DOCSLIB.ORG

Acoustic Territories This Page Intentionally Left Blank Acoustic Territories

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Acoustic Territories This Page Intentionally Left Blank Acoustic Territories Acoustic Territories This page intentionally left blank Acoustic Territories SOUND CULTURE AND EVERYDAY LIFE by Brandon LaBelle 2010 The Continuum International Publishing Group Inc 80 Maiden Lane, New York, NY 10038 The Continuum International Publishing Group Ltd The Tower Building, 11 York Road, London SE1 7NX www.continuumbooks.com Copyright © 2010 by Brandon LaBelle All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the written permission of the publishers. ISBN 978-1-441-16136-9 (paperback) ISBN 978-1-441-15724-9 (hardcover) Library of Congress Cataloging-in-Publication Data LaBelle, Brandon. Acoustic territories : sound culture and everyday life / by Brandon LaBelle. p. cm. Includes bibliographical references and index. ISBN-13: 978-1-4411-5724-9 (hardcover : alk. paper) ISBN-10: 1-4411-5724-7 (hardcover : alk. paper) ISBN-13: 978-1-4411-6136-9 (pbk. : alk. paper) ISBN-10: 1-4411-6136-8 (pbk. : alk. paper) 1. Sound in mass media. 2. Sound--Social aspects. 3. Performance art. I. Title. P96.S66L33 2010 306.4--dc22 2009042864 Typeset by Newgen Imaging Systems Pvt Ltd, Chennai, India Printed in the United States of America Contents LIST OF ILLUSTRATIONS vii ACKNOWLEDGMENTS ix INTRODUCTION Your Sound Is My Sound Is Your Sound xiii Sound Studies xix Acoustic Space xxi Acoustic Territories xxiii CHAPTER 1 Underground: Busking, Acousmatics, and the Echo 1 Underground Sonics 6 Underground Lives 19 Resistance 30 Echoic Listening 39 CHAPTER 2 Home: Ethical Volumes of Silence and Noise 43 Interiors 48 Suburb 54 Prison 66 Power 72 Gated 74 Acoustic Community 79 CHAPTER 3 Sidewalk: Steps, Gait, and Rhythmic Journey-Forms 85 Pedestrian Sounds 93 The Sonic Body 105 Riots, Street Fights, and Demonstrations 107 v vi z Contents Marching 116 Sidewalk Acoustics 123 CHAPTER 4 Street: Auditory Latching, Cars, and the Dynamics of Vibration 127 Vibrations 133 Beats below the Skin 137 Street Smarts 141 Taking It Low 145 Audible Identity 148 Boom Boom Boom 151 Slow Groove 160 CHAPTER 5 Shopping Mall: Muzak, Mishearing, and the Productive Volatility of Feedback 163 Muzak 170 Distracted Listening 179 Acoustic Politics 186 Airports 192 Atmospheres 198 CHAPTER 6 Sky: Radio, Spatial Urbanism, and Cultures of Transmission 201 Towering Visions 207 Transmission Culture 212 Media 220 Airy City 226 Pirate Radio, Pirate Territories 229 Spirits 231 Local and Global 238 NOTES 243 BIBLIOGRAPHY 259 INDEX 267 List of Illustrations IMAGE 1 Busker in the Berlin subway, 2009. Photo: the author. 10 IMAGE 2 CD seller in the subway, with speaker-backpack, Mexico City, 2009. Photo: Berenice Pardo. 20 IMAGE 3 Henry Moore, Tube Shelter Perspective: The Liverpool Street Extension, 1941. Reproduced by permission of The Henry Moore Foundation. 25 IMAGE 4 Exposed layout of a bomb shelter, USA, 1963. 30 IMAGE 5 Legendary pub Klamovka, meeting point of the Czech underground scene of the 1970s and 1980s, Prague 2009. Photo: the author. 35 IMAGE 6 Acconci Studio, Talking House, Home Show II, Santa Barbara, CA, 1996. 65 IMAGE 7 Acconci Studio, Talking House, Home Show II, Santa Barbara, CA, 1996. 66 IMAGE 8 Auburn State Prison, cell block, 1940s. Courtesy of Federal Bureau of Prisons. 69 IMAGE 9 Winslow Homer, “Watch-Tower, Corner of Spring and Varick Streets, New York,” from Harper’s Weekly, New York, February 28, 1874. Reproduced courtesy of The Philadelphia Print Shop, Ltd., Philadelphia. 77 IMAGE 10 Jessica Thompson, Walking Machine, 2003 (omni-directional lapel microphones, mini amplifier, headphones), at Psy-Geo-Conflux, New York City, 2004. Photo: Joshua Weiner, courtesy of p|m Gallery, Toronto. 103 IMAGE 11 Romano, Falante, escultura sonora itinerante, Rio de Janeiro, 2007. Photo: Edouard de Fraipont. 105 IMAGE 12 Buekorps, marching through Bergen, Norway, 2009. 120 vii viii z List of Illustrations IMAGE 13 Jørgen Larsson, I Ringen (In the Ring), Borealis Festival, 2007. Photo: Thor Brødreskift. 122 IMAGE 14 Lowrider cars, Pharoah’s car show, Los Angeles, 2009. Photo: the author. 146 IMAGES 15 and 16 dB drag racing, event held at Media Markt, Flensburg, Germany, 2009. Photos: the author. 159 IMAGE 17 South Coast Plaza, shopping mall in Orange County, California, 2009. Photo: the author. 182 IMAGES 18 and 19 Ligna, Radio Ballet, Leipzig Central Station, 2003. Photos: Eiko Grimberg. 189 IMAGE 20 Anna Karin Rynander and Per-Olof Sandberg, Sound Showers, Oslo airport, installed 1998. Photo: the author. 196 IMAGE 21 Berlin TV Tower, Alexanderplatz, opened in 1969. Photo: the author. 211 IMAGE 22 Constant, New Babylon project (metal, plexiglass, wood), 1958. Photo: Jan Versnel. 217 IMAGE 23 Constant, New Babylon project (metal, plexiglass, wood), 1958. Photo: Jan Versnel. 218 IMAGE 24 Nicolas Schöffer, Chronos 8, installed 1982, Kalocsa, Hungary. Photo: the author. 221 IMAGE 25 Nicolas Schöffer, Chronos 8, installed 1982, Kalocsa, Hungary. Photo: the author. 222 IMAGE 26 Nicolas Schöffer, Tower of Liège, installed next to the Congress Palace, Liège, Belgium, 1961. 223 IMAGE 27 Friedrich Jürgenson, in his archive in Höör, Sweden, early 1980s. Photographer unknown. Courtesy: The Friedrich Jürgenson Foundation. 234 IMAGE 28 Carl Michael von Hausswolff, 1485.0kHz radio receiver, 2008. Constructed in Bucharest for the Ars Telephonica exhibition, and also used for the Birdcage project in Stockholm 2009 (edition of 7). Courtesy the artist and Gallery Niklas Belenius, Stockholm. Photo: Anca Benera. 235 Acknowledgments I would like to extend my heartfelt thanks to the colleagues and friends with whom I have had the pleasure to work and engage in many lively discussions over the recent years, and who have significantly influ- enced my involvement in the cultures of sound and sound thinking. Especially to the sound and radio studies group at the University of Copenhagen: Erik Granly Jensen, Tania Ørum, Marianne Ping Huang, Torben Sangild, Bente Larsen, and Jacob Kreutzfeldt, with whom I shared many thoughtful conversations and working days during my postdoctoral research fellowship. Through this fellowship, and within the generous framework of the Department of Arts and Cultural Studies, I was able to elaborate upon my doctoral research and to further expand the scope of my work. I am also indebted to Mikkel Bogh for his support, and to Professor Doris Kolesch for her invitation to par- ticipate in the Department of Theater Studies at the Free University of Berlin. Sharing in the teaching of the Acoustic Territories seminar with her lent greatly to the final organization and understanding of my project. In this regard, I am also thoroughly appreciative of the assist- ance given by Maxi Loehmann, whose ceaseless energy was a constant source of support and enjoyment. In addition, I am grateful to Milos Vojtechovsky for his generous and personal help in exploring the history of the Prague Under- ground—visiting him in the winter of 2009 gave important insight for better understanding the Plastic People of the Universe and their music; also to Karel Cisar for offering his insightful thoughts on the underground cultures of Prague. Of course, such a project as this evolves organically over the course of years, involving not only primary research but also many small moments of generous listening and occasional mirroring on the ix x z Acknowledgments part of friends. With this in mind, I extend much affection to Ken Ehrlich, Octavio Camargo, Robin Wilson, Jennifer Gabrys, Barbara Penner, Maia Urstad, Tao G. Vrhovec Sambolec, Ines Schaber, Lawrence English, and James Webb—I’m happy to have shared this writing with you even if at times you did not realize I was taking notes within my quiet thoughts. I would also like to thank David Barker of Continuum Books for his editorial patience and thoughtfulness, and for making the grueling task of publishing a pleasurable undertaking. Much of my work as a writer and researcher is inextricably tied to my practice as an artist. Through artistic projects I am given the chance to put to work various imaginings, and to weave together conceptual ideas with their performative materialization. Such a crossover is both a vital platform for finding points of involvement and interaction within culture, as well as a personal space for furthering my sense of place within these spheres of discourse and life. For this reason I am deeply grateful to those who have supported my artistic work over the recent years, in particular Georg Weckwerth, Sabine Breitsameter, Carsten Seiffarth, Enrico Fornello, Tuca Nissel and Debora Santiago, Margit Leisner, Alex Hamburger, Dorita Hannah, Christina Barton, Laura Preston, Marianne Bech, Tine Seligmann, Enrico Passetti, Rune Søchting, Carmen Cebreros Urzaiz, Chloé Fricout, Resonance FM, Kunstradio, Robert Worby, Richard Whitelaw, Micki, Marcus Gammel, General Public Berlin, Yvan Etienne, Bastien Gallet, Jørgen Larsson and Lydgalleriet Bergen, Frans Gillberg, and Mathias Holmberg. Finally, I would like to thank Paula Crabtree and Jeremy Welsh, along with the entire community of the National Academy of the Arts in Bergen, whose support and enthusiasm for my involvement in activities there continually give a boost to my feelings for future work and collaboration. I must also express my deep gratitude to Allen S. Weiss and Steven Connor from whom I continually gain much inspiration and support. Also, to Maria for being such a special person, and to Jan and Chuck for sharing in the ups and downs. And especially to Annette for our Acknowledgments z xi mornings with oatmeal and Deutschlandfunk, walks in the neighbor- hood, shared travels and journeys, inside and out, and who taught me the importance of being personal. * * * A number of chapters presented here, though extensively reworked, have appeared previously in published form. Chapter 3 was included in the anthology Performance Design, edited by Dorita Hannah and Olav Harsløf, and published by Museum Tusculanum Press, Denmark.
Load more

Recommended publications
  • System Programming Guide 1728Ex: V2.4 1738/U2: V2.1
    SYSTEM PROGRAMMING GUIDE 1728EX: V2.4 1738/U2: V2.1 DEFAULT INSTALLER CODE 0000 / 000000 (see section [281] on page 17) DEFAULT SYSTEM MASTER CODE 1234 / 123456 (see section [301] on page 17) HOW DO I ENTER PROGRAMMING MODE? STEP 1: Press [ENTER] STEP 2: Enter your [INSTALLER CODE] STEP 3: Enter 3-digit [SECTION] you wish to program STEP 4: Enter required [DATA] DECIMAL AND HEXADECIMAL PROGRAMMING TABLE What Do I What Do I See? Value or Action Press? 10-Zone LED 16-Zone LED LCD Values 1 to 9 [1] to [9] [1] to [9] [1] to [9] [1] to [9] A (hexa only) [0] [0 (10)] [10] 0 B (hexa only) [STAY][STAY] [11] B C (hexa only) [BYP][BYP] [12] C D (hexa only) [MEM][MEM] [13] D E (hexa only) [TBL] / [TRBL][TBL] [14] E F (hexa only) [PG] / [FNC1][PG] [15] F Exit Without Saving [CLEAR] [ENTER] flashes [ARM1] & [STAY1] flash “SECTION [ ]” Erase Current Digit [FORCE] Displays next digit or next section Save Data (hexa only) [ENTER] Advances to the next section TROUBLE DISPLAY Press the [TBL] or [TRBL] key to view the Trouble Display. Please note that the keypad can be programmed to emit a BEEP every 5 seconds whenever a new trouble condition has occurred. Press the [TBL] or [TRBL] key to stop the beeping. [1] - No Battery or Low Battery [8] - Timer Loss** [2] - Wireless Transmitter Low Battery [9] - Tamper or Zone Wiring Failure* [3] - Power Failure [10] - Telephone Line Monitoring Failure [4] - Bell Output Disconnected [11]/[STAY] - Fire Loop Trouble* [5] - Maximum Bell Current [12]/[BYP] - Module Loss [6] - Maximum Auxiliary Current [13]/[MEM] - Wireless Transmitter Supervision Loss* [7] - Communicator Report Failure [16]/[FORCE] and [TBL]/[TRBL] flashes - Keypad Fault * press the illuminated key ([9], [STAY] or [MEM]) to view which zones are causing the trouble.
    [Show full text]
  • Aligning the Ethos of Zines with Youth-Driven Philosophical Inquiry
    Journal of Unschooling and Alternative Learning 2017 Vol. 11 Issue 22 DESIGNING A SPACE FOR THOUGHTUL VOICES: ALIGNING THE ETHOS OF ZINES WITH YOUTH-DRIVEN PHILOSOPHICAL INQUIRY By: Natalie M. FLETCHER Abstract This article strives to lay some necessary theoretical groundwork for justifying an alliance between zining and youth-driven “philosophical inquiry” (Lipman, 2004)—two important practices that operate outside the mainstream yet can shed light on conventional (mis)understandings of youth by illustrating innovative ways of designing space for young voices to emerge and thrive in their educational experiences and beyond. By highlighting the shared ethos between zining and philosophical inquiry as practices that foster meaning-making, this article aims to emphasize their common participatory, do-it-yourself, experimental, politicizing and transformative features, while noting the challenges involved in extending them to the context of childhood. Further, it illustrates how aligning zining and philosophical inquiry can contribute to a re-envisioning of children by portraying them as capable cultural producers and social historians of their own discourse communities. Lastly, it explores issues of adult authority, suggesting conditions that may help to authenticate the philosophical use of zines with youth. Keywords: Philosophy for Children, Zines, Philosophical Inquiry, Youth Agency Those without power also have the capability to create a culture— one that arises out of their way of understanding the world. —Stephen Duncombe, Notes from Underground: Zines and the Politics of Alternative Culture An eight-year old philosopher is sitting in front of a small booklet wondering what she will write next. She’s deep in thought about the nature of imagination after a heated dialogue with other kids over the possibility of imagining something that does not exist.
    [Show full text]
  • Bloc Party Gets Intimate on New LP
    ---~~A~~F~S:~-~ -, --- PAGE6 .&.. · _ ___:--t_ · SEPTEMBER 2- 8 2008 The Expmdalb>les bring SFI showcases singing Sita reggae grooves to SS·U R<;>sEMCMACKIN 1930's. Her jazz and blues recordings StaffWriter give vibrant life and voice to Sita. Paley's animation style is wildly A'1ANDA CRAVER Prairie Sun Studios right here in Cotati. imaginative: the animated Sita resembles StaffWriter This versatile band combines punk rock, The colorfully animated "Sita Sings Betty Boop, the Sri Lankan king sports reggae, and 80's style guitar flare to cre­ the Blues," is the first feature-length of­ multiple heads, and Rama's skin is the ate a sound that fans just can't seem to fering from independent filmmaker Nina color of blue bells. Start the semester out with a bang get enough of. Paley, and it's making its Northern Cali­ Paley uses an abundance of vary­ and see what kind of entertainment No longer the rookies on the tour, fornia debut this week. ing visual styles, including several sty­ Sonoma State University is bringing The Expendables have accumulated a The Sonoma Film Institute will be listically rotoscoped sequences. The your way! rather large fan base of their own. Some screening Paley's unique vision of the psychedelic animation features a cast On Sept. 13, the Back to School of their most popular songs include "No "Ramayana" at Warren Auditorium in of hundreds, including flying monkeys, Concert in the Commons will feature Time to Worry," "One Night Stand," and Ives Hall. Screenings will be held on evil monsters, gods, goddesses, warriors, "24/7".
    [Show full text]
  • Simon Security System
    466-1873 Rev J ) May 2003 *(,QWHUORJL[ ZZZ*(,QWHUORJL[FRP Part No: 60-875 60-910 (Not investigated for use by UL) Doors & Motion System Windows Sensors Status HOME SECURITY Arm Disarm 1/2 3/45/6 7/8 9/0 CODE Chime Doors Motion Time Sensor On Off HOME CONTROL Bypass Lights EMERGENCY FIRE POLICE AUX Test Weekly Simon Security System Installation Instructions FCC Notices FCC Part 15 Information to the User Changes or modifications not expressly approved by GE Interlogix can void the user’s authority to operate the equipment. FCC Part 15 Class B This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to part 15 of the FCC Rules. These limits are designed to provide reasonable protection against interference in a residential installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures: • Reorient or relocate the receiving antenna. • Increase the separation between the equipment and receiver. • Connect the affected equipment and the panel receiver to separate outlets, on different branch circuits. • Consult the dealer or an experienced radio/TV technician for help.
    [Show full text]
  • Car Lock Sound Notification
    Car Lock Sound Notification Which Paul misallege so acquiescingly that Inigo salts her blitz? Fleshless and interfascicular Warden crowns almost civically, though Reg disinterest his pepo classicizing. Innovatory Angelico devocalises meaningfully. Is very loud pipes wakes people that are only the car horn wakes up indicating the following section that car lock mode on the individual responsibility users only CarLock Alerts YOU Not an Whole Neighborhood If Your. Listen to review this feature you can have a false alarms that same time for amazon prime members can change often. Tell us in your hands full functionality varies by more broken wires i am happy chinese new account in order online. I usually don't like my life making sounds but I find your lock confirmation. Remain running through an automatic. Anti-Theft Devices to combine Your tablet Safe. How do i do i thought possible for different times are there a convenience control module coding. Sound when locking doors Mercedes-Benz Forum BenzWorld. Download Car Lock Ringtone Mp3 Sms RingTones. For vehicle was triggered, two seconds then press a bit irritating. You exit key is no sound horn honk is separated from being badly injured or security. Other Plans Overview International services Connected car plans Employee discounts Bring her own device. Or just match me enable push notification on when phone share it. General Fit Modifications Discussion no beep you you might lock twice ok so. 2015 Door Lock Horn Beep Honda CR-V Owners Club. How do not lock this option available on a text between my phone has expired.
    [Show full text]
  • P28-29 Layout 1
    28 Established 1961 Tuesday, March 20, 2018 Lifestyle Gossip Fifth Harmony announce hiatus ifth Harmony are going on hiatus. time to learn and grow creatively and The ‘Work From Home’ hitmakers - really find out footing as individuals. In Fwhich are comprised of Ally Brooke, doing this we are allowing ourselves to Normani, Dinah Jane and Lauren Jauregui gain new experiences, strengths and per- - have decided to go on a break, six years spectives that we can bring back to our after they formed on US TV show ‘The X Fifth Harmony family.” The ‘Worth It’ hit- Factor’, in order to focus on solo projects. makers - whose fifth member, Camila They announced in a statement: Cabello, quit in December 2016 - went on “Reflecting on the past six years since we to thank fans for their support and prom- started on ‘X Factor’, we’ve realized just ised that concerts they have scheduled in how far we’ve come and we appreciate 2018 will still be going ahead as planned. everything so much, more now than ever. The statement concluded: “To our “We’ve really had one hell of a memorable Harmonizers, thank you for everything we journey together and can’t begin to have been able to build as Fifth Harmony. express our gratitude to y’all for coming With your love and encouragement we along with us on this wild ride!” “After six will continue to build on ourselves, sup- years gong hard, non stop, we also real- port one another in everything we do, and ized that in order to stay authentic to our- keep making you proud, each other proud selves and to you, we do need to take and ourselves proud.
    [Show full text]
  • Because the Trent Book Shop Is in Nottingham Hannah Neate
    Because The Trent Book Shop is in Nottingham Hannah Neate In 1972 Stuart Mills, co-founder of the Tarasque Press, made the following comment in the catalogue for the exhibition ‘Metaphor and Motif’ held at Nottingham’s Midland Group Gallery: This exhibition, in its own way, sets the balance straight. If it is seen, if the catalogue is read widely enough then it should be clear that something surprisingly consistent has been going on in Nottingham for the past few years. This chapter is an attempt to explain some of the activities to which Mills was alluding. It is a story of an overlooked literary and artistic life in Nottingham from 1964 to 1972 which centred on the Trent Book Shop. This was a brief but significant period when avant-garde bookselling and the British Poetry Revival came to the East Midlands. The Trent Book Shop In his memoir of life in Nottingham in the sixties Ray Gosling describes how: There were books and magazines that you could only buy in special places, lots of little magazines from Greenwich Village, New York City, and all over the English-speaking world. Stuart and Martin who drank in Yate’s Wine Lodge and listened to the trio with us were teachers. They went part-time and opened an avant-garde bookshop, the first of its kind in our town to sell these free-thinking books.1 The shop to which Gosling refers to is the Trent Book Shop, opened in 1964 by Stuart Mills and Martin Parnell on Pavilion Road, in the West Bridgford area of Nottingham.
    [Show full text]
  • Record Dreams Catalog
    RECORD DREAMS 50 Hallucinations and Visions of Rare and Strange Vinyl Vinyl, to: vb. A neologism that describes the process of immersing yourself in an antique playback format, often to the point of obsession - i.e. I’m going to vinyl at Utrecht, I may be gone a long time. Or: I vinyled so hard that my bank balance has gone up the wazoo. The end result of vinyling is a record collection, which is defned as a bad idea (hoarding, duplicating, upgrading) often turned into a good idea (a saleable archive). If you’re reading this, you’ve gone down the rabbit hole like the rest of us. What is record collecting? Is it a doomed yet psychologically powerful wish to recapture that frst thrill of adolescent recognition or is it a quite understandable impulse to preserve and enjoy totemic artefacts from the frst - perhaps the only - great age of a truly mass art form, a mass youth culture? Fingering a particularly juicy 45 by the Stooges, Sweet or Sylvester, you could be forgiven for answering: fuck it, let’s boogie! But, you know, you’re here and so are we so, to quote Double Dee and Steinski, what does it all mean? Are you looking for - to take a few possibles - Kate Bush picture discs, early 80s Japanese synth on the Vanity label, European Led Zeppelin 45’s (because of course they did not deign to release singles in the UK), or vastly overpriced and not so good druggy LPs from the psychedelic fatso’s stall (Rainbow Ffolly, we salute you)? Or are you just drifting, browsing, going where the mood and the vinyl takes you? That’s where Utrecht scores.
    [Show full text]
  • Creative In- Teractions – the Mobile Music Work- Shops 2004 –
    2 3 CREATIVE IN- TERACTIONS – THE MOBILE MUSIC WORK- SHOPS 2004 – 2008 Nicolaj Kirisits • FrauKe BehreNdt • lalya Gaye • atau taNaKa 4 ACKNOWLEDGEMENTS 5 CREATIVE INTERACTIONS – First and foremost we are deeply grateful to all contributors to and participants of the workshops as well as the reviewers; especially those who have been involved with the event over several years. We would like to thank all institutions that supported and hosted the workshop in the previous years, namely the Viktoria institute, THE MOBILE MUSIC WORK- NiMe, university of sussex, Futuresonic, steiM, Waag and the university of applied arts Vienna. thank you, lars-erik holmquist for initiating the first workshop and thank you, Kristina andersen for joining the steering committee of the workshop series. We also wish to thank Bernhard Faiss for layouting this publication. SHOPs 2004 – 2008 Many thanks to dr. Gerald Bast and the university of applied arts, Vienna for sponsoring this catalogue. 5TH INTERNATIONAL MOBILE MUSIC WORKSHOP the cover picture was taken by Bernhard Faiss May 13 – 15, 2008 uNiVersity oF applied arts, VieNNa unless stated otherwise all rights remain with the author. http://WWW.MoBileMusicWorKshop.orG 6 VIENNA MAP TIME SCHEDULE 7 spat_lab Day 2 – MAY 14 POSTER PRESENTATION 10:00 – 12:00 Mobile tangible interfaces as Gestural instruments F. Kayali / M. pichlmair / p. Kotik 19:00 • community - dinner at Xpedit an Augmented Reality Framework for Wireless Mo- Day 3 – MAY 15 bile performance M. Wozniewski / N. Bouillot / Z. Settel / J.r. Cooper- HANDS-ON SESSIONS stock 10:00 – 12:00 undersound and the above Ground r. Widerberg / y.
    [Show full text]
  • Cultural Activism T HAMYRIS
    Cultural Activism T HAMYRIS This volume addresses contemporary activist practices that aim to interrupt and reorient Cultural Activism politics as well as culture. The specific tactics analyzed here are diverse, ranging from culture jamming, sousveillance, media hoaxing, adbusting, subvertising, street art, to I hacktivism, billboard liberation, and urban guerilla, to name but a few. Though indebted NTERSECTING to the artistic and political movements of the past, this form of activism brings a novel dimension to public protest with its insistence on humor, playfulness, and confusion. This book attempts to grasp both the old and new aspects of contemporary activist practices, as well as their common characteristics and internal varieties. It attempts to open up space for the acknowledgement of the ways in which contemporary capitalism affects all Practices, Dilemmas, and Possibilities Editors Begüm Özden Firat our lives, and for the reflection on possible modes of struggling with it. It focuses on the Aylin Kuryel possibilities that different activist tactics enable, the ways in which those may be innovative or destructive, as well as on their complications and dilemmas. N o The encounter between the insights of political, social and critical theory on the one 21 hand and activist visions and struggles on the other is urgent and appealing. The essays collected here all explore such a confrontational collaboration, testing its limits and productiveness, in theory as well as in practice. In a mutually beneficial relationship, theoretical concepts are rethought through activist practices, while those activist practices are developed with the help of the insights of critical theory. This volume brings scholars and activists together in the hope of establishing a productive dialogue between the Activism Cultural theorizations of the intricacies of our times and the subversive practices that deal with them.
    [Show full text]
  • The Undergroun and Alternative Press in Britain
    Harvester/Primary Social Sources The Underground and Alternative Press in Britain A Bibliographical Guide with historical notes By John Spiers Published with a title and chronological index as a companion to the Underground/ Alternative Press collection prepared for microform publication by Ann Sexsmith and Alastair Everitt ~ THEHARVESTERPRESSt974 THE HARVESTER PRESS LIMITED Publishers Contents 2 Stanford Terrace Hassocks, Nr. Brighton Sussex, England First published in 1974 by the Harvester Press General Editor's Preface page7 Introduction© John Spiers 1974 Index, notes, etc ©The Harvester Press 197 4 General Preface page 9 Acknowledgements page 13 This Bibliographical Guide issued with the Harvester/Primary Social Sources silver-halide microfiche and 35 mm roll-fihn collection 'The Underground and THE UNDERGROUND AND ALTERNATIVE Alternative Press in Britain'. PRESS IN BRITAIN by John Spiers page 15 LC Card No. 73-93912 Complete List of Participating Groups and Papers page 29 ISBN 0 901759 84 8 Descriptions of Groups and Papers page 33 Typesetting by Campbell Graphics Ltd., Newcastle upon Tyne Printed in England by Redwood Press Limited, Trowbridge How to use the Index page 55 Bound by Cedric Chivers, Portway, Bath INDEX page 59 All eights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of The Harvester Press Limited. General Editor's Preface What Harvester/Primary Social Sources is now offering to scholars should not be seen as just another collection of research material reproduced on microfiche. It is very much more than that.
    [Show full text]
  • Ovni 2005 Resistances
    OVNI 2005 RESISTANCES 25th to 30th January Observatory Archives Research: Translators: A project by OVNI Dee Dee Halleck Nuria Rodríguez [Observatori de Video No Identificat] Serene Hulelei Denise Cord'home UFO [Unknown Frame Observatory] Xavi Hurtado Eduard Escoffet Joan Leandre Mariano Martino Welcome: With the collaboration of: Oriana González Ada, Mauro Centre de Cultura Contemporània Toni Serra de Barcelona. Rabia Williams Programming: Press: Joan Leandre Irene Ruiz Toni Serra Regidor: Production: Mariano Martino Rosa Llop Graphic Design: Technical Production: Jordi Calvet Simona Marchesi Ovni 2005 Image: Production Assistants: « Ocean Life » Alain Kugel Roberta Tranchida Massimo Pietrobon WEB: Judith Nadal Robert Blank Mikel Llop Marc Peris Subtitles: Liz Peñuela VIDEOLAB OVNI 2005 Observatory Archives Resistances www.desorg.org Observatory Archives The Observatory Archives are structured around particular themes and have a Opening night, January, 25th clear purpose: to encourage a critique of contemporary culture, using different Special program, strategies: video art, independent documentary, and mass media arch a e o l o g y, . from 20.30 pm to 23.00 pm The Archives cover a huge range of works that are very different from one ano- Program of screenings: ther, but share a commitment to freedom of expression and reflect on our indi- Thematical screenings of new tapes vidual and collective fears and pleasures. Together, they offer a multifaceted added to the archives. view, thousands of tiny eyes that probe and explore our world and announce From the 26th to the 30th of January: other possible worlds. It is a discourse that above all values heterogeneity, plu- parallel screenings in the Auditorium and rality, contradiction and subjectivity, an antidote to the cloning and repetition the Hall, from 17 pm to midnight of corporate mass media.
    [Show full text]