Boomslang Delegation

Total Page:16

File Type:pdf, Size:1020Kb

Boomslang Delegation 18 | SEPTEMBER.21.2012 | FRIDAY WEEKENDER: COVER STORY LEXINGTON HERALD-LEADER | LEXGO.COM | 19 IF YOU GO A closer look Boomslang When: Through Sept. 23 at the festival Where: various locations around BOOMSLANG Lexington lineup Tickets: Full-festival pass: $70, $40 for UK students with ID. Admission to specific performances varies from Here is a roundup of several featured acts free to $25. DELEGATION performing for this year’s Boomslang. Ticket prices listed are for those who do not have Learn more: (859) 257-4636. Organizer of annual music and art festival knew she needed to farm four-day passes, which include admission to Boomslangfest.com. all shows. SCHEDULE out parts of the job; now, UK students have stepped up to the plate The Jesus and Mary Chain: Fronted by All events are free to full-festival siblings Jim and William Reid, The Jesus passholders. and Mary Chain was inspired by the punk movement of the 1970s but formed at the FRIDAY By Walter Tunis movement in getting the UK community that we ever have.” height of reign of synth-pop in the early ’80s. At Central Library Farish Theater, Contributing Music Writer students involved,” Brewer Some acts, like The Jesus Evolving from industrial-tinged compositions 140 E. Main St.: 7 p.m., Filmslang 2 Saraya Brewer says she had two said. “WRFL’s student directors and Mary Chain, were difficult to more streamlined pop works, the Reids local music video showcase; free. objectives when the third annual now have Boomslang duties to confirm. But others were split at the end of the ’90s but re-formed the At Cosmic Charlie’s, 388 Woodland Boomslang festival rolled around last incorporated into their official familiar with Boomslang and band in 2007. Boomslang marks the second Ave: 9 p.m., Five Knives, Deerhoof, year. responsibilities as employees approached WRFL about appearance by The Jesus and Mary Chain Apache Relay, Buke and Gase; $15. The first was to delegate. Having of the University of Kentucky. performing. A case in point at a University of Kentucky-affiliated event. It headlined a show in the Student Center At Land of Tomorrow Gallery, 527 E. overseen the weekend-long celebration Part of their job at WRFL has Brewer was the veteran West Coast of indie and underground music since been to actually take on certain experimental band Negativland, ballroom in spring 1990 after the release of Third St.: Midnight, Oneohtrix Point its album Automatic. (8:30 p.m. Sept. 23 with Never, X A M B U C A. $5. its inception in 2009, she wanted to aspects of Boomslang. I think whose music has varied from Gary War and Dinosaur Feathers. Buster’s SATURDAY farm out more of the organizational it’s a really valuable experience pop-esque compositions to Billiards & Backroom. $25.) responsibilities for Boomslang No. 4. for any student to be involved improvisational sound and At Third Street Stuff, 257 N. Negativland: Formed in the San Limestone: 9 a.m.-5 p.m., Bizarre The second was to plan her in an event like this, to get noise sculptures performed Francisco Bay Area near the close of the Bazaar wedding. But getting that in order professional experience at in art galleries. Formed in ’70s, Negativland is a collective that has pretty much meant making doubly sure running a festival of this 1979, Negativland seldom explored numerous avenues of pop and At Awesome Inc., 348 E. Main St.: Boomslang was in capable hands, as caliber.” tours anymore. But co-founder sound expression. Among its more fabled 11:30 a.m.-2:30 p.m., Queerslang II adventures was an album titled U2 that workshops her nuptials follow this year’s festival For Margot Wielgus, a Mark Hosler wanted to make by two weeks. graduate student of philosophy Wielgus Boomslang one of the group’s locked Negativland into an extended and At Central Library Farish Theater: “It’s just the way that the planning at UK who serves as general few concert stops this fall. well- documented legal feud over copyright 2 p.m., Filmslang 2 Rock That Uke worked out,” Brewer said. “I kind of manager of WRFL, work on this year’s “Mark did a presentation the first infringement with a certain Irish band. screening; $3. 7 p.m., Filmslang 2 have the feeling that everything could Boomslang began soon after last year’s year of Boomslang where he talked Negativland has taken on all kinds of music, Pilgrim Song screening; $3. implode at any minute. But so far, the festival ended. about his work,” Brewer said. “It was art and activism since then. Among its newer recordings is It’s All in Your Head FM, an At Bar Lexington, 367 E. Main St.: 2 stress has been really minimal.” “The booking committee began really well-attended. We were surprised assemblage of sounds and speech samples p.m., Cloud Nothings, Girl in a Coma, Brewer added that the operational work at the end of last year,” she at how much of his cult following Futurebirds, Sleeping Bag; $15 compiled from its West Coast radio show, word for the execution of this year’s said. “It started simply as a matter packed out Natasha’s (Bistro & Bar) Over the Edge. (6 p.m. Sept. 23 with EnVaGe. At ArtsPlace, 161 N. Mill St.: 7 p.m., smooth Boomslang has been . The event of asking the general staff who they for it. So he approached us out of the Downtown Arts Center. $10.) Janka Nabay and the Bubu Gang, — which was to kick off Thursday would want to see at Boomslang, and blue this year to see if we might be The Younger Lovers: A self-described Sao Paulo Underground; $10 night and will conclude with a Sunday then contacting agents and bands to interested in a full-blown Negativland “philandering” garage pop band from At Buster’s Billiards & Backroom, evening headline concert at Buster’s by find who was available. That went on show. California that performs as part of the 899 Manchester St.: 8:30 p.m., the Scottish alt-rock brigade The Jesus through the summer. We confirmed all “This is a band that really works Saturday night, dance party-driven Queerslang Doomslang with St. Vitus, Merkaba, and Mary Chain — will utilize nearly a of the acts around the middle of the under the radar. They don’t go through segment of Boomslang. (10:30 p.m Sept. Weedeater, White Hills, Author and dozen Lexington venues. summer. So that was quite a process.” an agent. But Mark approached us Punisher, Soft Opening; $25. That community reach has become It was a process, Brewer said, that because he loved playing here before.” See BOOMSLANG, 24 At Cosmic Charlie’s: 10:30 p.m., standard operating procedure for wasn’t nearly as smooth at the start of Wielgus said, “The festival is able Queerslang with LE1F, The Younger Boomslang. But the role of student the summer as it is now. to bring some really excellent musical Lovers, Skeleton Head, $15. staffers and volunteers at the “I’m really, really proud of the whole artists to Lexington. And this is a very SUNDAY University of Kentucky’s independent festival and really excited about how special thing because, sometimes, these At Downtown Arts Center, 141 student-run radio station, WRFL-88.1 this year is turning out,” she said. “I musical acts are only on tour around E. Main St.: 6 p.m., Negativland, FM, Boomslang’s primary sponsor, has will admit, though, there was a time the area. But this is a really good EnVaGe; $10 increased steadily. This year, staffers about four months ago where we didn’t way to concentrate all of that musical At Carnegie Center for Literacy and have been involved in every facet of have these headliners locked in and energy right here. Learning, 251 W. Second St.: 7 p.m., the festival’s organization — from weren’t sure how things were going “Personally, I’m really excited about Accents: A Literary Celebration with booking concerts to formatting events to turn out or if we were going to be the diversity of all the different music Rebecca Gayle Howell, Tori Murden to securing performance spaces. Their able to secure the acts that we were we’re having. Hopefully, there will be McClure, Nancy Jensen; free. visibility and duties will increase hoping to get. But once it all unfolded, something for everyone there.” At Buster’s: 8:30 p.m., The Jesus as the festival hits full speed this all of us got really, really excited. COURTESY OF SUBPOP RECORDS and Mary Chain, Gary War, Dinosaur weekend. We’ve probably received the best and Read Walter Tunis’ blog, The Musical Box, at NEGATIVLAND.COM The Jesus and Mary Chain will help bring Feathers; $25. “There has been a really big most enthusiastic response from the LexGo.com. After giving a presentation at the first Boomslang in 2009, Mark Hosler of Negativland told festival organizers he wanted his band to be on the bill this year. the festival to a close on Sunday..
Recommended publications
  • 1 the Versions Project: Exploring
    THE VERSIONS PROJECT: EXPLORING MASHUP CULTURE By FRANCESCA LYN SUPERVISORY COMMITTEE: Benjamin DeVane, CHAIR Melinda McAdams, MEMBER James Oliverio, MEMBER A PROJECT IN LIEU OF THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF 1 MASTER OF ARTS UNIVERSITY OF FLORIDA 2011 2 ©2011 Francesca Lyn To everyone who has encouraged me to never give up, this would have never happened without all of you. 3 ACKNOWLEDGMENTS It is a pleasure to thank the many people who made this thesis possible. Thank you to my thesis chair Professor Ben DeVane and to my committee. I know that I was lucky enough to be guided by experts in their fields and I am extremely grateful for all of the assistance. I am grateful for every mashup artist that filled out a survey or simply retweeted a link. Special thanks goes to Kris Davis, the architect of idealMashup who encouraged me to become more of an activist with my work. And thank you to my parents and all of my friends. 4 TABLE OF CONTENTS page ACKNOWLEDGEMENTS……………………………………………………………………….4 ABSTRACT……..………………………………………………………………………………...6 INTRODUCTION..……………………………………………………………………………….7 Remix Culture and Broader Forms………………………………………………………………..9 EARLY ANTECEDENTS………………………………………………………………………10 Hip-hop…………………………………………………………………………………………..11 THE MODERN MASHUP ERA………………………………………………………………..13 NEW MEDIA ARTIFACTS…………………………………………………………………….14 The Hyperreal……………………………………………………………………………………15 Properties of New Media………………………………………………………………………...17 Community……………………………………………………………………………...…18
    [Show full text]
  • Plunderphonics – Plagiarismus in Der Musik
    Plagiat und Fälschung in der Kunst 1 PLUNDERPHONICS – PLAGIARISMUS IN DER MUSIK PLUNDERPHONICS – PLAGIARISMUS IN DER MUSIK Durch die Erfindung der Notenschrift wurde Musik versprachlicht und damit deren Beschreibung mittelbar. Tonträger erlaubten es, Interpretationen, also Deutungen dieser sprachlichen Beschreibung festzuhalten und zu reproduzieren. Mit der zunehmenden Digitalisierung der Informationen und somit der Musik eröffneten sich im 20. Jahrhundert neue Möglichkeiten sowohl der Schaffung als auch des Konsums der Musik. Eine Ausprägung dieses neuen Schaffens bildet Plunderphonics, ein Genre das von der Reproduktion etablierter Musikstücke lebt. Diese Arbeit soll einen groben Überblick über das Genre, deren Ursprünge und Entwicklung sowie einigen Werken und thematisch angrenzenden Musik‐ und Kunstformen bieten. Es werden rechtliche Aspekte angeschnitten und der Versuch einer kulturphilosophischen Deutung unternommen. 1.) Plunderphonics und Soundcollage – Begriffe und Entstehung Der Begriff Plunderphonics wurde vom kanadischen Medienkünstler und Komponisten John Oswald geprägt und 1985 in einem bei der Wired Society Electro‐Acoustic Conference in Toronto vorgetragenen Essay zuerst verwendet [1]. Aus musikalischer Sicht stellt Plunderphonics hierbei eine aus Fragmenten von Werken anderer Künstler erstellte Soundcollage dar. Die Fragmente werden verfälscht, beispielsweise in veränderter Geschwindigkeit abgespielt und neu arrangiert. Hierbei entsteht ein Musikstück, deren Bausteine zwar Rückschlüsse auf das „Ursprungswerk“ erlauben, dessen Aussage aber dem „Original“ zuwiderläuft. Die Verwendung musikalischer Fragmente ist keine Errungenschaft Oswalds. Viele Musikstile bedienen sich der Wiederaufnahme bestehender Werke: Samples in populär‐ und elektronischer Musik, Riddims im Reggae, Mash‐Ups und Turntablism in der Hip‐Hop‐Kultur. Soundcollagen, also Musikstücke, die vermehrt Fragmente verwenden, waren mit dem Fortschritt in der Tontechnik möglich geworden und hielten Einzug in den Mainstream [HB2].
    [Show full text]
  • Helter Skelter” and Sixties Revisionism “Helter Skelter” Et L'héritage Polémique Des Années 1960
    Volume ! La revue des musiques populaires 9 : 2 | 2012 Contre-cultures n°2 “Helter Skelter” and Sixties Revisionism “Helter Skelter” et l'héritage polémique des années 1960 Gerald Carlin and Mark Jones Electronic version URL: http://journals.openedition.org/volume/3407 DOI: 10.4000/volume.3407 ISSN: 1950-568X Printed version Date of publication: 15 December 2012 Number of pages: 34-49 ISBN: 978-2-913169-33-3 ISSN: 1634-5495 Electronic reference Gerald Carlin and Mark Jones, « “Helter Skelter” and Sixties Revisionism », Volume ! [Online], 9 : 2 | 2012, Online since 15 June 2014, connection on 10 December 2020. URL : http:// journals.openedition.org/volume/3407 ; DOI : https://doi.org/10.4000/volume.3407 This text was automatically generated on 10 December 2020. L'auteur & les Éd. Mélanie Seteun “Helter Skelter” and Sixties Revisionism 1 “Helter Skelter” and Sixties Revisionism “Helter Skelter” et l'héritage polémique des années 1960 Gerald Carlin and Mark Jones EDITOR'S NOTE This text was published in Countercultures & Popular Music (Farnham, Ashgate, 2014), while its French translation appeared in this issue of Volume! in 2012. “Helter Skelter” and the End of the Sixties Volume !, 9 : 2 | 2012 “Helter Skelter” and Sixties Revisionism 2 1 In late August 1968, within a few days of each other, new singles were released by the Beatles and the Rolling Stones. The unusual proximity of release dates by the world’s two most significant rock bands was echoed by the congruity of the songs’ themes: the Stones’ “Street Fighting Man” and the Beatles’ “Revolution” were both responses to the political unrest and protest which characterised the spring and summer of 1968.
    [Show full text]
  • 2. Mondo 2000'S New Media Cool, 1989-1993
    UvA-DARE (Digital Academic Repository) The web as exception: The rise of new media publishing cultures Stevenson, M.P. Publication date 2013 Link to publication Citation for published version (APA): Stevenson, M. P. (2013). The web as exception: The rise of new media publishing cultures. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:02 Oct 2021 2. Mondo 2000’s new media cool, 1989-1993 To understand how it was possible for the web to be articulated as an exceptional medium when it surfaced in the 1990s - that is, as a medium that would displace its mass and mainstream predecessors while producing web-native culture - one must see the historical and conceptual ties between web exceptionalism and cyberculture.
    [Show full text]
  • Radiophonic Spaces Radiophonic Radiophonic Spaces Spaces
    radiophonic spaces Radiophonic Radiophonic Spaces Spaces Ein Hör-Parcours durch die A sonic journey through radio art Radiokunst Radiophonic Spaces ist ein begehbarer Radiophonic Spaces is at the same time Radioraum und zugleich experimentelles a walk-in radio space and an experimen- Archiv – eine Symbiose aus künstleri- tal archive – a symbiosis of an artistic scher Auseinandersetzung mit Radio- exploration of radio art and radiophony kunst und Radiophonie und einem and an academic research project headed wissenschaftlichen Forschungsprojekt by the Chair of Experimental Radio at unter Federführung des Experimentel- the Bauhaus-Universität Weimar. Under len Radios an der Bauhaus-Universität the artistic direction of Nathalie Singer, Weimar. Ein Team von Radiokünst- a team of radio artists and researchers ler*innen und -forscher*innen hat unter conceived this experimental archive, Leitung von Nathalie Singer diesen which was designed by the artist, archi- Hör-Raum der Radiokunst konzipiert, tect and musician Cevdet Erek. der von dem Künstler, Architekten und Musiker Cevdet Erek gestaltet wurde. The works made accessible in Radio- phonic Spaces range from early radio Die in Radiophonic Spaces zugänglich experiments to contemporary produc- gemachten Arbeiten reichen von Experi- tions. Radio researchers, musicologists, menten aus der Frühzeit des Radios editors, critics and artists from the bis zu zeitgenössischen Produktionen. most varied of contexts and disciplines Radioforscher*innen, Musikwissen- selected over 200 works from 100 years schaftler*innen, Redakteur*innen, Kri- of international radio art for Radio- tiker*innen und Künstler*innen aus den phonic Spaces and arranged them in 13 verschiedensten Kontexten und Diszi- ‘narratives’. The result is a kaleidoscopic plinen haben für Radiophonic Spaces overview of the development of radio über 200 Arbeiten aus 100 Jahren inter- art as well as of recurring themes, motifs nationaler Radiokunst ausgewählt und and procedures.
    [Show full text]
  • Culture Jamming: Ads Under Attack by Naomi Klein Bill Gates And
    Culture Jamming: Ads Under Attack By Naomi Klein Bill Gates and Microsoft aren't the only corporate giants suffering a backlash against their superbrands. Last month, computer hackers invaded Nike's Web site in the latest protest against the company's alleged sweatshop practices, redirecting visitors to a site concerned with "the growth of corporate power and the direction of globalization." Similar rants have been directed at McDonald's--from the student who waved a sign with the arch logo at the World Trade Organization protest in Seattle to the axe-wielding vandal--now a cultural hero--who tried to thwart the opening of a McDonald's in the tiny town of Millau, France. For their brilliance at building their brands, the marketers behind the likes of Nike, McDonald's, Wal-Mart and Starbucks now find themselves at the center of journalist Naomi Klein's avowed "next big political movement" in No Logo: Taking Aim at the Brand Bullies from Picador/St. Martin's Press. Reporting everywhere from university campuses to garment factories in Third World countries, Klein depicts the encroachment of big-name brands on our daily lives, and the array of in- your-face counter-measures this has provoked among consumer advocates. One such measure is discussed in the chapter partially excerpted here: "culture jamming," the practice of parodying ads and hijacking billboards to drastically alter their messages. "Something not far from the surface of the public psyche is delighted to see the icons of corporate power subverted and mocked," Klein writes, offering up memorable examples of "adbusting" done to Absolut, Levi's, Ford, Exxon, Apple and others.
    [Show full text]
  • Music Sampling and Copyright Law
    CACPS UNDERGRADUATE THESIS #1, SPRING 1999 MUSIC SAMPLING AND COPYRIGHT LAW by John Lindenbaum April 8, 1999 A Senior Thesis presented to the Faculty of the Woodrow Wilson School of Public and International Affairs in partial fulfillment of the requirements for the degree of Bachelor of Arts. ACKNOWLEDGMENTS My parents and grandparents for their support. My advisor Stan Katz for all the help. My research team: Tyler Doggett, Andy Goldman, Tom Pilla, Arthur Purvis, Abe Crystal, Max Abrams, Saran Chari, Will Jeffrion, Mike Wendschuh, Will DeVries, Mike Akins, Carole Lee, Chuck Monroe, Tommy Carr. Clockwork Orange and my carrelmates for not missing me too much. Don Joyce and Bob Boster for their suggestions. The Woodrow Wilson School Undergraduate Office for everything. All the people I’ve made music with: Yamato Spear, Kesu, CNU, Scott, Russian Smack, Marcus, the Setbacks, Scavacados, Web, Duchamp’s Fountain, and of course, Muffcake. David Lefkowitz and Figurehead Management in San Francisco. Edmund White, Tom Keenan, Bill Little, and Glenn Gass for getting me started. My friends, for being my friends. TABLE OF CONTENTS Introduction.....................................................................................……………………...1 History of Musical Appropriation........................................................…………………6 History of Music Copyright in the United States..................................………………17 Case Studies....................................................................................……………………..32 New Media......................................................................................……………………..50
    [Show full text]
  • Contentious Politics, Culture Jamming, and Radical
    Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2009 Boxing with shadows: contentious politics, culture jamming, and radical creativity in tactical innovation David Matthew Iles, III Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Political Science Commons Recommended Citation Iles, III, David Matthew, "Boxing with shadows: contentious politics, culture jamming, and radical creativity in tactical innovation" (2009). LSU Master's Theses. 878. https://digitalcommons.lsu.edu/gradschool_theses/878 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. BOXING WITH SHADOWS: CONTENTIOUS POLITICS, CULTURE JAMMING, AND RADICAL CREATIVITY IN TACTICAL INNOVATION A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts in The Department of Political Science by David Matthew Iles, III B.A., Southeastern Louisiana University, 2006 May, 2009 ACKNOWLEDGEMENTS This thesis was completed with the approval and encouragement of my committee members: Dr. Xi Chen, Dr. William Clark, and Dr. Cecil Eubanks. Along with Dr. Wonik Kim, they provided me with valuable critical reflection whenever the benign clouds of exhaustion and confidence threatened. I would also like to thank my friends Nathan Price, Caroline Payne, Omar Khalid, Tao Dumas, Jeremiah Russell, Natasha Bingham, Shaun King, and Ellen Burke for both their professional and personal support, criticism, and impatience throughout this process.
    [Show full text]
  • 25 Years of Ars Electronica
    Literature: Winners in the film section – Computer Animation – Visual Effects Literature: Literature : Literature: Literature (2) : Literature: Literature (2) : Blick, Stimme und (k)ein Körper – Der Einsatz 1987: John Lasseter, Mario Canali, Rolf Herken Cyber Society – Mythos und Realität der Maschinen, Medien, Performances – Theater an Future cinema !! / Jeffrey Shaw, Peter Weibel Ed. Gary Hill / Selected Works Soundcultures – Über elektronische und digitale Kunst als Sendung – Von der Telegrafie zum der elektronischen Medien im Theater und in 1988: John Lasseter, Peter Weibel, Mario Canali and Honorary Mentions (right) Informationsgesellschaft / Achim Bühl der Schnittstelle zu digitalen Welten / Kunst und Video / Bettina Gruber, Maria Vedder Intermedialität – Das System Peter Greenaway Musik / Ed. Marcus S. Kleiner, A. Szepanski 25 years of ars electronica Internet / Dieter Daniels VideoKunst / Gerda Lampalzer interaktiven Installationen / Mona Sarkis Tausend Welten – Die Auflösung der Gesellschaft Martina Leeker (Ed.) Yvonne Spielmann Resonanzen – Aspekte der Klangkunst / 1989: Joan Staveley, Amkraut & Girard, Simon Wachsmuth, Zdzislaw Pokutycki, Flavia Alman, Mario Canali, Interferenzen IV (on radio art) Liveness / Philip Auslander im digitalen Zeitalter / Uwe Jean Heuser Perform or else – from discipline to performance Videokunst in Deutschland 1963 – 1982 Arquitecturanimación / F. Massad, A.G. Yeste Ed. Bernd Schulz John Lasseter, Peter Conn, Eihachiro Nakamae, Edward Zajec, Franc Curk, Jasdan Joerges, Xavier Nicolas, TRANSIT #2
    [Show full text]
  • Two Relationships to a Cultural Public Domain
    NEGATIVLAND_FMT.DOC 02/25/03 2:08 PM TWO RELATIONSHIPS TO A CULTURAL PUBLIC DOMAIN NEGATIVLAND* INTRODUCTION It’s been well over ten years since Negativland was sued by Island Records for supposed copyright infringement, trademark infringement, defamation of character and consumer fraud contained in our 1991 U2 single. In the big wide world of the ownership of ideas, a lot has changed since then—the advent of the Internet and its worldwide empowerment of individuals through personalized interconnection, the effects of economic globalization and how it bypasses both the ideologies of local governments and the rule of their national laws, and the Digital Millennium Copyright Act with which intellectual property owners are attempting to survive as all these rugs are being pulled out from under them. There is a contemporary realization that, on one hand, the fate of all content is now in the hands of its receiving audience more than ever before, and, on the other hand, that worldwide commerce is scrambling to forge all kinds of new laws and regulations to maintain their traditional control over the fate of “their” content. Over the last decade, Negativland has continued to be associated with these issues, sometimes because we volunteer ideas on these subjects, sometimes because we continue to make art that ends up evoking them. Other than the two lawsuits against us in the wake of the U2 single, we’ve never been sued again. There have been other scares, skirmishes, and threats against us over the years, at various times from the Recording Industry Association of America, PepsiCo, Beck, Geffen Records, Philip Glass, Fat Boy Slim, the CD pressing plants we work with, and even attorneys for ax murderer David Brom.
    [Show full text]
  • 1998 Winter.Pdf (86.75Kb)
    North Avenue Review newest issue! home Winter 1998 about nar our mission back issues NAR ON: Music the staff ● Music and Moods -- DeAnna Janecek submissions ● Great Music Almighty -- Anonymous contacting us ● Review: Negativland's Sipsedi -- Kiefer NAR ON: Other ● Information Overload 2 -- Kiefer ● Engineering Management 250 -- Bill Manofsky ● Figure Out "Why" And Live! -- Felix Bunke ● One Man Wondering And Hoping -- James McDuffie ● A Very Brady Christmas: The Quiet Beginnings -- Steve Lucky ● As I Lie Awake -- Lord Wingnut ● The Sport Of the Next Millennium: Trunking -- James McDuffie ● Time Displacement -- DeAnna Janecek Issues Currently On-Line ● Spring 1997 ● Spring 1996 ● Winter 1996 ● Fall 1995 ● Spring 1995 ● Winter 1995 ● Fall 1994 The North Avenue Review is a student publication of the Georgia Institute of Technology. It is published four times a year by our staff composed of people who write for us, submit art, help with layout, show up to meetings, etc. for the students of Georgia Tech. It has become a (relatively) long-standing tradition as an alternative form of expression. Mail suggestions, questions, or submissions to NAR at [email protected]. North Avenue Review A Georgia Tech Publication. Music and Moods newest issue! home by DeAnna Janecek about nar No, it's not the title of one of those classical CD's with the thunderstorm in our mission the background, yet it does have to do, partly, with one of those compact back issues discs. Why is it that listening to the sounds of a rainforest off to the slow the staff melody of Beethoven's "Moonlight Sonata" has the ability to relax a submissions person? Music tends to have that effect on people whether they realize it contacting us or not; the ability to create a mood swing in the listener.
    [Show full text]
  • Contributors
    Contributors Roy Ascott is the founding director of the international research network Planetary Collegium (CAiiA-STAR), Professor of Technoetic Arts at the University of Plymouth (England), and Adjunct Professor in Design/Media Arts at the University of California at Los Angeles. He conducts research in art, technology, and consciousness and edits Technoetic Arts. He pioneered the use of cybernetics and telematics in art at the Venice Biennale and Ars Elec- tronica, among others. His most recent publication is Telematic Embrace: Vi- sionary Theories of Art Technology and Consciousness, edited by Edward A. Shanken (University of California Press, 2003). The address of his Web site is <http://www.planetary-collegium.net/people/detail/ra>. Anna Freud Banana began her art career producing batik fabrics and wall hangings but switched to conceptual/performance work with her Town Fool Project in 1971. Through the Banana Rag newsletter, she discovered the In- ternational Mail Art Network (IMAN) which supplies her with banana ma- terial, a sense of community, and affirmation of her conceptual approach. Whether publishing or performing, her intention is to activate her audience and to question authorities and so-called sacred cows in a humorous way. In- ternational Performance/Events and exhibitions on walls, from 1975 to pres- ent, are detailed at <http://users.uniserve.ca/~sn0958>. Tilman Baumgärtel is a Berlin-based independent writer and critic. His re- cent publications include Games. Computerspiele von KünstlerInnen Ausstellungs- katalog (Games. Computergames by artists. Exhibition Catalogue) (2003); Install.exe: Katalog zur ersten Einzelausstellung des Künstlerpaars Jodi bei Plug-In, Basel, Büro Friedrich, Berlin, und Eyebeam, New York (Catalogue for the first solo show of the art duo Jodi at Plug-In, Basel, Büro Friedrich, Berlin, and Eyebeam, New York) (2002); net.art 2.0 Neue Materialien zur Netzkunst / net.art 2.0 (New Materials toward Art on the Internet) (2001); net.art Materi- alien zur Netzkunst (2nd edition, 2001); lettische Ausgabe: Tikla Maksla (2001).
    [Show full text]