DOCSLIB.ORG

In Collaborative Pedagogical Art Projects Type

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
In Collaborative Pedagogical Art Projects Type Title Blackboards were turned into tables … Questioning ‘horizontality’ in collaborative pedagogical art projects Type Thesis URL http://ualresearchonline.arts.ac.uk/8730/ Date 2015 Citation Desvoignes, Olivier (2015) Blackboards were turned into tables … Questioning ‘horizontality’ in collaborative pedagogical art projects. PhD thesis, University of the Arts London. Creators Desvoignes, Olivier Usage Guidelines Please refer to usage guidelines at http://ualresearchonline.arts.ac.uk/policies.html or alternatively contact [email protected]. License: None specified Unless otherwise stated, copyright owned by the author BLACKBOARDS WERE TURNED INTO TABLES … Olivier Desvoignes University of the Arts London Doctor of Philosophy Questioning ‘horizontality’ in collaborative pedagogical art projects. May 2015 ABSTRACT Blackboards were turned into tables … Questioning ‘horizontality’ in collaborative pedagogical art projects is research based on the practice of the collective microsillons, which is developing collaborative pedagogical art projects in different contexts. The aim of the research is to explore the possibilities offered by ‘horizontal pedagogical exchanges’ and to question the very notion of ‘horizontality’. It interrogates the possibility to challenge, through artistic projects in educational contexts, the traditional master–pupils (or artist–participants, or gallery educator–public) relationship. After a presentation of microsillons’ position in the cultural ield, in particular regarding gallery education practices, collaborative art practices and the Educational Turn in Curating, a series of ive collaborative pedagogical art projects realized by the collective between 2009 and 2011 are presented. Inspired by methods such as thick description and Participatory Action Research, situations in those projects are studied where a more horizontal pedagogical exchange is sought. Paulo Freire’s relection about dialogical pedagogy serves as a starting point in this relection. Anarchist and libertarian pedagogies, as well as the critical pedagogies discourses following Freire, are used to discuss the various strategies used by microsillons. Through those case studies are discussed the ideas of the classroom as a laboratory for democracy, of content co-generation, of network-like organization, of unpredictability and of constructive conlicts. Drawing from poststructuralist and feminist perspectives, key terms of critical pedagogy (such as empowerment) are then rethought and the idea of ‘horizontality’ questioned, complexiied, presented as a utopian horizon rather than a practicable concept. Shortcomings and paradoxes in the projects’ attempts toward more egalitarian exchanges are identiied and the limitations of the term are discussed. Thoughts about ways to overcome those reservations and to avoid romanticizing ‘horizontality’ are proposed, opening to microsillons’ future projects. For Benjamin, Arthur, Charlotte & Emilie ACKNOWLEDGEMENTS My supervisors, David Cross and Neil Cummings, for their commitment and enthusiasm. Everyone involved in microsillons’ projects since 2005. Catherine Queloz, Liliane Schneiter and the CCC Research-Based Master Programme, for their inspiration during the last ten years. Carmen Mörsch for her trust and support. Marianne Guarino-Huet for her intellectual vigilance and for her friendship. My parents. CONTENTS 1. INTRODUCTION 17 1.1 ‘Horizontality’ as a horizon 17 1.2 Why PhD now? 21 1.3 microsillons 29 1.4 Positioning microsillons’ practice in the cultural ield 33 1.4.1 Gallery education 35 1.4.2 Art practices 43 a) Art at school 43 b) Collaborative art practices with interest for pedagogy 47 1.4.3 The ‘educational turn in curating’ 55 1.5 Methodology 59 1.5.1 Participatory Action Research 61 1.5.2 Thick description 65 1.5.3 Ethical considerations 71 2. INTRODUCTION TO THE PROJECTS 75 2.1 Utopia and the Everyday (2009–2010) 75 2.1.1 Context 75 2.1.2 Exhibition structure 77 2.1.3 Collaborative projects 77 2.1.4 Documentary section 83 a) Guiding? 85 b) Making a proit? 85 c) Empowering? 85 d) Deschooling? 85 e) Standardizing? 87 2.2 En commun (2010) 87 2.2.1 Context 87 2.2.2 Steps 89 2.2.3 Public presentation 91 2.3 The Revolution Will Not Be Televised. Amateur videos from 8mm to 2.0 91 (2010–2011) 2.3.1 Context 91 2.3.2 Conception team 93 2.3.3 Steps 93 2.3.4 Public presentation 97 2.3.5 Further extensions 97 2.4 La surface des choses (2010–2011) 99 2.4.1 Context 99 2.4.2 Steps 99 2.4.3 Public presentation 101 2.5 Lectures autour du graphisme (2011) 103 2.5.1 Context 103 2.5.2 Steps 103 2.5.3 Public presentation 105 3. TOWARD ‘HORIZONTALITY’ 109 3.1 ‘Horizontality’ today, in education and beyond 109 3.2 Art projects as a laboratory for a more direct democracy: anarchism in 117 Utopia and the Everyday 3.2.1 Rethinking democracy in schools 117 3.2.2 Nils Norman and Tilo Steireif’s project: bringing libertarian and 121 anarchist pedagogies into state s chools 3.2.3 Communicating the democratic dimension of a project in the 127 art institution 3.3 Generating content together. The En commun example 131 3.3.1 Generativity 131 3.3.2 Co-generation in En commun 137 a) Claiming ignorance 139 b) Time for horizontal exchanges 147 c) Working locally 153 3.3.3 Producing visual/artistic objects as a result of generativity 155 3.3.4 Thinking about the subsequent project 157 3.4 Networks as a way to horizontally conceive and run a collaborative art 159 project? The Revolution Will Not Be Televised 3.4.1 A networked conception 159 3.4.2 Computer database as a pedagogical tool? 161 3.4.3 Toward a wiki pedagogy? 165 3.5 Unpredictability as a condition for a horizontal exchange? La surface des 171 choses’ ‘U’ structure 3.5.1 Designing collaborative structures more horizontally 171 3.5.2 La surface des choses’ ‘U’ structure 175 3.5.3 Unpredictability 179 3.5.4 Unpredictability to avoid essentialism 187 3.6 Rethinking conlict in pedagogy and democracy: Lectures autour du 193 graphisme 3.6.1 On the necessity of conlicts in horizontal processes 193 3.6.2 Conlicts in critical pedagogies 195 3.6.3 Experimenting with constructive conlicts in Lectures autour du 197 graphisme 4. QUESTIONING ‘HORIZONTALITY’ 203 4.1 Deromanticizing ‘horizontality’ 203 4.2 Circulating power. About Foucault’s conception of power 205 4.2.1 To empower? 209 4.2.2 Giving a voice? 213 4.3 Non-frontal forms of power 227 4.3.1 Informal hierarchies 227 4.3.2 Pastoralism 229 4.3.3 Non-frontal authority in microsillons’ projects 235 a) The limits of horizontality within a conception team 235 b) Feeling like a guinea pig 241 4.4 Imposing ‘horizontality’? 243 4.4.1 The editor-in-chief paradox in En commun 249 4.4.2 Being there to experience a horizontal pedagogy. The dificulty 253 of forming a group for Lectures autour du graphisme 4.5 Structuring ‘horizontality’? 257 4.5.1 Repetitive outcomes: openness and lack of variety in Utopia 263 and the Everyday 5. CONCLUSION 269 5.1 State of the relection 269 5.2 Toward the next projects 275 BIBLIOGRAPHY 281 APPENDICES 347 Utopia and The Everyday gazettes (four issues) 348 En commun journal 356 The Revolution Will Not Be Televised publication 364 Ceccon, Claudius, Lili (Freire, 1975: 17). 17 1. INTRODUCTION 1.1 ‘Horizontality’ as a horizon 1 In 2006 we used the term ‘a horizontal approach to knowledge exchange’ Since 2005, when I founded the collective microsillons with Marianne (my translation) during an evaluation Guarino-Huet, the idea of ‘horizontality’ has come up regularly in our session at the Geneva University of Art and research.1 The ‘horizontal’ has inspired our collaborative art projects which Design (HEAD). 2 aimed at opening a space of critical and democratic exchange. See in particular: Freire (1974) and his interest in the philosopher Jaspers. In the discourses around pedagogy,2 gallery education and collaborative art See also: Shor (1992) talking about Freire and projects,3 the idea of being ‘horizontal’ provides alternatives to the top-down his importance for his own thinking. teacher–pupils (or art institution–visitors) relationship. 3 See for example the conversation: Summit, non-aligned initiatives The educator and theorist Paulo Freire is extremely inluential for critical in education culture (2007). pedagogues, critical gallery educators and artists working collaboratively. 4 ‘Narration (with the He rethought ways to learn and to teach, and thought of ways to overcome teacher as narrator) leads the students to the mere transmission of knowledge that he called ‘banking education’ and memorize mechanically the narrated content. considered as a vertical relationship. He advocated a dialogical, horizontal Worse yet, it turns them into “containers”, pedagogy in which learners would learn together with teachers, instead of into “receptacles” to be “illed” by the being considered as empty bottles to be illed.4 Freire considered dialogue teacher. The more completely she ills as essential to the pedagogical process and believed that, through it, both the receptacles, the better a teacher she teachers and learners could change.5 Ira Shor (1980: 95), who collaborated is. The more meekly the receptacles permit closely with him, summarizes Freire’s position regarding dialogue: themselves to be illed, the better students they are. […] This is the “banking” concept of According to Freire, didactic lecturing, at the heart of traditional classrooms, is education, in which the scope of action allowed antidialogical, a vertical relationship between unequals, with authority on top to the students extends
Load more

Recommended publications
  • Adams Avenue Street Fair
    FREE SAN DIEGO ROUBADOUR Alternative country, Americana, roots, Tfolk, gospel, and bluegrass music news September-October 2004 THIRD ANNIVERSARY ISSUE Vol. 4, No. 1 official program adams ave. street fair - what to see , where to 7 S t a g e s • 8 0 M u s i c a l A c t s • go , how to get there • O s v Welcome ………………3 e h Street Fair Headliners …8 r t Performing Artists …10-19 o 4 o Schedules, Map ………12 0 B 0 s F P t Welcome Mat ………3 o f Mission Statement o a Contributors d r , C Full Circle.. …………4 A r San Diego Music Awards & Lou Curtiss t s s s t e Front Porch …………6 Stag & CeeCee James r 7 A Victoria Robertson C , Acoustic Music San Diego r d a Adams Ave. Street Fair o f o See pp. 8-19 t F Of Note. ……………19 s 0 Victoria Robertson B 0 Joe Morgan o 4 Northstar Session o t r Ramblin’... …………20 h e s Bluegrass Corner v Zen of Recording O José Sinatra Jim McInnes’ Radio Daze Funk • Country • World • Blues • Jazz • Folk • Zydeco • Rockabilly • Latin ‘Round About ....... …22 Sept.-Oct. Music Calendar The Local Seen ……23 nce again, the last weekend in September brings and many more — and continues to draw musicians to San Diego from all over the country who seek fame and exposure. Photo Page us the the largest, most diverse, free music festival Othat may exist in the world today. At the Adams Fun and family-oriented, there is so much to enjoy at the Avenue Street Fair, located between Bancroft Street and 35th Adams Avenue Street Fair: Three beer gardens, carnival rides, Street in Normal Heights, more than 80 different musical acts a pancake breakfast, and more than 400 food and arts and will take the stage over a two-day period: Saturday, September crafts booths.
    [Show full text]
  • December 2004 Troubadour
    FREE SAN DIEGO ROUBADOUR Alternative country, Americana, roots, folk, Tblues, gospel, jazz, and bluegrass music news January 2005 www.sandiegotroubadour.com Vol. 4, No. 4 what’s Nickel Creek: inside Living the Dream Welcome Mat ………3 Mission Statement Contributors Tales from the Trails Full Circle.. …………4 Eugene Vacher Recordially, Lou Curtiss Front Porch …………6 KKSM’s Joan Rubin Tom Boyer Parlor Showcase... …8 Nickel Creek Ramblin’... …………10 Bluegrass Corner Zen of Recording Hosing Down Radio Daze The Highway’s Song... 12 Al Kooper Of Note. ……………13 Griffin House The Taylor Harvey Band Itai ickles the horse chews February 1981, also a home grown Sean and Sara when the surf is good, Rookie Card contentedly in the prodigy raised in the Idylwild moun - and one can feel the excitement in Tom McRae small backyard pasture tains a couple of hours from Vista, it the house as they prepare for one of ‘Round About ....... …14 as the three young - is the mandolin. The three friends are their regular surf safaris to Carlsbad. January Music Calendar sters on the back already creating quite a stir at blue - Mom Karen happily shows the latest porch play their instru - grass festivals and contests. photos of the body board exploits, The Local Seen ……15 ments. It’s peaceful and Life is good in those early days. and Sean and Sara both expound on Photo Page Pbucolic in rural Vista during the mid School at home, church and church the great rides, and “getting pound - 1980s for these three home- activities, surfing, skiing, camping with ed” on the bigger days.
    [Show full text]
  • The Reasons for the Use of Youtube Among Musicians in India – Using Dependency Theory
    The Reasons for the Use of YouTube Among Musicians in India – Using Dependency Theory A Dissertation Submitted in Partial Fulfilment of the Requirements for the Award of the Degree of Master of Philosophy in Media Studies by Nrithya Maria Andrews (Reg. No. 1134002) Under the guidance of Dr. SagarikaGolder Assistant Professor DEPARTMENT OF MEDIA STUDIES CHRIST UNIVERSITY BANGALORE, INDIA MARCH 2012 Property of Christ University. Use it for fair pur pose. Give credit to the author by citing properly, if your are using it. Property of Christ University. Use it for fair purpose. Give credit to the author by citing properly, if your are using it. Approval of Dissertation Dissertation titled ‘The reasons for the use of YouTube among musicians in India - using Dependency Theory’ by Nrithya Maria Andrews, Reg. No. 1134002 is approved for the award of the degree of Master of Philosophy in Media Studies. Examiners: 1. ___________________ ___________________ 2. ___________________ ___________________ 3. ___________________ ___________________ Supervisor(s): Dr. Sagarika Golder ___________________ ___________________ Chairman: Mr. John Joseph Kennedy ___________________ ___________________ Date: ___________ (Seal) Place: Christ University Property of Christ University. Use it for fair pu rpose. Give credit to the author by citing properly, if your are using it. i DECLARATION I, Nrithya Maria Andrews, hereby declare that the dissertation, titled ‘The reasons for the use of YouTube among musicians in India- using Dependency Theory’ is a record of original research work undertaken by me for the award of the degree of Master of Philosophy in Media Studies. I have completed this study under the supervision of Dr. Sagarika Golder, Assistant Professor, Department of Media Studies I also declare that this dissertation has not been submitted for the award of any degree, diploma, associate ship, fellowship or other title.
    [Show full text]
  • The Local 518 Music (And More) Report 2018 – Quarter 1
    The Local 518 Music (and More) Report 2018 – Quarter 1 This report covers the time period of January 1st to Rock / Pop March 31st, 2017. We inadvertently missed a few before Ampevene - "Valencia (Radio Edit)" (single track) | that time period, which were brought to our attention "Ephemagoria" [progressive rock] Albany by fans, bands & others. The missing is listed at the end. Balcony - "Canvas" | "Blind" (single tracks) [pop rock] RECORDINGS: Saratoga Springs Hard Rock / Metal / Punk Boo Fookin' Radley (BFR) - "Freedom of Thought" (EP) Arch Fiends - "Love Is Like a Homicide" | "Prisoners" [alt pop rock] Saratoga Springs/Stony Brook (single tracks) [horror punk] Glens Falls Brad Whiting and The Cadillac Souls - "Six-Wire" | "No Blind Threat - "Everyone's a Killer" [hardcore metal] 2nd Chances" (single tracks) [blues rock] Glenmont Albany Caramel Snow - "Are You Unreal?" (EP) | "Happy Candy Ambulance - "Spray" [alt grunge rock] Saratoga Birthday (Happy New Year" to "Are You Unreal?" (single tracks) [shoegaze dreampop] Delmar Cats Don’t Have Souls - "Twenty four days of scaring the neighbors with devil music" | "Cats Don't Have Souls" David Tyo - "Oh, Life" (single) [acoustic pop] Saratoga [alt post punk prog rock] Albany Springs Che Guevara T-Shirt - "Seven Out, Pay the Don'ts" [post- Girl Blue - "Lolita" (single) [alt soul pop] Albany punk rock] Albany Great Mutations - "Live at the Tang" | "Already Dead" Kardia - "Metamorphosis" (single track) [melodic hard (single track) [psych pop baroque rock] Troy rock] Pittsfield, MA Julia Gargano
    [Show full text]
  • Warming up to User-Generated Content
    Chicago-Kent College of Law Scholarly Commons @ IIT Chicago-Kent College of Law All Faculty Scholarship Faculty Scholarship January 2008 Warming Up to User-Generated Content Edward Lee IIT Chicago-Kent College of Law, [email protected] Follow this and additional works at: https://scholarship.kentlaw.iit.edu/fac_schol Part of the Intellectual Property Law Commons Recommended Citation Edward Lee, Warming Up to User-Generated Content, 2008 U. Ill. L. Rev. 1459 (2008). Available at: https://scholarship.kentlaw.iit.edu/fac_schol/358 This Article is brought to you for free and open access by the Faculty Scholarship at Scholarly Commons @ IIT Chicago-Kent College of Law. It has been accepted for inclusion in All Faculty Scholarship by an authorized administrator of Scholarly Commons @ IIT Chicago-Kent College of Law. For more information, please contact [email protected], [email protected]. LEE.DOC 9/3/2008 4:50:06 PM WARMING UP TO USER-GENERATED CONTENT Edward Lee* Conventional views of copyright law almost always operate from the “top down.” Copyrights are understood as static and fixed by the Copyright Act. Under this view, copyright holders are at the center of the copyright universe and exercise considerable control over their exclusive rights, with the expectation that others seek prior permission for all uses of copyrighted works outside of a fair use. Though pervasive, this conventional view of copyright is wrong. The Copyright Act is riddled with gray areas and gaps, many of which persist over time, because so few copyright cases are ever filed and the majority of those filed are not resolved through judgment.
    [Show full text]
  • Cantina Replaces the Pub the Registration Deadline for Opportunities the Sept
    SPORTS: Former CSUF player lands News: Page 6 NBA contract, page 23 RADAR publishes a list FEATURES: Political science major in- of 50 worst univerisities terns in D.C., page 11 Since 1960 Monday Volume 87, Issue 1 August 25, 2008 DailyThe Student Voice of California Titan State University, Fullerton DTSHORTHAND DNC offers Campus Life Cantina replaces The Pub The registration deadline for opportunities the Sept. 13 English Writing Pro- ficiency exam is Aug. 28 at 5pm. You can register for the EWP on- for unity and line through the Student Portal. Visit the Testing Center’s Web site at www.fullerton.edu/testing for dissent registration instructions. There is Daily Titan reporters will a $20 test fee, payable at the time of test registration. Test registra- provide updates of con- tion may close early if maximum vention news as it unfolds seating capacity is reached. If you missed the registration BY JEssica TERRELL deadline but wish to take the Daily Titan News Editor EWP, you may try to take the [email protected] exam on a standby basis. Call the Testing Center at 714-278-3838 A four-day commercial for the for detailed standby instructions. Democratic Party, a chance for del- Admission is not guaranteed. egates from across the country to If you have a disability that shape their party’s platform, a place requires special accommoda- to protest, and a media circus–the tions or if you are unable to test Democratic National Convention on Saturdays because of religious serves a mix of purposes. convictions, you should contact Starting Monday, Aug.
    [Show full text]
  • Il Meeting Di Rimini
    IL MEETING DI RIMINI PROMOSSO DALLA FONDAZIONE MEETING PER L’AMICIZIA FRA I POPOLI XXXI EDIZIONE domenica 22 agosto 2010 - sabato 28 agosto 2010 Quella natura che ci spinge a desiderare cose grandi è il cuore STORIA Con le sue quasi 800.000 presenze il Meeting di Rimini - che dal 1980 ha luogo ogni anno, in una settimana della seconda metà di agosto - è il festival estivo di incontri, mostre, musica e spettacolo più frequentato del mondo. Si tratta di una realtà unica nel suo genere: una fondazione che da 30 anni si propone di creare occasioni di incontro tra persone di fedi e culture diverse, nella certezza che luoghi di amicizia fra gli uomini possano essere l’inizio della costruzione della pace, della convivenza e del bene comune. Questa posizione umana e culturale, che ha origine nell’appartenenza all’esperienza cristiana, è stata in questi anni capace di un’apertura testimoniata dalle personalità più significative della scena mondiale che si sono avvicendate sul palcoscenico del Meeting: dal Santo Padre Giovanni Paolo II a Chaim Potok, dall’allora cardinale Ratzinger a Madre Teresa di Calcutta, dal Dalai Lama a Eugène Ionesco, da Andrei Tarkovskij a Riccardo Muti, da Lech Walesa a Ibraim Rugova, dal cardinale Jean-Louis Tauran a Amre Moussa, da Carlo Rubbia a George Smoot, da Ennio Morricone a José Carreras, da Jean Guitton a Luigi Giussani, da Simone Veil a Martha Graham, da David Rosen a François Michelin, da Mario Draghi a Tony Blair; e ancora, politici, imprenditori, scienziati, filosofi, artisti. Al di sopra di ogni diversità, l’esperienza elementare dell’uomo si rivela come il terreno comune per l’incontro e il dialogo.
    [Show full text]
  • In Collaborative Pedagogical Art Projects
    BLACKBOARDS WERE TURNED INTO TABLES … Olivier Desvoignes University of the Arts London Doctor of Philosophy Questioning ‘horizontality’ in collaborative pedagogical art projects. May 2015 ABSTRACT Blackboards were turned into tables … Questioning ‘horizontality’ in collaborative pedagogical art projects is research based on the practice of the collective microsillons, which is developing collaborative pedagogical art projects in different contexts. The aim of the research is to explore the possibilities offered by ‘horizontal pedagogical exchanges’ and to question the very notion of ‘horizontality’. It interrogates the possibility to challenge, through artistic projects in educational contexts, the traditional master–pupils (or artist–participants, or gallery educator–public) relationship. After a presentation of microsillons’ position in the cultural ield, in particular regarding gallery education practices, collaborative art practices and the Educational Turn in Curating, a series of ive collaborative pedagogical art projects realized by the collective between 2009 and 2011 are presented. Inspired by methods such as thick description and Participatory Action Research, situations in those projects are studied where a more horizontal pedagogical exchange is sought. Paulo Freire’s relection about dialogical pedagogy serves as a starting point in this relection. Anarchist and libertarian pedagogies, as well as the critical pedagogies discourses following Freire, are used to discuss the various strategies used by microsillons. Through those case studies are discussed the ideas of the classroom as a laboratory for democracy, of content co-generation, of network-like organization, of unpredictability and of constructive conlicts. Drawing from poststructuralist and feminist perspectives, key terms of critical pedagogy (such as empowerment) are then rethought and the idea of ‘horizontality’ questioned, complexiied, presented as a utopian horizon rather than a practicable concept.
    [Show full text]
  • Warming up to User-Generated Content
    LEE.DOC 9/3/2008 4:50:06 PM WARMING UP TO USER-GENERATED CONTENT Edward Lee* Conventional views of copyright law almost always operate from the “top down.” Copyrights are understood as static and fixed by the Copyright Act. Under this view, copyright holders are at the center of the copyright universe and exercise considerable control over their exclusive rights, with the expectation that others seek prior permission for all uses of copyrighted works outside of a fair use. Though pervasive, this conventional view of copyright is wrong. The Copyright Act is riddled with gray areas and gaps, many of which persist over time, because so few copyright cases are ever filed and the majority of those filed are not resolved through judgment. In these gray areas, a “top-down” approach simply does not work. Instead, informal copyright practices effectively serve as important gap fillers in our copyright system, operating from the bottom up. The tremendous growth of user-generated content on the Web provides a compelling example of this widespread phenomenon. The informal practices associated with user-generated content make mani- fest three significant features of our copyright system that have es- caped the attention of legal scholars: (i) our copyright system could not function without informal copyright practices; (ii) collectively, us- ers wield far more power in influencing the shape of copyright law than is commonly perceived; and (iii) uncertainty in formal copyright law can lead to the phenomenon of “warming,” in which—unlike chilling—users are emboldened to make unauthorized uses of copy- righted works based on seeing what appears to be an increasingly ac- cepted practice.
    [Show full text]
  • © 2021 Andrew Gregory Page 1 of 13 RECORDINGS Hard Rock / Metal
    Report covers the period of January 1st to Penny Knight Band - "Cost of Love" March 31st, 2021. The inadvertently (single) [fusion hard rock] Albany missed few before that time period, which were brought to my attention by fans, Remains Of Rage - "Remains Of Rage" bands & others, are listed at the [hardcore metal] Troy end,along with an End Note. Senior Living - "The Paintbox Lace" (2- track) [alternative grunge rock shoegaze] Albany Scavengers - "Anthropocene" [hardcore metal crust punk] Albany Thank you to Nippertown.com for being a partner with WEXT Radio in getting this report out to the people! Scum Couch - "Scum Couch | Tree Walker Split" [experimental noise rock] Albany RECORDINGS Somewhere In The Dark - "Headstone" (single track) Hard Rock / Metal / Punk [hard rock] Glenville BattleaXXX - "ADEQUATE" [clitter rock post-punk sasscore] Albany The Frozen Heads - "III" [psychedelic black doom metal post-punk] Albany Bendt - "January" (single) [alternative modern hard rock] Albany The Hauntings - "Reptile Dysfunction" [punk rock] Glens Falls Captain Vampire - "February Demos" [acoustic alternative metalcore emo post-hardcore punk] Albany The One They Fear - "Perservere" - "Metamorphosis" - "Is This Who We Are?" - "Ignite" (single tracks) Christopher Peifer - "Meet Me at the Bar" - "Something [hardcore metalcore hard rock] Albany to Believe In" (singles) [garage power pop punk rock] Albany/NYC The VaVa Voodoos - "Smash The Sun" (single track) [garage punk rock] Albany Dave Graham & The Disaster Plan - "Make A Scene" (single) [garage
    [Show full text]
  • [PDF] Naomi.Pdf
    Naomi By Naomi Campbell READ ONLINE If searched for a book by Naomi Campbell Naomi in pdf form, then you've come to faithful site. We presented complete variation of this ebook in ePub, PDF, DjVu, doc, txt forms. You can read Naomi online by Naomi Campbell or load. Additionally, on our site you can reading manuals and different artistic books online, either download their. We want invite your regard what our website not store the eBook itself, but we provide reference to the website wherever you may download or reading online. If have must to load Naomi pdf by Naomi Campbell, in that case you come on to the faithful site. We own Naomi ePub, doc, DjVu, txt, PDF formats. We will be happy if you return us more. Wwe superstar naomi (@trinity_fatu) • instagram photos and videos 1.9m Followers, 1941 Following, 1441 Posts - See Instagram photos and videos from WWE Superstar NAOMI (@trinity_fatu) Dr naomi appleton | the university of edinburgh Naomi Appleton has been working at the University of Edinburgh since 2012 when she arrived as a Chancellor's Fellow. Before that she held a British Academy Naomi & charlotte flair vs. natalya & carmella: smackdown live The SmackDown Women's Champion and The Queen try to shut down the "welcoming committee" in tag About naomi klein | naomi klein NAOMI KLEIN is an award-winning journalist, syndicated columnist and author of the international bestsellers, This Changes Everything: Capitalism vs The Naomi watts to star in psychological thriller 'the wolf hour' – variety Naomi Watts will star in the psychological thriller "The Wolf Hour." Naomi (biblical figure) - wikipedia Naomi is Ruth's mother-in-law in the Old Testament Book of Ruth.
    [Show full text]
  • Geografia Di Stato Il Viaggio Rinascimentale Da Venezia a Costantinopoli Fra Letteratura E Cartografia
    UNIVERSITÀ DEGLI STUDI DI TRIESTE XXII CICLO DEL DOTTORATO DI RICERCA IN SCIENZE UMANISTICHE Curriculum: Relazioni culturali e letterarie nei paesi dell’area adriatica INDIRIZZO ITALIANISTICO Geografia di stato Il viaggio rinascimentale da Venezia a Costantinopoli fra letteratura e cartografia Dottorando TONI VENERI Responsabile Dottorato di ricerca Prof.ssa MARINA PALADINI Relatrice Settore scientifico-disciplinare Prof.ssa SERGIA ADAMO L-FIL-LET/14 ANNO ACCADEMICO 2009-2010 Indice PRIMA PARTE La spazializzazione dell’Oriente Premessa alla prima parte 3 1. La spazializzazione delle utopie religiose Spazi e luoghi. Venezia-Gerusalemme 1.1 Primo aneddoto. David Reubeni 7 1.2 Giochi di verità 13 1.3 L’insufficienza dello spazio 20 1.4 Per lo spazio: Fiumi 26 1.5 Per i luoghi: Grotte 34 1.6 Spazio, luogo, mondo. Ulisse e Polifemo 42 2. La spazializzazione delle utopie politiche Utopie ed eterotopie. Venezia-Cambaluc 2.1 Secondo aneddoto. Chaggi Memet 53 2.2 Il riscatto di Marco Polo 58 2.3 I complici di Ramusio 67 2.4 Utopiche. La formalizzazione della mappa 73 2.5 Isole e imperi. Utopie 80 2.6 Palazzi e prigioni. Eterotopie 86 3. La spazializzazione della storia Cronotopi e corografie. Venezia-Bisanzio 3.1 Terzo aneddoto. Geoffroy de Villehardouin 97 3.2 Il diritto veneziano all’Oriente 107 3.3 Paolo Ramusio e l’imperio del mare 117 3.4 Dalla cronachistica alla corografia 126 3.5 È questa città di forma triangolare… 136 3.6 Cronotopi assoluti, di drammatizzazione e dislocazione 146 Conclusione alla prima parte Microstorie e narrazioni totalizzanti 157 SECONDA PARTE Il viaggio di Costantinopoli Premessa alla seconda parte 171 4.
    [Show full text]