Technoshamanism, Conservatism and Pagan Politics
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Hallucinogens - LSD, Peyote, Psilocybin, and PCP
Hallucinogens - LSD, Peyote, Psilocybin, and PCP Hallucinogenic compounds found in some • Psilocybin (4-phosphoryloxy-N,N- plants and mushrooms (or their extracts) dimethyltryptamine) is obtained from have been used—mostly during religious certain types of mushrooms that are rituals—for centuries. Almost all indigenous to tropical and subtropical hallucinogens contain nitrogen and are regions of South America, Mexico, and classified as alkaloids. Many hallucinogens the United States. These mushrooms have chemical structures similar to those of typically contain less than 0.5 percent natural neurotransmitters (e.g., psilocybin plus trace amounts of acetylcholine-, serotonin-, or catecholamine- psilocin, another hallucinogenic like). While the exact mechanisms by which substance. hallucinogens exert their effects remain • PCP (phencyclidine) was developed in unclear, research suggests that these drugs the 1950s as an intravenous anesthetic. work, at least partially, by temporarily Its use has since been discontinued due interfering with neurotransmitter action or to serious adverse effects. by binding to their receptor sites. This DrugFacts will discuss four common types of How Are Hallucinogens Abused? hallucinogens: The very same characteristics that led to • LSD (d-lysergic acid diethylamide) is the incorporation of hallucinogens into one of the most potent mood-changing ritualistic or spiritual traditions have also chemicals. It was discovered in 1938 led to their propagation as drugs of abuse. and is manufactured from lysergic acid, Importantly, and unlike most other drugs, which is found in ergot, a fungus that the effects of hallucinogens are highly grows on rye and other grains. variable and unreliable, producing different • Peyote is a small, spineless cactus in effects in different people at different times. -
The Last of the Hippies
The Last of the Hippies An Hysterical Romance Penny Rimbaud First published in 1982 as part of the Crass record album Christ: The Album, Penny Rimbaud’s The Last of the Hippies is a fiery anarchist polemic centered on the story of his friend, Phil Russell (aka Wally Hope), who was murdered by the State while incarcerated in a men- tal institution. Wally Hope was a visionary and a freethinker, whose life had a pro- found influence on many in the culture of the UK underground and be- yond. He was an important figure in what may loosely be described as the organization of the Windsor Free Festival from 1972 to 1974, as well providing the impetus for the embryonic Stonehenge Free Festival. Wally was arrested and incarcerated in a mental institution after hav- ing been found in possession of a small amount of LSD. He was later released, and subsequently died. The official verdict was that Russell committed suicide, although Rimbaud uncovered strong evidence that SUBJECT CATEGORY Music-Punk/Subculture-UK he was murdered. Rimbaud’s anger over unanswered questions sur- rounding his friend’s death inspired him in 1977 to form the anarchist PRICE punk band Crass. $12.00 In the space of seven short years, from 1977 to their breakup in 1984, ISBN 978-1-62963-103-5 Crass almost single-handedly breathed life back into the then moribund peace and anarchist movements. The Last of the Hippies fast became PAGE COUNT the seminal text of what was then known as anarcho-punk and which 128 later contributed to the anti-globalization movement. -
On Being Watched …!
ON BEING WATCHED …! All about my ‘Big Brother’ http://www.gn.apc.org/tash On being watched ……… all about my ‘Big Brother’ 1 CCoonntteennttss IIInntttrroo …… 55 SSeeccuurriiitttyy SSeerrvviiicceess AAccttt eetttcc …… 55 SSoommee oofff ttthhee sstttoorryy ssoo fffaarr ......... 77 OOppeerraatttiiioonn SSoolllsstttiiiccee …… 88 OOppeerraatttiiioonn NNoommaadd …… 1100 OOppeerraatttiiioonn SSnnaappsshhoottt …… 1111 FFoorrwwaarrdd IIInnttteelllllliiiggeennccee TTeeaammss …… 1133 EEnnvviiirroonnmmeenntttaalll PPoollliiicciiinngg …… 1155 CCCCTTVV aanndd ttthhee MMaannddrraakkee ssyyssttteemm …… 1166 MMiiinniiiaatttuurree ssuurrvveeiiillllllaannccee ccaammeerraass aanndd ddeevveelllooppmmeenntttss …… 1199 MMiiinniiiaatttuurree ssuurrvveeiiillllllaannccee ccaammeerraass aappppllliiieedd ccoovveerrtttlllyy …… 2200 EEvviiiddeennccee …… 2211 MMaanniiippuulllaatttiiioonn oofff ttthhee mmeeddiiiaa …… 2211 WWeerree iiiss aallllll ttthhiiiss ggooiiinngg .........?? 2255 WWeebb SSiiittteess …… 2288 On being watched ……… all about my ‘Big Brother’ 2 "It's not the big battalions that win battles, it's the best shots" Voltaire On being watched ……… all about my ‘Big Brother’ 3 IIInntttrroo …… "It's not paranoia .… if they're really after you …! n recent years, surveillance techniques have been developed, they say, for the Icatching of criminals in criminal acts, further, to provide evidence for their prosecution. I think society at large would argue, that that's fair enough. Fingerprint detection, after all, seems to be acceptable to most! Now, however, these -
Hallucinogens - LSD, Peyote, Psilocybin, and PCP
Information for Behavioral Health Providers in Primary Care Hallucinogens - LSD, Peyote, Psilocybin, and PCP What are Hallucinogens? Hallucinogenic compounds found in some plants and mushrooms (or their extracts) have been used— mostly during religious rituals—for centuries. Almost all hallucinogens contain nitrogen and are classified as alkaloids. Many hallucinogens have chemical structures similar to those of natural neurotransmitters (e.g., acetylcholine-, serotonin-, or catecholamine-like). While the exact mechanisms by which hallucinogens exert their effects remain unclear, research suggests that these drugs work, at least partially, by temporarily interfering with neurotransmitter action or by binding to their receptor sites. This InfoFacts will discuss four common types of hallucinogens: LSD (d-lysergic acid diethylamide) is one of the most potent mood-changing chemicals. It was discovered in 1938 and is manufactured from lysergic acid, which is found in ergot, a fungus that grows on rye and other grains. Peyote is a small, spineless cactus in which the principal active ingredient is mescaline. This plant has been used by natives in northern Mexico and the southwestern United States as a part of religious ceremonies. Mescaline can also be produced through chemical synthesis. Psilocybin (4-phosphoryloxy-N, N-dimethyltryptamine) is obtained from certain types of mushrooms that are indigenous to tropical and subtropical regions of South America, Mexico, and the United States. These mushrooms typically contain less than 0.5 percent psilocybin plus trace amounts of psilocin, another hallucinogenic substance. PCP (phencyclidine) was developed in the 1950s as an intravenous anesthetic. Its use has since been discontinued due to serious adverse effects. How Are Hallucinogens Abused? The very same characteristics that led to the incorporation of hallucinogens into ritualistic or spiritual traditions have also led to their propagation as drugs of abuse. -
French Underground Raves of the Nineties. Aesthetic Politics of Affect and Autonomy Jean-Christophe Sevin
French underground raves of the nineties. Aesthetic politics of affect and autonomy Jean-Christophe Sevin To cite this version: Jean-Christophe Sevin. French underground raves of the nineties. Aesthetic politics of affect and autonomy. Political Aesthetics: Culture, Critique and the Everyday, Arundhati Virmani, pp.71-86, 2016, 978-0-415-72884-3. halshs-01954321 HAL Id: halshs-01954321 https://halshs.archives-ouvertes.fr/halshs-01954321 Submitted on 13 Dec 2018 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. French underground raves of the 1990s. Aesthetic politics of affect and autonomy Jean-Christophe Sevin FRENCH UNDERGROUND RAVES OF THE 1990S. AESTHETIC POLITICS OF AFFECT AND AUTONOMY In Arundhati Virmani (ed.), Political Aesthetics: Culture, Critique and the Everyday, London, Routledge, 2016, p.71-86. The emergence of techno music – commonly used in France as electronic dance music – in the early 1990s is inseparable from rave parties as a form of spatiotemporal deployment. It signifies that the live diffusion via a sound system powerful enough to diffuse not only its volume but also its sound frequencies spectrum, including infrabass, is an integral part of the techno experience. In other words listening on domestic equipment is not a sufficient condition to experience this music. -
Technics, Precarity and Exodus in Rave Culture
29 Dancecult: Journal of Electronic Dance Music Culture • vol 1 no 2 Technics, Precarity and Exodus in Rave Culture TOBIAS C. VAN VEEN MCGILL UNIVERSITY Abstract Without a doubt, the question of rave culture’s politics – or lack thereof – has polarized debate concerning the cultural, social and political value of rave culture not only within electronic dance music culture (EDMC) studies, but in disciplines that look to various manifestations of subculture and counterculture for political innovation. It is time for the groundwork of this debate to be rethought. Ask not what rave culture’s politics can do for you; nor even what you can do for it. Rather, ask what the unexamined account of politics has ever done for anyone; then question all that rave culture has interrogated – from its embodied and technological practices to its production of ecstatic and collective subjectivities – and begin to trace how it has complicated the very question of the political, the communal and the ethical. This complication begins with the dissolution of the boundaries of labour and leisure and the always-already co-optation of culture. To the negation of ethics, community and politics, this tracing calls for the hauntology of technics, precarity and exodus. And it ends with a list of impossible demands demonstrating the parallax gap of rave culture’s politics. Keywords exodus, precarity, technics, multitude, workplay He [Randy] predicted the [rave] parties will eventually disappear under the combined pressure of police, city and fire officials. “In the next year and a half it’s going to vanish”, he said. “Then, when they think it’s gone, it will come back, becoming more underground again”. -
The Art of Depression with Sonic Boom
The Art of Depression With Sonic Boom Bittles‘ Magazine Sonic Boom is not only a fantastic name for a band, it is also the nom de plume of Peter ›Sonic Boom‹ Kember, who was one of the founding members of the exceedingly excellent Spacemen 3. Spectrum is the only commercially available album he ever released under this name, yet it still stands as a momentous record that bewitches with its dense, layered sound. Released over 20 years ago, it isn’t of its time, or this time, or any time. In fact it is something else, separated from trends, fads or anything else which dilutes music to a turgid meaningless mess. By JOHN BITTLES Peter’s first band Spacemen 3 saw him, and close friend Jason Pierce (who later went on to form Spiritualized) play together with a varied assortment of musicians all linked together in their love of weird psychedelic rock. For almost ten years the band gave the world the type of scuzzy garage noise that most lost and alienated young teens only ever see in particularly vivid wet dreams. Sonic Boom. Photo by Xi Weg Since the split of Spacemen 3 back in 1991 Peter Kember has been releasing quality head music under various aliases including Spectrum (sublime indie rock) and E.A.R. (Experimental Audio Research) (strange drone type sounds). He is also equally well known as a producer having lent his production nous to the likes of MGMT, Panda Bear, Teen and, just recently, the ten tracks of psychedelic weirdness that make up the marvellous album Chambers by Lorelle Meets The Obsolete. -
Space Rock, the Popular Music Inspired by the Stars Above Us
SPACE ROCK, THE POPULAR MUSIC INSPIRED BY THE STARS ABOVE US JARKKO MATIAS MERISALO 79222N ASTRONOMICAL VIEW OF THE WORLD PART B S-92.3299AALTO UNIVERSITY 0 TABLE OF CONTENTS Table of contents ................................................................................................................. 1 1. Introduction ................................................................................................................... 2 2. What is space rock and how it was born? ..................................................................... 3 3. The Golden era ............................................................................................................. 5 3.1. Significant artists and songs to remember ................................................................ 5 3.2. Masks and Glitter – Spacemen and rock characters ................................................. 7 4. Modern times .............................................................................................................. 10 5. Conclusions ................................................................................................................. 12 6. References .................................................................................................................. 13 7. Appendices ................................................................................................................. 14 1. INTRODUCTION When the Soviets managed to launch “Sputnik 1”, the first man-made object to the Earth’s orbit in November 1957, -
Mtv and Transatlantic Cold War Music Videos
102 MTV AND TRANSATLANTIC COLD WAR MUSIC VIDEOS WILLIAM M. KNOBLAUCH INTRODUCTION In 1986 Music Television (MTV) premiered “Peace Sells”, the latest video from American metal band Megadeth. In many ways, “Peace Sells” was a standard pro- motional video, full of lip-synching and head-banging. Yet the “Peace Sells” video had political overtones. It featured footage of protestors and police in riot gear; at one point, the camera draws back to reveal a teenager watching “Peace Sells” on MTV. His father enters the room, grabs the remote and exclaims “What is this garbage you’re watching? I want to watch the news.” He changes the channel to footage of U.S. President Ronald Reagan at the 1986 nuclear arms control summit in Reykjavik, Iceland. The son, perturbed, turns to his father, replies “this is the news,” and lips the channel back. Megadeth’s song accelerates, and the video re- turns to riot footage. The song ends by repeatedly asking, “Peace sells, but who’s buying?” It was a prescient question during a 1980s in which Cold War militarism and the nuclear arms race escalated to dangerous new highs.1 In the 1980s, MTV elevated music videos to a new cultural prominence. Of course, most music videos were not political.2 Yet, as “Peace Sells” suggests, dur- ing the 1980s—the decade of Reagan’s “Star Wars” program, the Soviet war in Afghanistan, and a robust nuclear arms race—music videos had the potential to relect political concerns. MTV’s founders, however, were so culturally conserva- tive that many were initially wary of playing African American artists; addition- ally, record labels were hesitant to put their top artists onto this new, risky chan- 1 American President Ronald Reagan had increased peace-time deicit defense spending substantially. -
Ideal Homes? Social Change and Domestic Life
IDEAL HOMES? Until now, the ‘home’ as a space within which domestic lives are lived out has been largely ignored by sociologists. Yet the ‘home’ as idea, place and object consumes a large proportion of individuals’ incomes, and occupies their dreams and their leisure time while the absence of a physical home presents a major threat to both society and the homeless themselves. This edited collection provides for the first time an analysis of the space of the ‘home’ and the experiences of home life by writers from a wide range of disciplines, including sociology, criminology, psychology, social policy and anthropology. It covers a range of subjects, including gender roles, different generations’ relationships to home, the changing nature of the family, transition, risk and alternative visions of home. Ideal Homes? provides a fascinating analysis which reveals how both popular images and experiences of home life can produce vital clues as to how society’s members produce and respond to social change. Tony Chapman is Head of Sociology at the University of Teesside. Jenny Hockey is Senior Lecturer in the School of Comparative and Applied Social Sciences, University of Hull. IDEAL HOMES? Social change and domestic life Edited by Tony Chapman and Jenny Hockey London and New York First published 1999 by Routledge 11 New Fetter Lane, London EC4P 4EE Simultaneously published in the USA and Canada by Routledge 29 West 35th Street, New York, NY 10001 Routledge is an imprint of the Taylor & Francis Group This edition published in the Taylor & Francis e-Library, 2002. © 1999 Selection and editorial matter Tony Chapman and Jenny Hockey; individual chapters, the contributors All rights reserved. -
Neotrance and the Psychedelic Festival DC
Neotrance and the Psychedelic Festival GRAHAM ST JOHN UNIVERSITY OF REGINA, UNIVERSITY OF QUEENSLAND Abstract !is article explores the religio-spiritual characteristics of psytrance (psychedelic trance), attending speci"cally to the characteristics of what I call neotrance apparent within the contemporary trance event, the countercultural inheritance of the “tribal” psytrance festival, and the dramatizing of participants’ “ultimate concerns” within the festival framework. An exploration of the psychedelic festival offers insights on ecstatic (self- transcendent), performative (self-expressive) and re!exive (conscious alternative) trajectories within psytrance music culture. I address this dynamic with reference to Portugal’s Boom Festival. Keywords psytrance, neotrance, psychedelic festival, trance states, religion, new spirituality, liminality, neotribe Figure 1: Main Floor, Boom Festival 2008, Portugal – Photo by jakob kolar www.jacomedia.net As electronic dance music cultures (EDMCs) flourish in the global present, their relig- ious and/or spiritual character have become common subjects of exploration for scholars of religion, music and culture.1 This article addresses the religio-spiritual Dancecult: Journal of Electronic Dance Music Culture 1(1) 2009, 35-64 + Dancecult ISSN 1947-5403 ©2009 Dancecult http://www.dancecult.net/ DC Journal of Electronic Dance Music Culture – DOI 10.12801/1947-5403.2009.01.01.03 + D DC –C 36 Dancecult: Journal of Electronic Dance Music Culture • vol 1 no 1 characteristics of psytrance (psychedelic trance), attending specifically to the charac- teristics of the contemporary trance event which I call neotrance, the countercultural inheritance of the “tribal” psytrance festival, and the dramatizing of participants’ “ul- timate concerns” within the framework of the “visionary” music festival. -
A303 Amesbury to Berwick Down
A303 Amesbury to Berwick Down TR010025 6.3 Environmental Statement Appendices Volume 1 6 Appendix 6.1 Annex 8 Influences of the monuments and landscape of the Stonehenge part of the World Heritage Site on literature and popular culture APFP Regulation 5(2)(a) Planning Act 2008 Infrastructure Planning (Applications: Prescribed Forms and Procedure) Regulations 2009 October 2018 HIA Annex 8 – Influences of the monuments and landscape of the Stonehenge part of the WHS on literature and popular culture Introduction Stonehenge, Avebury and Associated Sites was inscribed on the UNESCO World Heritage Site List in 1986, one of the original list of seven sites in the UK to be put forward for inscription. The Statement of Outstanding Universal Value (OUV) was adopted in 2013. The Statement of OUV notes that ‘the monuments and landscape have had an unwavering influence on architects, artists, historians and archaeologists’ (UNESCO 2013). The 2015 Management Plan (Simmonds & Thomas 2015) identifies seven Attributes of OUV for the entirety of the WHS, of which the seventh is: ‘The influence of the remains of the Neolithic and Bronze Age funerary and ceremonial monuments and their landscape setting on architects, artists, historians, archaeologists and others.’ The landscape around Stonehenge, comprising natural and cultural elements, is not just a physical environment, but an abstraction that is perceived by the human observer. Such observers have included literary writers, poets and travel writers, who have used their sense of the place as they experienced it to inspire their creative writing. The unique strength of Stonehenge is that the monument is an instantly recognisable structure which resembles no other and onto which a range of fantasies can be projected (Hutton 2009, 45).