02-11 Sakamoto
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
What Cant Be Coded Can Be Decorded Reading Writing Performing Finnegans Wake
ORBIT - Online Repository of Birkbeck Institutional Theses Enabling Open Access to Birkbecks Research Degree output What cant be coded can be decorded Reading Writing Performing Finnegans Wake http://bbktheses.da.ulcc.ac.uk/198/ Version: Public Version Citation: Evans, Oliver Rory Thomas (2016) What cant be coded can be decorded Reading Writing Performing Finnegans Wake. PhD thesis, Birkbeck, University of London. c 2016 The Author(s) All material available through ORBIT is protected by intellectual property law, including copyright law. Any use made of the contents should comply with the relevant law. Deposit guide Contact: email “What can’t be coded can be decorded” Reading Writing Performing Finnegans Wake Oliver Rory Thomas Evans Phd Thesis School of Arts, Birkbeck College, University of London (2016) 2 3 This thesis examines the ways in which performances of James Joyce’s Finnegans Wake (1939) navigate the boundary between reading and writing. I consider the extent to which performances enact alternative readings of Finnegans Wake, challenging notions of competence and understanding; and by viewing performance as a form of writing I ask whether Joyce’s composition process can be remembered by its recomposition into new performances. These perspectives raise questions about authority and archivisation, and I argue that performances of Finnegans Wake challenge hierarchical and institutional forms of interpretation. By appropriating Joyce’s text through different methodologies of reading and writing I argue that these performances come into contact with a community of ghosts and traces which haunt its composition. In chapter one I argue that performance played an important role in the composition and early critical reception of Finnegans Wake and conduct an overview of various performances which challenge the notion of a ‘Joycean competence’ or encounter the text through radical recompositions of its material. -
À¸£À¸ΜวÀ¸À¸´À¸Šà¸´ À
รีวà¸à ¸´à¸Šà¸´ ซะà¸à ¸°à¹‚มะโตะ à¸‐ ัลบั้ม รายà¸à ¸²à¸£ (รายชื่à¸‐ จานเสียง & ระยะเวลา) Thousand Knives https://th.listvote.com/lists/music/albums/thousand-knives-11405209/songs Neo Geo https://th.listvote.com/lists/music/albums/neo-geo-3338075/songs BTTB https://th.listvote.com/lists/music/albums/bttb-595614/songs Futurista https://th.listvote.com/lists/music/albums/futurista-11519577/songs Heartbeat https://th.listvote.com/lists/music/albums/heartbeat-3129038/songs Heartbeat https://th.listvote.com/lists/music/albums/heartbeat-3129038/songs Sweet Revenge https://th.listvote.com/lists/music/albums/sweet-revenge-11311201/songs The Sheltering Sky https://th.listvote.com/lists/music/albums/the-sheltering-sky-7763767/songs Discord https://th.listvote.com/lists/music/albums/discord-3030144/songs CM/TV https://th.listvote.com/lists/music/albums/cm%2Ftv-11193441/songs /05 https://th.listvote.com/lists/music/albums/%2F05-941663/songs Bricolages https://th.listvote.com/lists/music/albums/bricolages-2925132/songs Illustrated Musical Encyclopedia https://th.listvote.com/lists/music/albums/illustrated-musical-encyclopedia-3148759/songs Esperanto https://th.listvote.com/lists/music/albums/esperanto-11290111/songs Media Bahn Live https://th.listvote.com/lists/music/albums/media-bahn-live-11343838/songs /04 https://th.listvote.com/lists/music/albums/%2F04-2806449/songs Left Handed Dream https://th.listvote.com/lists/music/albums/left-handed-dream-11479657/songs US -
The Works an D Life of Walter Bagehot
THE WORKS AN D LIFE OF WALTER BAGEHOT VOL. III. THE WORKS AND LIFE OF WALTER BAGEHOT EDItED BY MRS. RUSSELL BARRINGTON THE WORKS J.1'; NI.1';E VOLUME:" THE LIFE IN ONE VOLU~IE VOL. III. OF THE WORKS LON G MAN S, G R E EN, AND C O. 39 PATERNOSTER ROW, LONDON FOURTH AVENUE & 30TH :"TREET, NEW YORK BOMBAY, CALCUTTA, AND MADRAr" CONTENTS OF VOLUME III. PAOi BERANGER (1857) THE WAVERLEY NOVELS (1858) 37 CHARLES DICKENS (1858) 73 PARLIAMENTARY REFORM (1859) 108 JOHN MILTON (1859) • THE HISTORY OF THE UNREFORMED PARLIAMENT, AND ITS LESSONS (1860) • 222 MR. GLADSTONE (1860) 272 MEMOIR OF THE RIGHT HONOURABLE JAMES WILSON (1850) . 302 THE AMERICAN CONSTITUTION AT THE PRESENT CRISIS. Causes of the Civil War in America. By j. Lothrop Motley Manwaring (from Na- tIonal Review, October, 1861) 349 v ERRATA. Page 378, line 14,jor eight read eighth 379, " 7,,, member read minister BERANGER.l THE invention of books has at least one great advantage. It has half-abolished one of the worst consequences of the diver- sity of languages. Literature enables nations to understand one another. Ora) intercourse hardly does this. In English, a distinguished foreigner says not what he thinks, but what he can. There is a certain intimate essence of national mean- ing which is as untranslatable as good poetry. Dry thoughts are cosmopolitan; but the delicate associations of language which express character, the traits of speech which mark the man, differ in every tongue, so that there are not even cum- brous circumlocutions that are equivalent in another. -
Idioms-And-Expressions.Pdf
Idioms and Expressions by David Holmes A method for learning and remembering idioms and expressions I wrote this model as a teaching device during the time I was working in Bangkok, Thai- land, as a legal editor and language consultant, with one of the Big Four Legal and Tax companies, KPMG (during my afternoon job) after teaching at the university. When I had no legal documents to edit and no individual advising to do (which was quite frequently) I would sit at my desk, (like some old character out of a Charles Dickens’ novel) and prepare language materials to be used for helping professionals who had learned English as a second language—for even up to fifteen years in school—but who were still unable to follow a movie in English, understand the World News on TV, or converse in a colloquial style, because they’d never had a chance to hear and learn com- mon, everyday expressions such as, “It’s a done deal!” or “Drop whatever you’re doing.” Because misunderstandings of such idioms and expressions frequently caused miscom- munication between our management teams and foreign clients, I was asked to try to as- sist. I am happy to be able to share the materials that follow, such as they are, in the hope that they may be of some use and benefit to others. The simple teaching device I used was three-fold: 1. Make a note of an idiom/expression 2. Define and explain it in understandable words (including synonyms.) 3. Give at least three sample sentences to illustrate how the expression is used in context. -
Negotiating Sound, Noise and Silence Through Improvisation, Composition and Image
University of Huddersfield Repository Harvey, Stephen Negotiating sound, noise and silence through improvisation, composition and image Original Citation Harvey, Stephen (2014) Negotiating sound, noise and silence through improvisation, composition and image. Masters thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/23395/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ Negotiating sound, noise and silence through improvisation, composition and image Stephen Harvey A thesis submitted to the University of Huddersfield in partial fulfilment of the requirements for the degree of MA by research August 2014 Copyright Statement i. The author of this thesis (including any appendices and/or schedules to this thesis) owns any copyright in it (the “Copyright”) and s/he has given The University of Huddersfield the right to use such Copyright for any administrative, promotional, educational and/or teaching purposes. -
Carsten Nicolai | Syn Chron
YCAM PRESS RELEASE YCAM presents The exhibition of new installation carsten nicolai | syn chron Photo: Uwe Walter, Berlin Period: 17 December (Sat.) 2005 - 19 February (Sun.) 2006 (*Note: Closed Tuesdays and 27 December 2005 - 03 January 2006) Time: 12:00 - 20:00 Venue: Yamaguchi Center for Arts and Media / Studio A Admission: Free http://synchron.ycam.jp/ Organizer: Yamaguchi City Foundation for Cultural Promotion Support: GOETHE-INSTITUT OSAKA, Deutschland in Japan 2005/2006, Yamaguchi City, the Board of Education of Yamaguchi City Co-sponsor: ASAHI BEER ARTS FOUNDATION Co-production: YCAM InterLab Produced by Yamaguchi Center for Arts and Media Project Curator: Kazunao Abe (YCAM) Commissioned and produced by Freunde Guter Musik Berlin e.V. In collaboration with Neue Nationalgalerie, Staatliche Museen zu Berlin and MaerzMusik / Berliner Festspiele Made possible by grants from the Ernst Schering Foundation and the Hauptstadtkulturfonds With support from JENOPTIK AG, LaserAnimation SOLLINGER GmbH and ELAC Electroacustic GmbH Co-produced by Biennale Bern 05 carsten nicolai | syn chron at YCAM Carsten Nicolai’s installation “syn chron” was presented for the first time at New National Gallery (designed by Mies van der Rohe) in Berlin this February 2005. This new work of his stirred a sensation. Its exhibition at YCAM realized in cooperation with the organizers in Berlin is the first showing in Japan and Asia. The idea of this work was conceived two years ago, and then a project, planned together with Nicolai on the assumption that it would be displayed in Berlin and Yamaguchi, was developed as a site-specific collaborative project. On top of that, this new version with the renovated sound/image content is introduced to the public for the first time. -
Ryuichi SAKAMOTO: from Bach to Rock to Pop
Volume 4 | Issue 12 | Article ID 2284 | Dec 02, 2006 The Asia-Pacific Journal | Japan Focus Ryuichi SAKAMOTO: From Bach to Rock to Pop . and the Fate of the Corporate Earth David McNeill Ryuichi SAKAMOTO: From Bach to Rock to Pop . and the Fate of the Corporate Earth Interviewed by David McNeill Japan's expat rebel with many causes blends music and a wider world view Former Japanese pop heart-throb and musical pioneer Ryuichi Sakamoto talks to David McNeill about music, the state of the planet -- and why he still reluctantly lives in New York City. What a long, strange journey it has been for Ryuichi Sakamoto. A revolutionary firebrand in the 1960s, he morphed into a '70s techno-pop pioneer with the seminal band Yellow Magic Orchestra, which he co-founded with Hosono Haruomi and Takahashi Yukihiro. YMO became one of Japan's biggest-selling bands ever -- and even posted a late-'70s Top 20 hit in Britain with "Firecracker." The band was also a key influence on the techno and house movements that swept Western pop culture a decade later. Multi-talented Ryuichi Sakamoto pictured during his recent interview in Tokyo. Jeremy Sutton-Hibbert Photo After a brief stint as a movie star in the early 1980s, including his role in Oshima Nagisa 's 1983 standout "Merry Christmas Mr. Lawrence" -- for which he also wrote the soundtrack -- Sakamoto co-wrote (with Talking Heads' singer David Byrne and Cong Su) the 1987 Oscar-winning soundtrack for Bernardo Bertolucci's "The Last Emperor" -- still the best known of the many soundtracks he has written 1 4 | 12 | 0 APJ | JF -- of which 2002's "Femme Fatale" is among his latest. -
Universidade Anhembi Morumbi Pedro Camilo Rosa
UNIVERSIDADE ANHEMBI MORUMBI PEDRO CAMILO ROSA ALVA NOTO E RYUICHI SAKAMOTO NA PERFORMANCE “INSEN LIVE”: DIALOGISMO SONORO E SEUS ASPECTOS PROJETUAIS DISSERTAÇÃO DE MESTRADO MESTRADO EM DESIGN PROGRAMA DE PÓS-GRADUAÇÃO STRICTO SENSU SÃO PAULO MARÇO / 2015 UNIVERSIDADE ANHEMBI MORUMBI PEDRO CAMILO ROSA ALVA NOTO E RYUICHI SAKAMOTO NA PERFORMANCE “INSEN LIVE”: DIALOGISMO SONORO E SEUS ASPECTOS PROJETUAIS DISSERTAÇÃO DE MESTRADO D ss rt o pr s nt o Pro r m P s- Graduação Stricto Sensu em Design – Mestrado, da Universidade Anhembi Morumbi como requisito parcial para obtenção do título de Mestre em Design. Orientadora: Profa. Dra. MIRTES MARINS DE OLIVEIRA. SÃO PAULO MARÇO / 2015 UNIVERSIDADE ANHEMBI MORUMBI PEDRO CAMILO ROSA ALVA NOTO E RYUICHI SAKAMOTO NA PERFORMANCE “INSEN LIVE”: DIALOGISMO SONORO E SEUS ASPECTOS PROJETUAIS Dissertação de Mestrado D ss rt o pr s nt o Pro r m P s- Graduação Stricto Sensu em Design – Mestrado, da Universidade Anhembi Morumbi como requisito parcial para obtenção do título de Mestre em Design. Aprovada pela seguinte Banca Examinadora. Profa. Dra. Mirtes Marins de Oliveira. Orientadora Mestrado em Design Anhembi Morumbi Prof. Dra. Lisette Lagnado Examinadora Externa EAV Parque Lage Profa. Dra. Luisa Paraguai Examinadora Interna Universidade Anhembi Morumbi SÃO PAULO MARÇO / 2015 To os os r tos r s rv os pro r pro u o tot l ou p r l o trabalho sem autorização da Universidade, do autor e do orientador. PEDRO CAMILO ROSA. Professor do curso de Produção Musical da Universidade Anhembi Morumbi das disciplinas com vertentes tecnológicas, musicais e de gerenciamento de projetos. Bacharel em música formado pela Faculdade Mozarteum de São Paulo (1993) com performance em violão erudito. -
University of California Riverside
UNIVERSITY OF CALIFORNIA RIVERSIDE Canacee’s Mirror: Gender and Treasons in Medieval Literature A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English by Joanna Lee Scott Bradfield December 2011 Dissertation Committee: Dr. John Ganim, Chairperson Dr. Andrea Denny-Brown Dr. Deborah Willis Copyright by Joanna Lee Scott Bradfield 2011 The Dissertation of Joanna Lee Scott Bradfield is approved: _______________________________________________ _______________________________________________ _______________________________________________ Committee Chairperson University of California, Riverside ACKNOWLEDGMENTS I would like to thank the members of my committee, Professor Andrea Denny- Brown, Professor Deborah Willis, and especially my chair, Professor John Ganim. All three have helped me grow as a scholar, both encouraging and challenging me when needed. Dr. Ganim, in particular, has been a constant source of cheerful but realistic advice for nearly a decade now, and special thanks go to him, Bea, and Joey. This dissertation would not have been possible without the love and help of my friends and family; to name them all would make a long dissertation even longer. However, a few individuals either gave me good advice or brought me back to myself when I was at crossroads: my brother, Nate Scott, and my best friend, Laura Christiansen, talked me into going to graduate school in the first place; my friend, roommate, and role model Chrissy Crockett talked me into staying in graduate school; and my sister, Rachel Scott, has the distinction, for better or worse, of having read practically every page of every draft of this dissertation. Her constant feedback and helpful renditions of the Old French and Middle English proved invaluable. -
01. Carsten Nicolai Final.Indd
September 2005 MONO.KULTUR #01 D € 3 / EU € 4 Carsten Nicolai: Inserting Silence “To start seeing you have to eliminate certain things.” September 2005 MONO.KULTUR #01 D € 3 / EU € 4 Carsten Nicolai: Inserting Silence “To start seeing you have to eliminate certain things.” 2 MONO.KULTUR #01 Carsten Nicolai 3 In the rare realm of people who have mastered art and music as blended elements, Carsten Nicolai continues to drive creative processes into new directions. Originally trained as a landscape architect, Nicolai found his way via painting to a unique position on the border- line between art, science, and sound. By applying his own aesthetic vision to scientific and sonic experiments, he has achieved to combine fundamentally different areas into a body of work that remains unmistakeably his own. A founder member of the acclaimed label raster-noton that also acts as an imprint for the release of his own material under the alias alva noto, Nicolai has performed and created installations in international exhibition spaces including the Guggenheim Museum in New York, the Documenta X in 1997, the San Francisco Museum of Modern Art, and the 2001 Venice Biennale. Recently, his disciplined perception of sound has been brought to the piano work of Ryuichi Sakamoto for their collaborative records vrioon and insen which they will be performing live throughout the next 12 months around the world. 2005 has also seen the inception of the travelling installation syn chron, premiered at Berlin’s Neue National- galerie, a crystalline shaped architectural ‘skin’ in which acoustic and visual capabilities are inbuilt. -
The Design of a New Musical Glove: a Live Performance Approach
The Design of a New Musical Glove: A Live Performance Approach. Giuseppe Torre Digital Media & Arts Research Centre Faculty of Science and Engineering Department of Computer Science and Information Systems University of Limerick Submitted to the University of Limerick for the degree of PhilosophiæDoctor (PhD) 2013 1. Supervisor: Dr. Kerry Hagan Digital Media & Arts Research Centre University of Limerick Ireland 2. Supervisor: Dr. Mikael Fernstr¨om Interaction Design Centre University of Limerick Ireland 1. Reviewer: Dr. Dominic Murcott Trinity Laban Conservatoire of Music London United Kingdom 2. Reviewer: Dr. Paul Stapleton Sonic Arts Research Centre Queen's University Belfast Northern Ireland 1. Chair: Dr. Chris Exton Dept. of Computer Science and Information Systems University of Limerick Ireland Day of the defense: 17th December 2012 Signature from head of PhD committee: ii Abstract A live performance using novel technologies is a highly complex sys- tem in which anthropological, sociological, psychological, musicolog- ical and technical issues are heavily involved. The New Interfaces for Musical Expression (NIME) community has presented a new ap- proach to music performance often heavily technologically mediated while outputting a great deal of new digital instruments since 2001. Within this broad research field, important issues such as hardware interface design, mapping strategies, skilled performance and compo- sitional approaches have been considered. Many NIME practitioners have explored the development of `gestural controllers' in the hope of achieving natural and intimate interaction while also designing clear interactions between performer's gesture and sound from an audience perspective. This thesis expands on this notion through the consider- ation of the possibilities for enhancing the audience engagement and understanding of the underlaying structures and mechanics of the live performance. -
ALVA NOTO Von Le a Vele Megesett Egyszerû Tör- RYUICHI SAKAMOTO: Ténetekbõl
Mûvészet 139 rülöttünk, tõlünk alig néhány száz mozzanatairól. Tudtommal az egyet- kilométerre, annak a felismerésével, len hiteles mûfaji teljesítmény, amely hogy bár a nagy dolgokat nem tud- arra vállalkozott, hogy atipikus esz- juk alakítani, emberségünk vagy em- közökkel tegyen tanúságtételt egy bertelenségünk megpróbáltatásai szomszédos ország kollektív törté- igenis esszenciálisan meghatározzák nelmi traumáiról. létünk kritériumait, sõt önbecsülé- SZOMBATHY BÁLINT sünket is. A képregény mûfaji keretei ter- (Fordította Triceps, Nyitott Könyvmûhely, mészetesen nem engedik meg a mé- Budapest, 2006, 144 oldal, 2400 Ft) lyebb összefüggések feldolgozását. A mûvek fõhõse maga a szerzõ, aki az úgynevezett elveszett nemze- dék tagjaként rövid tanulságokat ALVA NOTO von le a vele megesett egyszerû tör- RYUICHI SAKAMOTO: ténetekbõl. Lehetne akár az eszmélõ Insen és lázadó ember generációs archetí- pusa is, míg az általa megfigyelt ma- gatartásminták általában a megté- Carsten Nicolai, a finn hang- és kép- vesztettek közül kerülnek ki. Esetta- zõmûvész nem elõször készített kö- nulmányainak gyújtópontjában a zös lemezt a világjáró japán zongo- pszichológiai síkon kivetülõ történé- ristával, Ryuichi Sakamotóval. sek szereplõi állnak, és a sok keserû- 2003-as nagysikerû Vrioon albumuk ségbe Zograf rendre humort és de- megjelenése után Nicolai már jelez- rût elegyít, mert tudja, hogy te érdeklõdését egy újfajta digitális (ön)irónia nélkül lehetetlen túlélni. utómunka kialakítására, amit a kö- Nem az ex-kommunista vezetõk ál- vetkezõ anyaguknál használna. A két tal irányított »néphadsereg« és a végletes koncepció helyett melyek neofastiszta szabadcsapatok véreng- a szükségszerûen fele-fele arányú, zései, az etnikai tisztogatásokat kísé- vagy az elektronikus, vagy akuszti- rõ politikai hazudozások vagy az kus oldal zsarnokoskodásán alapuló emigránsok és menekülttáborok ér- fúziós elektroakusztikus zenében dekelték, hanem a hivatalosan nem nyilvánulnak meg valami egyedül- háborúzó Szerbia lakosainak sanya- állót sikerült létrehozniuk.