Autumn 2017 Hello

Total Page:16

File Type:pdf, Size:1020Kb

Autumn 2017 Hello Autumn 2017 Hello We are pleased to announce Black Dog Publishing’s Autumn 2017 catalogue, which includes an exciting range of new titles, as well as recent bestsellers and our renowned backlist. New titles for the autumn season include Bish Bosch, the first scholarly analysis of Scott Walker’s work published with the musician’s permission; Becoming Animal, a study of existential human experience through art; and folly, a beautiful publication of British artist Phyllida Barlow’s work for the upcoming British Pavilion at the 57th Venice Biennale. Celebrating 150 years of Canada, we are excited to introduce The Faraway Nearby, which offers stunning documentation and a unique view into Canadian history through photographs published in The New York Times. Alongside this, Kent Monkman: Shame and Prejudice, A Story of Resilience, our second publication with the artist, documents an extensive collection of his paintings, drawings and sculptural work, which offer the audience an acute and scathing commentary on Canada’s chequered history. We are also pleased to announce the reprinting of Wreckers of Civilisation, the iconic book that explored the history of the British musical and visual arts group Throbbing Gristle. Finally, this season’s catalogue presents two fascinating titles that are of great importance for America, and that have gained the support of the acclaimed, far-reaching and ambitious Pacific Standard Time: LA/LA initiative from Getty, which explores Latin American and Latino art. The first, How to Read El Pato Pascual, is a thrilling investigation into Walt Disney’s influence on Latin American popular culture and visual art, and intends to show how culture is created through a sequence of exchanges, responses and (mis)appropriations. This is followed by Guatemala from 33,000 km, the first major publication that documents Guatemalan contemporary art, and the sociopolitical trends that made the country's art scene flourish. As always, we continue to support our diverse range of popular backlist titles including Picasso: The Artist and His Muses; RAVE: Rave and its Influence on Art and Culture; Turn and Face the Strange; Lost Utopias; The Beaver Hall Group: 1920s Modernism in Montreal; The Nuclear Culture Source Book; Frank Bros.: The Store That Modernized Modern, and many more. 1 Black Dog Publishing New Titles 6 8 12 30 34 38 HOW TO READ EL PATO PASCUAL GUATEMALA FROM 33,000 KM BISH BOSCH LIBRE MEL KENDRICK KENT MONKMAN Disney’s Latin America Contemporary Art Ambisymphonic: A Project DHC/ART Wood Blocks Shame and Prejudice, and Latin America’s Disney from 1960–Present by Scott Walker, Water Drawings A Story of Resilience Iain Forsyth and Jane Pollard 16 18 20 42 44 46 WRECKERS OF CIVILISATION FOLLY THE FARAWAY NEARBY EMPIRE OF ILLUSION NEIL GALL OUT OF ICE Phyllida Barlow Photographs from The New York Times Terry Munro The Drawings The Secret Language of Ice Canadian Collection 22 26 28 50 52 54 BECOMING ANIMAL HARTMUT BÖHM THE PALE PATH FORM FOLLOWS FICTION ENTANGLED SIMON ENGLISH Objects in Dialogue Stephen Appleby-Barr Art and Artists in Toronto Two Views on Contemporary my big self decoy justin beiber Canadian Painting 2 3 Black Dog Publishing 56 58 60 IRIS HAÜSSLER THE BOOK OF NEOISM?! FORM, MODEL, SYNTAX, DISPLAY The Sophie La Rosière Project Terence Gower Sculpture Works New Titles 62 64 66 GARY PEARSON WHAT NOW? NECROPOLITICS AND ITS Short Fictions On Future Identities DISCONTENTS Art, Morality and the Political Imagination 68 70 71 DES HUGHES AFTER THE EDUCATIONAL TURN BACKLIST One Hand Washes the Other Critical Art Pedagogies and Decolonialism 107 CONTACTS Image from The Pale Path 4 HOW TO READ EL PATO PASCUAL Disney’s Latin America and Latin America’s Disney Editors: Jesse Lerner and Rubén Ortiz-Torres Investigating the reception and reuse of the imagery of one of the world’s largest production companies, How to Read El Pato Pascual explores the prevalent presence of Walt Disney in Latin America. Examined through artworks including painting, photography, graphic work, drawing, sculpture and video, as well as vernacular MAK CENTER FOR ART AND ARCHITECTURE objects and documentary material, the book considers Disney’s engagement within Latin America, extending from Donald Duck’s first featured role, the 1937 Mexican-themed short Don Donald, to the 2013 attempt to copyright the Day of the Dead. The reach and influence of Disney is also examined in a series of commissioned essays drawing on cultural studies, UK Aug 2017 historical research and postcolonial theory. How to Read El US/CAN Sep 2017 Pato Pascual also features a reprint of How to Read Donald Duck Hardback (Chile, 1971), an essay by Ariel Dorfman and Armand Mattelart ISBN 978-1-911164-72-2 that critiques Disney comics through a Marxist lens as vehicles £29.95 · $45.00 of American cultural imperialism. 30 × 23 cm · 9 × 12 in The book includes artistic contributions from artists 304 pages · 180 ills including Liliana Porter, Nadín Ospina, Enrique Chagoya, and Arturo Herrera, as well as written contributions from Jesse English and Spanish Lerner and Rubén Ortiz-Torres, amongst others. 6 7 GUATEMALA FROM 33,000 KM Contemporary Art from 1960–Present Contributors: Rosina Cazali Escobar, Silvia Herrera Ubico, Mario Roberto Morales, Martín Fernández Ordóñez et al Guatemala from 33,000 km: Contemporary Art from 1960– Present features artists, works and themes that have defined Guatemala’s contemporary art scene since the 1960s. The book brings together works that have rarely been seen outside Guatemala, but that speak to a range of formal, political and social concerns that permeate contemporary art both in Latin America and across the globe. MUSEUM OF CONTEMPORARY ART SANTA BARBARA Featuring artwork in a range of media that traces the tumultuous route traversed through the history of Guatemala since the mid-twentieth century, the book is structured around UK Oct 2017 clusters or groups of works that represent central ideas, US/CAN Dec 2017 themes and media that have been pivotal in Guatemala’s Flexicover art over the last 50 plus years. These clusters are: art and ISBN 978-1-911164-41-8 politics; land, landscape, territory; popular cultures; racism £29.95 · $39.95 and identities; religion, spirituality, metaphysics; gender 28 × 23 cm · 9 × 11 in perspectives; violence and trauma; art histories; and formal 192 pages · 140 ills experimentation. The book contains full-colour reproductions of the works, Spanish edition as well as essays that relay a wealth of new research, by ISBN 978-1-911164-47-0 curators and Guatemalan scholars Rosina Cazali Escobar, Silvia Herrera Ubico, Mario Roberto Morales and Martín Fernández Ordóñez. Guatemala from 33,000 km is a visual record of many works that have been not been documented. It will itself be a product of contemporary Guatemalan artistic practitioners, and is designed by Ambush Studio, which is based in Guatemala City. Published in partnership with the Museum of Contemporary Art Santa Barbara, in conjunction with the exhibition Guatemala from 33,000 km: Contemporary Art from 1960–Present. Shirin Aliabadi, Miss Hybrid 3, 2008 8 8 9 Image from Guatemala from 33,000 km 10 11 > BISH BOSCH Ambisymphonic: A Project by Scott Walker, Iain Forsyth and Jane Pollard 92995 Editor: Christopher Scoates Contributors: Scott Walker, Iain Forsyth, Jane Pollard, Rob Young Bish Bosch: Ambisymphonic presents the first scholarly analysis of Scott Walker’s work, and is the first book to be published with 164029 the musician’s permission. The publication will critically examine Walker’s uncompromising, avant-garde ‘trilogy’, which began with Tilt in 1995, continued with The Drift 11 years later, and concluded in 2012 with his longest studio album to date, Bish Bosch. 781911 In 2013, Walker teamed up with British mixed-media artists ISBN 9781911164029 9 Iain Forsyth and Jane Pollard to create Bish Bosch: Ambisymphonic, an utterly unique and immersive sonic reimagining of the UK Oct 2017 groundbreaking album. The book features a rare interview conducted US/CAN Dec 2017 with Scott Walker by Iain Forsyth and Jane Pollard on the making of Hardback the installation, together with fragments of the Bish Bosch score, ISBN 978-1-911164-43-2 the complete spatialisation script, rare never-before-seen pictures £39.95 · $49.95 and notebook pages, and Walker’s handwritten lyrics, made 28 × 23 cm · 9 × 11 in available by the musician himself. In addition, several binaural 288 pages · 240 ills mixes of the ambisonic arrangements of the tracks featured in the installation will be included as a digital download. Special audio edition including The Wire’s Rob Young and curator and writer Christopher recording of Bish Bosch Scoates succinctly place Walker’s work within the history of ISBN 978-1-911164-80-7 sound art and the larger context of experimental music, while a £59.95 · $75.00 roster of Walker’s collaborators provide insight into the working practices of this most reclusive of musicians. 12 13 Image from Bish Bosch: Ambisymphonic 14 15 WRECKERS OF CIVILISATION Editor: Simon Ford “These people are the wreckers of civilisation”, exclaimed the Conservative Member of Parliament Nicholas Fairbairn in 1976. His outburst was meant to describe four artists and musicians: Genesis P-Orridge, Cosey Fanni Tutti, Peter Christopherson and Chris Carter—members of the seminal band Throbbing Gristle. Throbbing Gristle are widely lauded as the band that invented industrial music, and their influence can be observed across today’s musical landscape: from house and techno to industrial death metal. Wherever experimental electronic music is being made, Throbbing Gristle’s influence can be felt. From the foreword by Jon Savage: “Wreckers of Civilisation recalls a time which, despite volumes of print, remains occluded, obdurate, even intimidating: that moment before the conservative UK Aug 2017 reconstruction.
Recommended publications
  • Classic Albums: the Berlin/Germany Edition
    Course Title Classic Albums: The Berlin/Germany Edition Course Number REMU-UT 9817 D01 Spring 2019 Syllabus last updated on: 2​3-Dec-2018 Lecturer Contact Information Course Details Wednesdays, 6:15pm to 7:30pm (14 weeks) Location NYU Berlin Academic Center, Room BLAC 101 Prerequisites No pre-requisites Units earned 2 credits Course Description A classic album is one that has been deemed by many —or even just a select influential few — as a standard bearer within or without its genre. In this class—a companion to the Classic Albums class offered in New York—we will look and listen at a selection of classic albums recorded in Berlin, or recorded in Germany more broadly, and how the city/country shaped them – from David Bowie's famous Berlin trilogy from 1977 – 79 to Ricardo Villalobos' minimal house masterpiece Alcachofa. We will deconstruct the music and production of these albums, ​ ​ putting them in full social and political context and exploring the range of reasons why they have garnered classic status. Artists, producers and engineers involved in the making of these albums will be invited to discuss their seminal works with the students. Along the way we will also consider the history of German electronic music. We will particularly look at how electronic music developed in Germany before the advent of house and techno in the late 1980s as well as the arrival of Techno, a new musical movement, and new technology in Berlin and Germany in the turbulent years after the Fall of the Berlin Wall in 1989, up to the present.
    [Show full text]
  • 'I Spy': Mike Leigh in the Age of Britpop (A Critical Memoir)
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Glasgow School of Art: RADAR 'I Spy': Mike Leigh in the Age of Britpop (A Critical Memoir) David Sweeney During the Britpop era of the 1990s, the name of Mike Leigh was invoked regularly both by musicians and the journalists who wrote about them. To compare a band or a record to Mike Leigh was to use a form of cultural shorthand that established a shared aesthetic between musician and filmmaker. Often this aesthetic similarity went undiscussed beyond a vague acknowledgement that both parties were interested in 'real life' rather than the escapist fantasies usually associated with popular entertainment. This focus on 'real life' involved exposing the ugly truth of British existence concealed behind drawing room curtains and beneath prim good manners, its 'secrets and lies' as Leigh would later title one of his films. I know this because I was there. Here's how I remember it all: Jarvis Cocker and Abigail's Party To achieve this exposure, both Leigh and the Britpop bands he influenced used a form of 'real world' observation that some critics found intrusive to the extent of voyeurism, particularly when their gaze was directed, as it so often was, at the working class. Jarvis Cocker, lead singer and lyricist of the band Pulp -exemplars, along with Suede and Blur, of Leigh-esque Britpop - described the band's biggest hit, and one of the definitive Britpop songs, 'Common People', as dealing with "a certain voyeurism on the part of the middle classes, a certain romanticism of working class culture and a desire to slum it a bit".
    [Show full text]
  • Radiohead Paranoid Android Reaction
    Radiohead paranoid android reaction Continue 1997 studio album RadioheadOK ComputerStudio album RadioheadReleased21 May 1997 (1997-05-21)Recorded4 September 1995 (Lucky) July 1996 - March 1997StudioCanned Applause Didcot, EnglandSt Catherine Court, Bath, EnglandGenreAlternative rockart rockprogressive rockLength53:21LabelParlophoneCapitolProducerNigel GodrichRadiohead chronology The Bends (1995) OK Computer (1995) OK Computer (1995)1997) No Surprises/Running from Demons (1997) Radiohead Studio Album Timeline The Bends (1995) OK Computer (1997) Kid A (2997) 000) Singles with OK Computer Paranoid Android Released: May 26, 1997 Karma Police Released: August 25, 1997 Lucky Released: December 1997 No Surprises Released: 12 January 1998 OK Computer is the third studio album by English rock band Radiohead, released on May 21, 1997 on the subsidiaries of EMIlo Parphone Records and Capitol Records. Radiohead members independently released the album with Nigel Godrich, an arrangement they used for their subsequent albums. In addition to the song Lucky, recorded in 1995, Radiohead recorded OK Computer in Oxfordshire and Bath between 1996 and early 1997, mainly in the historic St Catherine's Court mansion. The band distanced themselves from the guitar, lyrically introspective style of their previous album The Bends. THE abstract texts of OK Computer, densely layered sound and eclectic influences laid the groundwork for Radiohead's later, more experimental works. The album depicts a world fraught with unbridled consumerism, social exclusion, emotional isolation and political malaise; as such, OK Computer is said to have a prophetic understanding of the mood of 21st century life. Unconventional production methods on the album include natural reverb through recording on the stairs, and the lack of audio separation, allowing the instruments not to reconnect separately.
    [Show full text]
  • Popular Music in Germany the History of Electronic Music in Germany
    Course Title Popular Music in Germany The History of Electronic Music in Germany Course Number REMU-UT.9811001 SAMPLE SYLLABUS Instructors’ Contact Information Heiko Hoffmann [email protected] Course Details Wednesdays, 6:15pm to 7:30pm Location of class: NYU Berlin Academic Center, Room “Prenzlauer Berg” (tbc) Prerequisites No pre-requisites Units earned 2 credits Course Description From Karlheinz Stockhausen and Kraftwerk to Giorgio Moroder, D.A.F. and the Euro Dance of Snap!, the first nine weeks of class consider the history of German electronic music prior to the Fall of the Wall in 1989. We will particularly look at how electronic music developed in Germany before the advent of house and techno in the late 1980s. One focus will be on regional scenes, such as the Düsseldorf school of electronic music in the 1970s with music groups such as Cluster, Neu! and Can, the Berlin school of synthesizer pioneers like Tangerine Dream, Klaus Schulze and Manuel Göttsching, or Giorgio Moroder's Sound of Munich. Students will be expected to competently identify key musicians and recordings of this creative period. The second half of the course looks more specifically at the arrival of techno, a new musical movement, and new technology in Berlin and Germany in the turbulent years after the Fall of the Berlin Wall, up to the present. Indeed, Post-Wall East Berlin, full of abandoned spaces and buildings and deserted office blocks, was the perfect breeding ground for the youth culture that would dominate the 1990s and led techno pioneers and artists from the East and the West to take over and set up shop.
    [Show full text]
  • Popular Music in Germany: History, Culture, Politics
    Course Title Popular Music in Germany: History, Culture, Politics The History of Electronic Music in Germany Course Number REMU-UT.9811D01 SPRING 2020 Syllabus last updated on: 23-December-2019 Lecturer Contact Information Heiko Hoffmann Course Details Wednesdays, 6:15pm to 7:30pm Location: Rooms will be posted in Albert before your first class. Please double check whether your class takes place at the Academic Center (BLAC – Schönhauser Allee 36, 10435 Berlin) or at St. Agnes (SNTA – Alexandrinenstraße 118–121, 10969 Berlin). Prerequisites No pre-requisites Units earned 2 credits Course Description From Karlheinz Stockhausen and Kraftwerk to Giorgio Moroder, D.A.F. and the Euro Dance of Snap!, the first half of class considers the history of German electronic music prior to the Fall of the Wall in 1989. We will particularly look at how electronic music developed in Germany before the advent of house and techno in the late 1980s. One focus will be on regional scenes, such as the Düsseldorf school of electronic music in the 1970s with music groups such as Can and Neu!, the Berlin school of synthesizer pioneers like Tangerine Dream, Klaus Schulze and Manuel Göttsching, or Giorgio Moroder's Sound of Munich. 1 Students will be expected to competently identify key musicians and recordings of this creative period. The second half of the course looks more specifically at the arrival of techno, a new musical movement, and new technology in Berlin and Germany in the turbulent years after the Fall of the Berlin Wall, up to the present. Indeed, Post-Wall East Berlin, full of abandoned spaces and buildings and deserted office blocks, was the perfect breeding ground for the youth culture that would dominate the 1990s and led techno pioneers and artists from the East and the West to take over and set up shop.
    [Show full text]
  • Krautrock and the West German Counterculture
    “Macht das Ohr auf” Krautrock and the West German Counterculture Ryan Iseppi A thesis submitted in partial fulfillment of the requirements for the degree of BACHELOR OF ARTS WITH HONORS DEPARTMENT OF GERMANIC LANGUAGES & LITERATURES UNIVERSITY OF MICHIGAN April 17, 2012 Advised by Professor Vanessa Agnew 2 Contents I. Introduction 5 Electric Junk: Krautrock’s Identity Crisis II. Chapter 1 23 Future Days: Krautrock Roots and Synthesis III. Chapter 2 33 The Collaborative Ethos and the Spirit of ‘68 IV: Chapter 3 47 Macht kaputt, was euch kaputt macht: Krautrock in Opposition V: Chapter 4 61 Ethnological Forgeries and Agit-Rock VI: Chapter 5 73 The Man-Machines: Krautrock and Electronic Music VII: Conclusion 85 Ultima Thule: Krautrock and the Modern World VIII: Bibliography 95 IX: Discography 103 3 4 I. Introduction Electric Junk: Krautrock’s Identity Crisis If there is any musical subculture to which this modern age of online music consumption has been particularly kind, it is certainly the obscure, groundbreaking, and oft misunderstood German pop music phenomenon known as “krautrock”. That krautrock’s appeal to new generations of musicians and fans both in Germany and abroad continues to grow with each passing year is a testament to the implicitly iconoclastic nature of the style; krautrock still sounds odd, eccentric, and even confrontational approximately twenty-five years after the movement is generally considered to have ended.1 In fact, it is difficult nowadays to even page through a recent issue of major periodicals like Rolling Stone or Spin without chancing upon some kind of passing reference to the genre.
    [Show full text]
  • Issue 131, Part 1 • on Criticism
    Issue 131, Part 1 • On Criticism Our first purely online issue is now live. We have a select group of writers to tackle what is in effect Circa ‘s core activity: criticism and criticality . It’s a new venture – one linking to the past and looking to the future; please join us. Issue contents Peter FitzGerald: Introduction Declan Long: “An avalanche, a transformation…” Suzanne van der Lingen: Critical Masses: Towards a New Medium for Art Criticism Chris Fite-Wassilak: The Hope for an Open Wound Sarah Tuck: Art Criticism – Disrupting or Creating Consensus? Matt Packer: Critical Fantasies Maria Fusco: Say who I am: Or a Broad Private Wink Imelda Barnard: Art Criticism and Writing as Failure: “That is not what I meant at all.” Circa Art Magazine • Issue 131 • October 2010 • p. 1 http://www.recirca.com/issues/131/ Introduction Peter FitzGerald is Editor of Circa. Welcome to this, our first fully online issue of Circa. We are at a point of continuity and change, upholding the legacy of almost thirty years of Circa, while going virtual like so much nowadays. It seemed very appropriate to have our first online issue themed around critique and criticism. It has been frequently remarked that art criticism is very peculiar: not only does it have no set norms, no academic home, no agreed theoretical approach, but its ephemeral nature constantly prompts the question of who reads it, how many read it, and why? Many question its use and value, yet it proliferates, now spurred on by the growing informalities of the internet. Criticism, critique and criticality are at the heart of what Circa does; now seemed a good time to question those core activities.
    [Show full text]
  • German Historical Institute London Bulletin, Vol 39, No
    German Historical Institute London BULLETIN ISSN 0269-8552 Marlene Schrijnders: Zukunftsweltmusik: Between Krautrock, Kraftwerk, and Sounds of (Other)Worldly ‘Germanness’ German Historical Institute London Bulletin, Vol 39, No. 2 (November 2017), pp43-53 reVieW arTicle ZUKUNFTSWELTMUSIK : BETWEEN KRAUTROCK, KRAFTWERK, AND SOUNDS OF (OTHER)WORLDLY ‘GERMANNESS’ Marlene SchrijnderS WOlFGanG Seidel, Wir müssen hier raus! Krautrock, Free Beat, Re - education (Mainz: Ventil Verlag, 2016), 136 pp. iSBn 978 3 95575 052 7. €14.00 alexander SiMMeTh, Krautrock transnational: Die Neuerfindung der Popmusik in der BRD, 1968–1978 (Bielefeld: transcript Verlag, 2016), 368 pp. iSBn 978 3 8376 3424 2. €34.99 Ulrich adelT , Krautrock: German Music in the Seventies (ann arbor: University of Michigan Press, 2016), viii + 237 pp. iSBn 978 0 472 07319 1 $US 85.00 (hardback). iSBn 978 0 472 05319 3 $US 29.95 (paper back) daVid STUBBS, Future Days: Krautrock and the Building of Modern Germany (london: Faber & Faber, 2014), iSBn 978 0 571 28332 3. £20.00 (paperback) around the globe, the German nouns Kraftwerk and Autobahn will ring a (synthesizer) bell for those with knowledge of pop music his - tory. Some experts regard the neo-expressionist pioneers of electron - ic music as part of the much lesser known Krautrock movement. The authors of the works discussed in this review article agree that Krautrock is an underresearched topic which deserves attention. in recent years it has indeed received recognition, 1 especially in the UK, where Kraftwerk performed at the Tate Modern. From different per - spectives and with mixed feelings of critique and nostalgia, these four publications highlight the complex history, context, and impact of a marginalized phenomenon which evolves around a conflict re garding ‘German identity’ or ‘Germanness’.
    [Show full text]
  • Notes, Sep 10
    Book Reviews 103 tioned, but not indexed, although Naser is study of popular music genres including also included in a footnote on that page. gender and queer theory, performance Are these artists and groups just too periph - studies, and vocal semiotics, and Hawkins’ eral to be indexed? (Ironically, are they book engages these disciplines while situat- B-sides?) Assuming that is the case, how ing his subject in a convincing historical about Dizzie [sic] Gillespie, Stan Getz, and and cultural context. His study follows a re- Earl Hines? They are mentioned on page cent trend in scholarship examining repre- 93, but also do not appear in the index. sentations of masculinity in popular music, Debbie Allen, mentioned on page 125, also including the essay collections Queering the is not listed in the index. More evidence of Popular Pitch (ed. Sheila Whitely and editors asleep at the wheel. Jennifer Rycenga [London: Routledge, This work fills a niche in the literature 2006]), and Oh Boy!: Masculinities in Popular about popular music in the latter half of Music (ed. Freya Jarman-Ivens [London: the twentieth century by the very nature of Routledge, 2007]). Though Hawkins sur- its topic; it examines what we overlook, veys several decades of popular music what has not been the subject of previous styles, applying a wide palette of analytical examinations. The author is knowledgeable methods to his chosen musical texts, he re- about the subject and writes with authority minds us that the ultimate role of the and eloquence when he chooses not to British pop dandy is to entertain.
    [Show full text]
  • The Slow Death of Everett True: a Metacriticism
    The slow death of Everett True: A metacriticism Jeremy Thackray A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Creative Industries Faculty Queensland University of Technology 2016 1 Abstract This thesis problematises and investigates the role of the popular music critic in Web 2.0 environments. It does so through an act of metacriticism grounded in my experience as an internationally successful popular music critic for major print publications including NME, Rolling Stone, and Melody Maker. The reflective aspect of the metacriticism is triangulated through interviews with other notable music critics, through a dialectical approach to role definition grounded in the literature, and through the ongoing experiment of Collapse Board, a music blogging site I set up to experience the new environment from the “inside”. Popular music critics have customarily been seen as gatekeepers of ‘cool’ and arbiters of taste. The industrial structure of print allowed critics to earn a living from their craft. The print environment was defined by limited outlets and large readerships with limited access to information. In that environment popular music criticism helped mould the ways popular music was received, consumed, and contextualised. This project asks whether the same holds true in Web 2.0 environments in which audiences have access to the same sources of information through which critics formerly derived their knowledge, authority, and influence. The thesis concludes that there are four major roles of relevance to the critic in the new media environments: bespoke criticism, music critic as fan, music criticism as entertainment, and the music critic as ‘firestarter’.
    [Show full text]
  • Radiohead's Entomological Politics of Sensation
    LA DELEUZIANA – ONLINE JOURNAL OF PHILOSOPHY – ISSN 2421-3098 N. 5 / 2017 – EARTH-REFRAIN WAR MACHINES Sericomyrmex_radioheadi (Radiohead’s Entomological Politics of Sensation) by GUILLAUME COLLETT Abstract This article presents itself as a Deleuzo-Guattarian review of Radiohead’s 1997 album OK Computer, re-released this year in an expanded form (as ‘OKNOTOK 1997-2017’) including archival material bringing to light hidden facets of the album and recording process. As indicated by the title of the re-release, the album’s prescience has taken twenty years to unfold. What I argue is that its relevance today and importance given our current political situation can be traced back to a logic of sensation operative in the work and training its sights at what Deleuze and Guattari call ‘communication’ or ‘control societies’. To resist the global extension of the latter, it is incumbent upon art, as the discipline that thinks through sensation not communication, to construct a new or counter-earth. The album achieves this, I argue, by staging and enacting a becoming-moth. This becoming-moth is targeted precisely at the forces recoded as data in the ‘dividual’ of control societies, which this becoming materialises as sensation and, more fundamentally, which it expresses as a cosmic event or inorganic life. 1. From Discipline to Disciplinarity Commentators have noted that Deleuze and Guattari’s What is Philosophy? (1991) appears somewhat staid and cautious when compared with the delirious two-volume Capitalism and Schizophrenia project that preceded it.1 Whereas the previous works endorsed connective multiplicity at the level of a ‘rhizomatic’, ‘nomadic’ mode of thought considered able to break with ‘State’ thought – that is, rigid binaries and hierarchies – What is Philosophy? reintroduces the very schemas condemned by the earlier works, as can be seen in the rigid (albeit non-hierarchical) tripartite distinction it maintains between the disciplines of philosophy, science/logic, and art.
    [Show full text]
  • THE WIRE 25 a Month Long Season of Music Celebrating the Wire Magazine’S 25Th Birthday
    The Wire & Electra present, in association with CMN THE WIRE 25 A month long season of music celebrating The Wire magazine’s 25th birthday Featuring: Boredoms • Michael Gira • Jackie-O Motherfucker • Matmos • The Soft Pink Truth • Strategy • Lydia Lunch • Pymathon • Tomutonttu • Kode9 • The Bug • Skull Disco • Rafael Toral • Trapist • Bernhard Günter • Terre Thaemlitz • Anthony Pateras • Tim Hecker • Aki Onda • Tina Frank • Gary Smith • Sunny Murray • John Tchicai • Han Bennink • Spring Heel Jack • Sonny Simmons • Tight Meat • Jooklo Duo • Christian Marclay • Polly Shang Kuan Band • Axolotl • Mark Webber’s Cinema For The Eyes And Ears and more to be confirmed 26 October - 22 November 2007 at venues across London In celebration of twenty-five years of independent music publishing, and in support of groundbreak- ing new music, the internationally acclaimed music magazine THE WIRE presents THE WIRE 25, a month long season of new music events together with performances by some of the seminal fig- ures representing the magazine’s quarter century of alternative musical heritage, from 26 October - 22 November, 2007. Co-curated with cross-artform production agency ELECTRA, the programme takes in live music, performance, sound art, film and talks and features a number of premieres, new collaborations, and events specially created for THE WIRE 25. The eclectic programme charts and showcases THE WIRE’s ongoing championing of some of the most significant and influential moments in contemporary and recent musical production, at the margins and in the mainstream, across diverse genres – encompassing, but not limited to, folk, rock, electronica, avant garde improvisation, noise, dub and jazz – all of which take place at a se- lection of independent and unconventional spaces across London, from St Giles-in-the-Fields church and Shoreditch Town Hall, to the ICA and Conway Hall.
    [Show full text]