed that the focus on exoticism as a stylistic label and as a phenomenon of the past seemed to be the standard for most of the available literature on the subject. -
Political Elements in the Music of M.I.A
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Helsingin yliopiston digitaalinen arkisto POLITICAL ELEMENTS IN THE MUSIC OF M.I.A. Master’s thesis Department of Philosophy, History, Culture and Art Studies University of Helsinki Musicology April 2012 Irene Lönnblad CONTENTS 1 INTRODUCTION ............................................................................................ 1 2 WHO IS M.I.A.? .............................................................................................. 3 2.1 Becoming M.I.A. ..................................................................................... 3 2.2 Political background ................................................................................ 6 3 TECHNOLOGY: MAKING AND SELLING BEATS ................................... 9 3.1 Portable world .......................................................................................... 9 3.2 Electronics and the drum machine ......................................................... 11 4 WHOSE CULTURE, WHOSE RULES? ....................................................... 16 4.1 Local becomes global ............................................................................ 16 4.2 Ethnicity, race and style ......................................................................... 20 4.2.1 Connective marginalities ............................................................ 23 4.2.2 “Can’t stereotype my thing yo” .................................................. 26 4.3 The domination of the markets -
Mangino 1 “To Congo, to Colombo, Can't Stereotype My Thing Yo:” M.I.A.'S Politics of Difference a Senior Honors Thesis P
Mangino 1 “To Congo, To Colombo, can’t stereotype my thing yo:” M.I.A.’s Politics of Difference A Senior Honors Thesis Presented in partial fulfillment of the with research distinction in Comparative Studies in the undergraduate colleges at The Ohio State University By Gabriella Marie Mangino The Ohio State University 2008 Project Advisor: Barry Shank, Comparative Studies Mangino 2 Introduction Nearly four years ago, I sat in my dorm room struggling with homework while the television provided some background noise. Tuned to MTV’s college sibling station, “MTV-U” I dismissed most of the uninteresting indie-rock. Then a new song came on, starting with a simple rhythm, a single drum tap, soon followed by a female vocal. Rapping in unrefined couplets, the voice was gritty with a slight British twang. The song intensified with a dance-y electronic loop. It was not like anything I had recently heard, what was this music? The screen offered equally interesting visuals; a woman of South-East Asian descent roaming the jungle and dancing. The song was “Sunshowers,” and the artist, Mathangi (Maya) Arulpragasam, better known as M.I.A. Since then I have been following the journey of M.I.A. as she occupies a unique space in popular music. I soon discovered she was an art school grad, and the war- inspired graphics in the following video for “Galang” were in fact created by her. I soon started to notice the stories of her revolutionary father along with numerous rumors about her love life and radical opinions. Her sound perplexed music journalists—it’s not quite hip hop, not quite electronic—and after recognizing her Sri Lankan heritage, it most frequently got thrown under the vast umbrella of the “world music” category. -
«Vom Rassismus-Gejammer Halt Ich Nichts» Die Kursschiffe Eben Noch Klaute Er Bei Lidl Ein Schämt
Tages-Anzeiger · Freitag, 29. August 2008 KULTUR 47 ZÜRCHER PROTOKOLL: AFRIKAN BOY, RAPPER THEATER-SPEKTAKEL Der Tanz und «Vom Rassismus-Gejammer halt ich nichts» die Kursschiffe Eben noch klaute er bei Lidl ein schämt. Ich suche eher politische The- nur schöner Schein. Ich will nicht rumre- lich kriegen sie die Waffen von der So schön die Seebühne des Theater-Spek- men. Einzigartig ist, dass ich Afrika iro- den, aber wenn ich in Afrika investieren Strasse weg. takels ist, so schwer ist sie zu bespielen. Zu Poulet, jetzt wird er Popstar: nisch und positiv beschreibe. Französi- würde, dann in den Schulen. Mein Slogan: Nigeria nenne ich meine Heimat, und gross ist die Ablenkung auf allen Seiten. Aus London kommt Afrikan Boy, sche Rapper schreiben traurige Songs Ausbildung zuerst. mit England fühle ich mich verbunden. Ich Die Tanzgruppe Cultur Arte aus Maputo um der Welt ein anderes Afrika über Immigration und Identität, ich bring Weil ich zielstrebig bin und Werte ver- mag zum Beispiel meinen britischen Ak- hatte der abwechslungsreichen Umge- diese Themen mit Humor rüber. Manche trete, schauen die Leute aus Woolwich zu zent. Also habe ich zwei Heimaten. Gut, bung leider nicht genug entgegenzusetzen. zu verkaufen. Morgen Abend sagen, das sei falsch, aber das Publikum mir auf. Die Gegend ist hart, aber ich mag aber nicht einfach. Ich bin noch nie in Ni- Choreograf Panaïbra Gabriel hat die auch am Theater Spektakel. fährt drauf ab. sie und nenne sie ungern Ghetto. Die Ge- geria aufgetreten, aber bin in Kontakt mit Gruppe, vom traditionellen afrikanischen walt hat zugenommen, und du solltest lokalen Radio-DJs. -
The Aesthetics and Ethics of London Based Rap
The Aesthetics and Ethics of London Based Rap: A Sociology of UK Hip-Hop and Grime Richard Bramwell Thesis submitted for the degree of Doctor of Philosophy, in the Department of Sociology, London School of Economics and Political Science 1 Declaration I certify that the thesis I have presented for examination for the PhD degree of the London School of Economics and Political Science is solely my own work other than where I have clearly indicated that it is the work of others. The copyright of this thesis rests with the author. Quotation from it is permitted, provided that full acknowledgement is made. This thesis may not be reproduced without the prior written consent of the author. I warrant that this authorisation does not, to the best of my belief, infringe the rights of any third party. 2 Abstract This thesis considers rap music produced in London. The project employs close textual analysis and ethnography to engage with the formal characteristics of rap and the social relations constructed through its production and use. The black cultural tradition has a considerable history and the thesis focuses upon its appropriation in contemporary London. The study begins with an examination of the process of becoming a rapper. I then consider the collaborative work that rap artists engage in and how these skills contribute to construction of the UK Hip-Hop and Grime scenes. Moving on from this focus on cultural producers, I then consider the practices of rap music’s users and the role of rap in mainstream metropolitan life. I use the public bus as a site through which to observe the ethical relations that are constituted through sharing and playing with rap music. -
Algorithmic Anxiety in Contemporary Art: a Kierkegaardian Inquiry Into the Imaginary of Possibility Patricia De Vries
ALGORITHMIC ANXIETY IN CONTEMPORARY ART: A KIERKEGAARDIAN INQUIRY INTO THE IMAGINARY OF POSSIBILITY PATRICIA DE VRIES A SERIES OF READERS PUBLISHED BY THE INSTITUTE OF NETWORK CULTURES ISSUE NO.: 33 ALGORITHMIC ANXIETY IN CONTEMPORARY ART: A KIERKEGAARDIAN INQUIRY INTO THE IMAGINARY OF POSSIBILITY PATRICIA DE VRIES 2 THEORY ON DEMAND Theory on Demand #33 Algorithmic Anxiety in Contemporary Art: A Kierkegaardian Inquiry intothe Imaginary of Possibility Author: Patricia de Vries Editing: Scott Wark Production: Sepp Eckenhaussen Cover design: Katja van Stiphout Supported by the Amsterdam University of Applied Sciences, Faculty of Digital Media and Creative Industries. Published by the Institute of Network Cultures, Amsterdam, 2019 ISBN: 978-94-92302-52-6 Contact Institute of Network Cultures Phone: +3120 5951865 Email: [email protected] Web: http://www.networkcultures.org This publication is published under the Creative Commons Attribution-NonCommercial- NoDerrivatives 4.0 International (CC BY-NC-SA 4.0) licence. This publication may be ordered through various print-on-demand-services or freely downloaded from http://www.networkcultures.org/publications. ALGORITHMINC ANXIETY IN CONTEMPORARY ART 3 4 THEORY ON DEMAND CONTENTS INTRODUCTION: FROM ALGORITHMS TO ALGORITHMIC CULTURE 6 1. FROM ALGORITHMIC CULTURE TO ALGORITHMIC ANXIETY 16 2. MASKED AND CAMOUFLAGED: THWARTING OFF FACIAL RECOGNITION ALGORITHMS, OR THE POSSIBILITY OF SELF 35 3. A SPECTER, A DIETY AND A FLOOD IN THE BLACK BOX OF FINANCE, OR THE POSSIBLE IN THE ACTUAL 57 4. WALKING IN CIRCLES IN THE SEARCH ENGINE, OR COLLECTING THE POSSIBLE 94 CONCLUSION: FROM ALGORITHMIC ANXIETY TO ALGORITHMIC POSSIBILITY, OR MOVEMENT AT THE SPOT 126 BIBLIOGRAPHY 136 ACKNOWLEDGMENTS 154 ABOUT THE AUTHOR 156 ALGORITHMINC ANXIETY IN CONTEMPORARY ART 5 6 THEORY ON DEMAND INTRODUCTION: FROM ALGORITHMS TO ALGORITHMIC CULTURE For a long time, artistic engagement with algorithms was marginal in contemporary art. -
Political Elements in the Music of M.I.A
POLITICAL ELEMENTS IN THE MUSIC OF M.I.A. Master’s thesis Department of Philosophy, History, Culture and Art Studies University of Helsinki Musicology April 2012 Irene Lönnblad CONTENTS 1 INTRODUCTION ............................................................................................ 1 2 WHO IS M.I.A.? .............................................................................................. 3 2.1 Becoming M.I.A. ..................................................................................... 3 2.2 Political background ................................................................................ 6 3 TECHNOLOGY: MAKING AND SELLING BEATS ................................... 9 3.1 Portable world .......................................................................................... 9 3.2 Electronics and the drum machine ......................................................... 11 4 WHOSE CULTURE, WHOSE RULES? ....................................................... 16 4.1 Local becomes global ............................................................................ 16 4.2 Ethnicity, race and style ......................................................................... 20 4.2.1 Connective marginalities ............................................................ 23 4.2.2 “Can’t stereotype my thing yo” .................................................. 26 4.3 The domination of the markets .............................................................. 29 4.3.1 Cultural resistance ..................................................................... -
Volume ! La Revue Des Musiques Populaires
Volume ! La revue des musiques populaires 11 : 2 | 2015 Varia Varia Édition électronique URL : https://journals.openedition.org/volume/4376 DOI : 10.4000/volume.4376 ISSN : 1950-568X Éditeur Association Mélanie Seteun Édition imprimée Date de publication : 15 juin 2015 ISBN : 978-2-913169-37-1 ISSN : 1634-5495 Référence électronique Volume !, 11 : 2 | 2015 [En ligne], mis en ligne le 15 juin 2018, consulté le 12 mai 2021. URL : https:// journals.openedition.org/volume/4376 ; DOI : https://doi.org/10.4000/volume.4376 Ce document a été généré automatiquement le 12 mai 2021. L'auteur & les Éd. Mélanie Seteun 1 Ce nouveau numéro de Volume ! est composé de six articles en varia proposant des regards différents mais souvent complémentaires sur les musiques populaires : le cas du Hellfest dans les représentations et les usages de la culture metal, les discours sur la puissance sonore dans le monde du rock, les évolutions récentes de la musique sur le continent Sud-Américain. Nous publions également les articles de deux jeunes chercheurs primés par l’IASPM-bfe qui, bien que focalisés sur des corpus différents, touchent tous deux à la reconfiguration des clivages entre musiques savantes et musiques populaires. Dans la rubrique document, nous republions un article fondateur d’Alf Björnberg sur l’harmonie éolienne dans les musiques populaires. En tribune, Bruno Lefèbvre revient de manière réflexive, en tant qu'anthropologue, sur un dispositif musical alliant technologie et aléas dont il est à l'origine : les « fauteuils branchés ». This new "varia" issue of Volume! is made of six papers proposing different while often complementary perspectives on popular music: the role of the Hellfest festival in representations and uses of metal culture, discourses of loudness in rock music, recent evolutions in South American music.