Music Marketing for the Digital Era Issue 234 Coverfeature

Total Page:16

File Type:pdf, Size:1020Kb

Music Marketing for the Digital Era Issue 234 Coverfeature 05-06 Tools Hive 07-08 Campaigns Ed Sheeran, Above & Beyond, Chance The Rapper, Slipknot 09–13 Behind The Campaign- AVICII AUGUST 07 2019 sandboxMUSIC MARKETING FOR THE DIGITAL ERA ISSUE 234 COVERFEATURE M2V THE NEW ERA OF MUSIC VIDEOS It is a sign of the increasingly visual world in which we Net’ benefits: Thom Yorke – Anima / live that most artists wouldn’t consider releasing a song Kid Cudi – Entergalactic these days without some sort of visual accompaniment, 1)When Anima, Thom Yorke’s third solo at the start of 2019) and a certain prestige be it the humble pack shot video or a budget-stretching album, arrived out of the blue at the end of that you don’t get with slinging your video June 2019, accompanied by a 12-minute onto YouTube alongside hand-made ‘Baby VR effort. At the same time, there are now more places Netflix film, it inspired a fair amount of Shark’ clips. than ever to watch music videos, with the recent arrival jealousy in the music industry. Not only The following month it was announced of Thom Yorke’s Anima video on Netflix serving as a does Netflix typically offer cold, hard cash that Kid Cudi’s new album, Entergalactic, reminder that, even today, there are still new territories upfront for video content (we don’t know for would also have a Netflix presence. The for the music video to explore and conquer. With this sure that this was the case with Anima, as rapper has teamed up with Kenya Bariss, Yorke’s management would not comment the creator of TV show Black-ish, to create in mind, sandbox brings you its guide to M2V: The New on the deal terms – but it seems extremely an animated Netflix series, also called Era Of Music Videos. likely), it also has scale (139m subscribers Entergalactic, that will feature music from 1 | sandbox | ISSUE 234 | 07.08.2019 COVERFEATURE the album, while Netflix will air Sound & Fury be seeing too many music videos taking the Veni, vidi, visual: this autumn, an anime film accompanying Netflix route, regardless of the success of Beyoncé – Lemonade / a new album from country artist Sturgill Anima et al. 3)Pixx – ‘Disgrace’ (lyric video) Simpson. Using the ‘rule of three’, we can say that Prime cuts: a trio of Netflix shows is definitely a trend. Various – Prime Day Concert And yet it is hard to see too many acts being 2)To mark Prime Day 2019, Amazon able to follow this route, given Netflix’s held a Prime Day Concert in New York, exclusivity. starring Taylor Swift, Dua Lipa, SZA and “Anima only works because of how it Becky G. Fans could watch the concert was produced, with [director] Paul Thomas live or later on-demand on Amazon Prime Anderson, and I don’t think many people Video, Amazon’s increasingly popular would be able to do that,” says Patrick Ross, VOD service, whose US audience alone is SVP of digital strategy at music:)ally. “It’s estimated at 26m. hard to get things onto Netflix.” What’s As with Anima, the interest here lay more, Ross says the arty Anima format lent not so much in what the video was but in the importance of YouTube for music itself towards Netflix’s big-screen viewing where it was available, the release marking Beyoncé’s acclaimed Lemonade remains the consumption. “YouTube is about discovery. experience in a way that, say, a cheap lyric Prime Video’s first notable excursion into gold standard for visual albums (alongside, I don’t think it competes with Spotify video wouldn’t. original music video content. maybe, Frank Ocean’s Endless). And yet on the same level. It is a very different At the same time, putting your video on Amazon certainly got behind the film, you don’t have to be a wealthy megastar listening experience,” he says. “You have to Netflix means sacrificing YouTube scale for plastering it on the Prime Video launch to release a visual album, whatever the have a visual for everything anyway. Some Netflix cash. “Netflix pays up front to have page for millions of users. Beyoncé hype might imply. In fact, artists people put together a concept to link all your content for a time and it can’t be on And yet working with Amazon in this of all sizes and shapes are releasing full the videos.” other streaming sites,” says Ross. “And way brings up certain problems, according video accompaniments to their albums, there are no analytics at all on Netflix.” to Isabelle Ljungqvist, digital marketing taking advantage of YouTube’s role as a M(eme)TV: Drake – ‘Hotline Bling’ / We’re probably not, in other words, going to coordinator, music:)ally. platform for music discovery. These can Lil Nas X – ‘Old Town Road’ be everything from lyric videos to arty 4)When the Grammy Awards inevitably visualiser clips, which US singer Banks rolls out its award for most meme-friendly recently released to accompany songs from her third album, III. In doing this, artists help to establish a connection with fans, as well as furthering their own visual identity. Pixx, who records for UK indie label 4AD, has created videos for every track on her second album, Small Mercies, despite not exactly enjoying Beyoncé-sized budgets. “I wanted there to be visual content for the whole album, like lyric videos because I love lyrics, it’s like my favourite part of music really,” she told Alt Citizen. music:)ally’s Ross says that these low-budget visual albums underline 2 | sandbox | ISSUE 234 | 07.08.2019 COVERFEATURE they wanted to create viral content,” says if you had watched videos with similar music:)ally marketing executive Marlen music, so the YouTube algorithms were in Hüllbrock. “It didn’t feel genuine.” our favour for some reason,” Boy Pablo’s And, yes, you can call us cynical. But manager Fabio said in a 2017 interview with this certainly wouldn’t be the first time the Complex. “From there, we started getting music industry had taken advantage of 40-50,000 views per day, which has a direct wide-eyed fans. correlation with all the streaming services Pablo’s music is available through. So in a Algorithm nation: matter of just a few days, all of Pablo’s songs Boy Pablo – ‘Everytime’ are performing way better than normal.” 6)Boy Pablo’s 2017 video ‘Everytime’ music:)ally’s Ross says the video “hit the is also known as the clip that made every sweet spot of algorithms”. indie musician seethe with envy, thanks to “It was so organic,” he adds. “There is the way it seemed to magically dominate something about it: it captured people’s YouTube algorithms, popping up in the attentions across genre. It felt so natural; no “recommended videos” tab with startling one felt like it was being shoved down their regularity upon release. throats.” Even now, no one quite knows why. Even Boy Pablo’s manager proclaimed himself video, there will be a lifetime achievement have showcased the power of the meme, confused by the success in a 2017 interview for Drake’s ‘Hotline Bling,’ a 2016 clip that this remains a difficult path for marketers – although it is likely to have something – intentionally or not – rode the crest of to tread: a video that is too obviously to do with the fact that the song’s gentle the meme wave to sensational results, desperate for meme attention will put nature and kooky video made people watch dragging the song behind it. Whether Drake many viewers off. it to the end. Combine this with the organic and Director X, who helmed the video, boost from a popular Reddit thread and you intended this meme-ability or not – X has Virality vitality: Sigrid – have (potentially) an algorithmic monster. said he didn’t – it undoubtedly changed ‘Mine Right Now’ “The real boost hit […] was a result the video game, with directors outdoing 5)A close cousin of the meme-friendly of YouTube adding the video as a themselves to create memorable moments video is the promo created for viral effect. recommendation on people’s front page for their acts. While we can’t be entirely sure, many UK pop act Little Mix also seem to have people suspect that Sigrid’s ‘Mine Right Natural ingredients: hit a rich seam of virality in their videos, Now’ falls into this category. The story Anderson .Paak – ‘Tints’ particularly ‘Power’ with Stormzy. goes that a series of delayed flights led the 7)Anderson .Paak’s 2018 track ‘Tints’ One artist who definitely did shoot for Norwegian singer to miss the video shoot has no fewer than three official videos: the this effect was Lil Nas X, who purposefully for this song, with director Mac Siedentopf big-budget promo; the official lyric video; created a meme-friendly video for ‘Old appearing instead as her stand-in. Cue and a vertical video that was shot by the Town Road’ on TikTok in an ultimately very predictable laughs as he attempts to artist’s son Saul to widespread media successful bid to make his song into a hit. “I recreate Sigrid’s dance routines, a viral attention and a great deal of cooing. (The promoted the song as a meme for months sensation and 833k views in a month. video even opens with the message: “This until it caught on to TikTok and it became And yet many people weren’t convinced video may cause motion sickness, as it was way bigger,” he told Time. by the story, suspicious that this was a little filmed by a seven-year-old.”) While ‘Hotline Bling’ and ‘Old Town Road’ too perfect.
Recommended publications
  • UMG V Veoh 9Th Opening Brief.Pdf
    Case: 09-56777 04/20/2010 Page: 1 of 100 ID: 7308924 DktEntry: 11-1 No. 09-56777 ____________ IN THE UNITED STATES COURT OF APPEALS FOR THE NINTH CIRCUIT ___________________ UMG RECORDINGS, INC.; UNIVERSAL MUSIC CORP.; SONGS OF UNIVERSAL, INC.; UNIVERSAL-POLYGRAM INTERNATIONAL PUBLISHING, INC.; RONDOR MUSIC INTERNATIONAL, INC.; UNIVERSAL MUSIC—MGB NA LLC; UNIVERSAL MUSIC—Z TUNES LLC; UNIVERSAL MUSIC—MBG MUSIC PUBLISHING LTD., Plaintiffs-Appellants v. VEOH NETWORKS, INC., Defendant-Appellee. _______________________________ On Appeal from the United States District Court for the Central District of California, Western Division—Los Angeles Honorable A. Howard Matz, District Judge __________________________________ APPELLANTS’ BRIEF _____________________________________ Steven Marenberg, Esq. State Bar No. 101033 Brian Ledahl, Esq. State Bar No. 186579 Carter Batsell State Bar No. 254396 IRELL & MANELLA, LLP 1800 Avenue of the Stars Suite 900 Los Angeles, California 90067 Telephone: (310) 277-1010 Facsimile: (310) 203-7199 ATTORNEYS FOR APPELLANTS 2221905 Case: 09-56777 04/20/2010 Page: 2 of 100 ID: 7308924 DktEntry: 11-1 TABLE OF CONTENTS Page CORPORATE DISCLOSURE STATEMENT................................................ 2 JURISDICTIONAL STATEMENT ................................................................. 3 ISSUES PRESENTED ..................................................................................... 4 STATEMENT OF THE CASE ........................................................................ 6 FACTS ...........................................................................................................
    [Show full text]
  • Isabella Clarke Selected to Represent Australia at the Junior Eurovision Song Contest 2017 on Monday 27 November
    RELEASED: SUNDAY 10 SEPTEMBER 2017 Isabella Clarke selected to represent Australia at the Junior Eurovision Song Contest 2017 on Monday 27 November ABC is excited to announce that talented young singer Isabella Clarke will represent Australia at the Junior Eurovision Song Contest 2017 (JESC) held on Sunday 26 November at the Tbilisi Sports Palace, Georgia. From Victoria, Isabella is a 13-year-old singing sensation who made her debut on the Melbourne singing scene four years ago. Since then she’s received many accolades performing at various singing competitions and, at present, holds a coveted principal vocalist role in the Victorian State Schools Spectacular. Isabella is self-confessed foodie who enjoys spending time with her family and friends and credits megastars Beyoncé and Mary J. Blige as her inspiration for singing. She loves Australian comedy television shows, knows how to laugh at herself, and is focused and determined both at school and in performing. Tipped for a bright future, Isabella hopes to join her idols and become an international recording artist. ABC and production partner Blink TV selected Isabella in consultation with leading Australian record companies. Isabella Clarke said: “I’m so honoured to be given the opportunity to represent Australia at such an amazing event. I can’t wait to start rehearsals and film the music video! I’m also looking forward to visiting Georgia for the first time and meeting all the other performers. It’s a dream come true and I hope I do my family and Australia proud.” “Isabella displayed all the qualities we were looking for in this year’s Australian representative,” says Michael Carrington, Head of ABC Children’s Television.
    [Show full text]
  • The Effects of Digital Music Distribution" (2012)
    Southern Illinois University Carbondale OpenSIUC Research Papers Graduate School Spring 4-5-2012 The ffecE ts of Digital Music Distribution Rama A. Dechsakda [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/gs_rp The er search paper was a study of how digital music distribution has affected the music industry by researching different views and aspects. I believe this topic was vital to research because it give us insight on were the music industry is headed in the future. Two main research questions proposed were; “How is digital music distribution affecting the music industry?” and “In what way does the piracy industry affect the digital music industry?” The methodology used for this research was performing case studies, researching prospective and retrospective data, and analyzing sales figures and graphs. Case studies were performed on one independent artist and two major artists whom changed the digital music industry in different ways. Another pair of case studies were performed on an independent label and a major label on how changes of the digital music industry effected their business model and how piracy effected those new business models as well. I analyzed sales figures and graphs of digital music sales and physical sales to show the differences in the formats. I researched prospective data on how consumers adjusted to the digital music advancements and how piracy industry has affected them. Last I concluded all the data found during this research to show that digital music distribution is growing and could possibly be the dominant format for obtaining music, and the battle with piracy will be an ongoing process that will be hard to end anytime soon.
    [Show full text]
  • 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.
    [Show full text]
  • Music Video Production Critique
    Music Video Production Critique 2 = Totally Awesome! STRENGTHS 1 = Definite Strength ____1. Good concept: Creative choice of material for audience enjoyment and high “entertainment value”. ____2. Creative stage design, art direction, and costuming contributed to high “production value”. ____3. Good casting enhanced the production (you chose the right performers/dancers/actors for the parts). ____4. Well-organized, practical script for student production crew capabilities and class time limitations. ____5. Well-written script makes its point in clear, concise imagery and action that is easily understood by audience. ____6. Well-paced script tells the story efficiently with no “slow” parts. ____7. Good picture quality - lighting, exposure, color balance give footage a professional look, (looks like “real TV”). ____8. Good shot composition and staging - framing/design of shots reflect professional expertise and aesthetic taste. ____9. Variety of shots - use of different camera angles (low, overhead) and shots (XCU, CU, OS, LS) kept it interesting. ____10. Camera movement (zooms, pans, tilts, dollies) were fluid, steady, and appropriate in enhancing the music video. ____11. Well-timed cuts and fluid continuity make the editing virtually unnoticeable to the audience, (seamless edits). ____12. Maintenance of consistent proc amp settings (luminance, pedestal, tint, chroma) kept shots properly matched. ____13. High-quality audio with clean, clear lyrics and music throughout the video. (No hum or hiss). ____14. Consistent and optimum audio levels maintained throughout the music video. (No pegs or dips). ____15. Balanced mix between audio tracks. (One audio channel doesn't overpower or mask the other channel). ____16. Seamless transitions in audio track intros and exits. (No abrupt jolts or voids).
    [Show full text]
  • Music Video Project Assignment
    Organic Chemistry Music Video Throw-Down!! The Challenge Make a music video designed to teach a new student about the selected topic in an entertaining and informative way. Music videos must • Clearly and accurately teach the topic. • Be appropriate for an audience of high school students and cannot contain any explicit language or material. • Be at least 2 minutes in length. • Involve no more than 5 students, so work in groups of 1-5 students. • Must be original, including the lyrics. Music videos are due to your course instructor by Fri, May 5. You may turn in your video at any time during the semester before the May 5 deadline. Submit your video on a DVD, a link to YouTube, or via UD Dropbox. For examples of music videos produced on a range of organic chemistry topics, see: http://www.chem.ucla.edu/dept/Faculty/garg/Garg_Group/Teaching.html. Students may loan video equipment from the Student Multimedia Design Center (http://www.lib.udel.edu/multimedia/). Students who turn in music videos that fit the requirements listed above will earn 1% extra credit added to their overall course score. The Topic: The Importance of Organic Chemistry in the “Real World” The Competition: Students with the best music video will win eternal honor in the lore of Chem 332. Videos will be judged for their success in teaching the topic and their overall awesomeness (equal weighting will be given to each). The judges will be a panel of 5 organic chemistry graduate students not involved in Chem 332. The top videos will be showed and the winners announced in the last lecture of the semester.
    [Show full text]
  • Activity Book
    Activity Book Dance, Dance Revolution #LoveLivesOn Developed for TAPS Youth Programs use. Table of Contents Table of Contents………………………...………………...………………....………….…….1 Dance Games………..........................................................................................2 Dance Doodle……………….……………...……..…………….……………….……………….3 Love Lives On..……..….....………....……………………….…………………...….........…4 Lyric Art…………...…...….…......………………..……..…...……….……......……….…….5 ​ ​ Traditional Dance …..………………....................................................................6 Laugh Yoga….………………………….…………...…….....………………......……….…….7 iRest……………………....………………………………...……………………………………….8 Dancing through the Decades…..…………………………………………...……………..9 Playlist ……………...……..…………………………..…….…………………………….……..10 Unicorn Dance...………...……………………..……………...………………..…....…...…11 Create your own musical instrument..………...……………………………..………..12 Host your own dance party……..…...…….……………………….….….……..………..13 Music Video.………..……………………..…….……………………….….….……..………..14 Disco Pretzels……….……………………………………………………………………………15 Additional Activities………………………………………………….…………...………….16 1 DANCE GAMES TAPS Activity Book DIRECTIONS: Dancing and playing games is a perfect way to have fun with family and friends! Below are a few fun dance games that you can play and try. 1. Memory Moves To play memory moves, have the kids form a circle around the dance floor. Choose one player to go first. That player will step into the center of the circle and make up a dance move. The next player will step into the center and repeat
    [Show full text]
  • Filmmaking Theory for Vertical Video Production
    Filmmaking Theory for Vertical Video Production Rafe Clayton, University of Bolton, United Kingdom The European Conference on Media, Communication & Film 2019 Official Conference Proceedings Abstract Smartphones have changed the moving image landscape and now mobile users are consuming more vertical video than ever before (Richards 2017). In particular, vertical video is gaining popularity amongst content makers for social media since the aspect ratio typically suits how mobile phone users hold their phones and therefore how they are now watching video content (ScientiaMobile 2019). In recent years the 9:16 aspect ratio has established itself as an emerging requirement within the professional video market since companies have realised the commercial value of creating video vertically for mobile consumption (Neal and Ross 2018). In order to stand out, creators are being encouraged to broadcast content that is better quality than that which their audience is capable of creating themselves (Social Chain 2018). The film industry has spent over a hundred years specializing in the production of horizontal videography and there is a distinct absence of literature and training which can help support vertical filmmakers as they learn their craft. As the distinction between amateur and corporate vertical video content continues to blur (Neal and Ross 2018), scholastic work helping to identify some of the techniques, equipment, approaches and methods by which professionals can separate themselves from non-professionals is useful. This paper is the author’s reflection on the current literature and practice that surrounds the phenomenon of vertical video production and attempts to bring together his own research with the scattered and often inconsistent pieces of advice and inspiration that have been published in print, online and on video.
    [Show full text]
  • Effects of Climate Change on the World's Oceans
    2nd International Symposium Effects of Climate Change on the World’s Oceans May 13 – 20, 2012 Yeosu, Korea Table of Contents Welcome � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � v Organizers and Sponsors � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � vii Notes for Guidance � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �xi Symposium Timetable, List of Sessions and Workshops � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � xii Floor Plans, Maps � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �xiv Schedules � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � Sunday, May 13 Workshop 2 (Day 1) � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 3 Monday, May 14 Workshop 2 (Day 2), Workshop 3, Workshop 4, Workshop 5 � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 5 Tuesday, May 15 Day 1 Plenary, Session 1 (Day 1), Session 5, Session 7 � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 13 Wednesday, May 16 Day 2 Plenary, Session 1 (Day 2), Session 2, Session 4 (Day 1) � � � � � � �
    [Show full text]
  • Newslist Drone Records 31. January 2009
    DR-90: NOISE DREAMS MACHINA - IN / OUT (Spain; great electro- acoustic drones of high complexity ) DR-91: MOLJEBKA PVLSE - lvde dings (Sweden; mesmerizing magneto-drones from Swedens drone-star, so dense and impervious) DR-92: XABEC - Feuerstern (Germany; long planned, finally out: two wonderful new tracks by the prolific german artist, comes in cardboard-box with golden print / lettering!) DR-93: OVRO - Horizontal / Vertical (Finland; intense subconscious landscapes & surrealistic schizophrenia-drones by this female Finnish artist, the "wondergirl" of Finnish exp. music) DR-94: ARTEFACTUM - Sub Rosa (Poland; alchemistic beauty- drones, a record fill with sonic magic) DR-95: INFANT CYCLE - Secret Hidden Message (Canada; long-time active Canadian project with intelligently made hypnotic drone-circles) MUSIC for the INNER SECOND EDITIONS (price € 6.00) EXPANSION, EC-STASIS, ELEVATION ! DR-10: TAM QUAM TABULA RASA - Cotidie morimur (Italy; outerworlds brain-wave-music, monotonous and hypnotizing loops & Dear Droners! rhythms) This NEWSLIST offers you a SELECTION of our mailorder programme, DR-29: AMON – Aura (Italy; haunting & shimmering magique as with a clear focus on droney, atmospheric, ambient music. With this list coming from an ancient culture) you have the chance to know more about the highlights & interesting DR-34: TARKATAK - Skärva / Oroa (Germany; atmospheric drones newcomers. It's our wish to support this special kind of electronic and with a special touch from this newcomer from North-Germany) experimental music, as we think its much more than "just music", the DR-39: DUAL – Klanik / 4 tH (U.K.; mighty guitar drones & massive "Drone"-genre is a way to work with your own mind, perception, and sub bass undertones that evoke feelings of total transcendence and (un)-consciousness-processes.
    [Show full text]
  • буð¼ Ñ​пиÑ​Ñšðº
    Моби ÐÐ​ »Ð±ÑƒÐ¼ ÑÐ​ ¿Ð¸ÑÑ​ ŠÐº (Ð ´Ð¸ÑÐ​ ºÐ¾Ð³Ñ€Ð°Ñ„иÑÑ​ ‚а & график) 18 https://bg.listvote.com/lists/music/albums/18-204470/songs Animal Rights https://bg.listvote.com/lists/music/albums/animal-rights-734112/songs Innocents https://bg.listvote.com/lists/music/albums/innocents-13581165/songs More Fast Songs About the https://bg.listvote.com/lists/music/albums/more-fast-songs-about-the-apocalypse- Apocalypse 30317346/songs All Visible Objects https://bg.listvote.com/lists/music/albums/all-visible-objects-85740887/songs The End of Everything https://bg.listvote.com/lists/music/albums/the-end-of-everything-3520744/songs Baby Monkey https://bg.listvote.com/lists/music/albums/baby-monkey-4838372/songs Wait for Me: Ambient https://bg.listvote.com/lists/music/albums/wait-for-me%3A-ambient-65089507/songs Demons/Horses https://bg.listvote.com/lists/music/albums/demons%2Fhorses-5256277/songs https://bg.listvote.com/lists/music/albums/itunes-originals-%E2%80%93-moby- iTunes Originals – Moby 5975325/songs Everything Is Wrong https://bg.listvote.com/lists/music/albums/everything-is-wrong-1954714/songs Moby https://bg.listvote.com/lists/music/albums/moby-1954726/songs Ambient https://bg.listvote.com/lists/music/albums/ambient-1954605/songs Destroyed. https://bg.listvote.com/lists/music/albums/destroyed.-1954619/songs Live Ambients – Improvised https://bg.listvote.com/lists/music/albums/live-ambients-%E2%80%93-improvised- Recordings Vol. 1 recordings-vol.-1-104834778/songs Live Ambient Improvised Recordings https://bg.listvote.com/lists/music/albums/live-ambient-improvised-recordings-vol.-1- Vol.
    [Show full text]
  • Screen Genealogies Screen Genealogies Mediamatters
    media Screen Genealogies matters From Optical Device to Environmental Medium edited by craig buckley, Amsterdam University rüdiger campe, Press francesco casetti Screen Genealogies MediaMatters MediaMatters is an international book series published by Amsterdam University Press on current debates about media technology and its extended practices (cultural, social, political, spatial, aesthetic, artistic). The series focuses on critical analysis and theory, exploring the entanglements of materiality and performativity in ‘old’ and ‘new’ media and seeks contributions that engage with today’s (digital) media culture. For more information about the series see: www.aup.nl Screen Genealogies From Optical Device to Environmental Medium Edited by Craig Buckley, Rüdiger Campe, and Francesco Casetti Amsterdam University Press The publication of this book is made possible by award from the Andrew W. Mellon Foundation, and from Yale University’s Frederick W. Hilles Fund. Cover illustration: Thomas Wilfred, Opus 161 (1966). Digital still image of an analog time- based Lumia work. Photo: Rebecca Vera-Martinez. Carol and Eugene Epstein Collection. Cover design: Suzan Beijer Lay-out: Crius Group, Hulshout isbn 978 94 6372 900 0 e-isbn 978 90 4854 395 3 doi 10.5117/9789463729000 nur 670 Creative Commons License CC BY NC ND (http://creativecommons.org/licenses/by-nc-nd/3.0) All authors / Amsterdam University Press B.V., Amsterdam 2019 Some rights reserved. Without limiting the rights under copyright reserved above, any part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise). Every effort has been made to obtain permission to use all copyrighted illustrations reproduced in this book.
    [Show full text]