Managing in a Virtual World 17 Stephen Linstead and Simon Lilley
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Night of the Prog 2017, Tag 3: Sonntag, 16. Juli
Night of the Prog 2017, Tag 3: Sonntag, 16. Juli Den Festivalsamstag durften drei Bands aus deutschen Landen eröffnen, die unterschiedlicher nicht sein könnten. Der Sonntags-Opener hört auf den kuriosen Namen A Kew’s Tag (wörtlich übersetzt: das Etikett eines Gingkos), und schon bald wurde klar, dass es sich hierbei nur um ein cleveres, phonetisches Wortspiel handelt. Die vierte einheimische Band des Night of the Prog 2017 hat sich ganz dem Akustik-Prog verschrieben, und trotz der völligen Abwesenheit einer verzerrten (E-)Gitarre fuhren die fünf Jungspunde ein ordentliches Brett auf. A Kew’s Tag sind Irgendwo in der Schnittmenge von Leprous, Agent Fresco und den ebenfalls einheimischen Alternative Proggern von The Intersphere angesiedelt, und zumindest der betreuende Rezensent vermisst in ihrem eigenständigen Sound kaum eine E-Gitarre; das könnte natürlich auch an der Energie liegen, die die Fünf an den Tag gelegt haben liegen – ob es auf Platte genauso funktioniert, muss er noch testen. Es war eine beeindruckende Show dieser jungen Band, die mit ihrem eigenständigen Sound eine Nische gefunden hat und diese erfolgreich füllt, bravo! A Kew’s Tag Julian Helms und Florian Weik (A Kew’s Tag) Julian Helms (A Kew’s Tag) Johannes Weik (A Kew’s Tag) A Kew’s Tag Nach diesem äußerst gelungenen, modernen Start in den letzten Festivaltag war es Zeit für kurzweiliges Classic-Prog- Entertainment aus Frankreich. Franck Carducci und seine Band präsentierten leidlich bis wenig originelles Material – mal Pink Floyd hier, mal Genesis da, mal Yes dort) – mit solcher sympathischen Spielfreude, in bunten Kostümen und mit Überraschuingen wie einem Synthie-/Bauchtanzsolo und einem Theremin-/Didgeridoo-Jam, dass der Funke sofort übersprang. -
Interior, Only Escaping Back to Europe Years Later Through Bribery and the Help of Portuguese Merchants in Guangzhou
Contents Editorial 5 A Thousand Li Sorghum and Steel 11 The Socialist Developmental Regime and the Forging of China Introduction - Transitions 12 1 - Precedents 21 2 - Development 58 3 - Ossification 102 4 - Ruination 127 Conclusion - Unbinding 146 Gleaning the Welfare Fields 151 Rural Struggles in China since 1959 Revisiting the Wukan Uprising of 2011 183 An Interview with Zhuang Liehong No Way Forward, No Way Back 191 China in the Era of Riots “The Future is Hidden within these Realities” 229 Selected Translations from Factory Stories 1 - Preface to Issue #1 233 2 - One Day 235 3 - Layoffs and Labor Shortages 237 4 - Looking Back on 20 years in Shenzhen’s Factories 240 3 Editorial A Thousand Li As the Qing dynasty began its slow collapse, thousands of peasants were funneled into port cities to staff the bustling docks and sweatshops fueled by foreign silver. When these migrants died from the grueling work and casual violence of life in the treaty ports, their families often spent the sum of their remittances to ship the bodies home in a practice known as “transporting a corpse over a thousand li” (qian li xing shi), otherwise the souls would be lost and misfortune could befall the entire lineage. The logistics of this ceremony were complex. After blessings and reanimation rituals by a Taoist priest, “corpse drivers” would string the dead upright in single file along bamboo poles, shouldering the bamboo at either end so that, when they walked, the stiff bodies strung between them would appear to hop of their own accord. Travelling only at night, the corpse drivers would ring bells to warn off the living, since the sight of the dead migrants was thought to bring bad luck. -
Si Tratta Di Un Omaggio Allo Speciale Rapporto Che Lega La Band Ai
Si tratta di un omaggio allo speciale rapporto che lega la band ai fedelissimi fan ormai da sempre, che ha reso possibile gran parte della loro produzione discografica e live, e che sicuramente non mancherà di conquistarne di nuovi. Dal loro anno di fondazione, il 1978, la band non ha smesso di dimostrare continuamente una profonda capacità di cercare nuove vie all'interno della scena musicale, sviluppando un feeling unico con il pubblico grazie ad un’ispirazione profonda e a live coinvolgenti e intensi. Inizialmente conosciuto con il nome di "Silmarillion" (dall'opera omonima di Tolkien), il gruppo mosse i primi passi alla fine degli anni Settanta, facendosi conoscere nella scena neoprogressive inglese con una serie di "sold out" al Marquee Club di Londra e assicurandosi così il primo contratto con la EMI. Sulla strada dell'indipendenza dal 1999, anno in cui il gruppo fondò la propria etichetta, la Intact. Steve "h" Hogarth frontman della band dal 1989, dopo la partenza di Fish, vi ha portato un cuore ed energia nuovi, prendendo parte anche alla composizione dei brani. Dall’89 dodici album di successo per Hogarth insieme alla formazione originale di Steve Rothery (chitarra), Mark Kelly (tastiere), Pete Trewavas (basso) e Ian Mosley (batteria) – ridefinendo costantemente il sound dei Marillion, con esplorazioni in territori musicali diversi. Dopo il lancio nel 1999 di 'marillion.com' la band prende posizione contro la pressione delle case discografiche e lancia la propria etichetta discografica (dall’appropriato nome Intact), ed è tra le prime band a farsi finanziare un album dai fans, con la realizzazione di Anoraknophobia (2001), quasi i primi a lanciare il modello di produzione basato sul ordine anticipato del disco tramite internet. -
Robby Valentine Topper Tobt Epica Gothic Met Goddelijke Tik
TIJDSCHRIFT OVER PROGRESSIEVE ROCKMUZIEK verschijnt 7 keer per jaar, 12e jaargang december 2007, losse exemplaren 5 io pa g e s 7 7 RITUAL EN KAIPA PATRIK LUNDSTRÖM ZINGT ROBBY VALENTINE TOPPER TOBT EPICA GOTHIC MET GODDELIJKE TIK ‘REMSLAAP’ ONTWAAKT RIVERSIDE VERDER: NOVEMBRE, ISOPODA, KRAMER, RUSH 'IN CONCERT' COLOFON 3 UITGEVER Stichting iO Postbus 67 Paradoxale slaap 2678 ZH De Lier (tevens adres abonnementen administratie) fax: 0174-511213 e-mail: [email protected] website: www.iopages.nl ABONNEMENTEN Iedereen kent tijdens de slaap Lundström tot het schrijven van Een jaarabonnement kost per nacht gemiddeld vier of het prachtige nieuwe album The 31,00 binnen Nederland, resp. 39,00 voor de rest van Europa en vijf zogenoemde ‘remperiodes’. Die Hemulic Voluntary Band. De Zweed 49,50 buiten Europa. duren ongeveer twintig minuten per keer is zowel in de formatie Ritual als Kaipa het Nieuwe abonnees ontvangen de en het zijn de tijden dat je meestal behoor- gezicht van de band. Sprookjesachtige prog- uitgave van de maand volgend lijk droomt. ‘Rem’ staat voor Rapid Eye gy folkrock zoals we dat graag horen. Deze op de maand van aanmelding. Movement (snelle oogbeweging) en wordt klanken stimuleren tot wegdromen, even Adreswijzigingen dienen 4 weken ook wel paradoxale slaap genoemd. Die uit de heksenketel van het dagelijkse leven. tevoren te worden doorgegeven. (naar bovenstaand adres van uit- schijnbare tegenstelling heeft te maken met Tegelijkertijd zijn er diepere boodschappen gever of via e-mail). Vermeld altijd een grote hersenactiviteit en een maximale verborgen. Doet het toch weer een beroep je volledige naam en adres. ontspanning van de spieren. -
Marillion - Somewhere Else - Your London Reviews Page 1 of 2 About | Home | Contact | Join Search
IndieLondon: Marillion - Somewhere Else - Your London Reviews Page 1 of 2 About | Home | Contact | Join Search Going Out Marillion - Somewhere Else Related Links ACCORDING to their PR, Marillion are one of » Film z Music Archives the UK music scene’s “best kept secrets”, z A/V Room » Theatre not to mention “purveyors of soulful, powerful and often deeply moving music”. z IndieLondon Gig » Music Guide » Events It’s a claim that’s hard to justify on the z Singles of the evidence of current album Somewhere Else, Week » Food their 14th studio offering. » Travel z Website Musically accomplished, for sure, the album Review by Jack Foley z Buy it » Tickets is also fairly bland. It may hold some appeal IndieLondon Rating: 2.5 out of 5 for fans of acts such as Embrace or even Staying In Crowded House but for all its endeavour, Somewhere Else lacks any real spark. » A/V Room Marillion are, of course, probably still best known for their ’80s hit Kayleigh when » Books Fish was their lead singer. Jon Bon Jovi Jon Bon Jovi concert » DVD But he left the band in 1988 after four albums and was replaced by Steve Hogarth London Tickets now www.epassage24.de » Competitions who helped to redefine the Marillion sound with the help of long-term band members Steve Rothery (guitar), Mark Kelly (keyboards), Pete Trewavas (bass) » Galleries and Ian Mosley (drums). Shopping They even launched their own record company, marillion.com, in 1999, taking away any of the pressure of record companies. Watch Fish Videos » Features Your Favorite Artists Unfortunately, Somewhere Else isn’t the LP that’s going to catapult them to the On-Demand. -
The Jew World Order Unmasked.Pdf
ZionCrimeFactory.com Author: David Baillie JWO Unmasked This is what awaits us in the Jewish New World Order, beware! The Jew World Order Unmasked by Zander C. Fuerza The webmaster of http://www.zioncrimefactory.com/ THE RULE OF the Talmudic Jew in modern times is nearly one of an absolute monarch of a country. The Jews, through their complete domination of world finance and banking — through their malignant monopoly of the mass media of America, Britain, France, Canada and other Western powers — through their influential and vast network of subversive “lobby groups” — through their dominion over the courts and law profession in general — not to mention their pernicious presence inside the highest levels of government of the most powerful countries — have thus taken full control of the entire planet, as was foretold in ancient Jewish religious texts. As the former Malaysian Prime Minister, Dr. Mahathir Mohamed, explained: “The Jews rule this world by proxy, they get others to fight and die for them… They have now gained control of the most powerful countries … This tiny community have become a world power.” Dr. Mahathir spoke the truth, and the reality of his words couldn’t be clearer; all one has to do is look around you and observe the terrible power of the treacherous Jews.The Jewish-Zionist terrorist leader Ze’ev Jabotinsky (founder of the Jewish terror group Irgun Zevai Leumi) proudly proclaimed: “There is only one power which really counts. The power of political pressure. We Jews are the most powerful people on earth, because we have this power, and we know how to apply it.” (Jewish Daily Bulletin, July 27, 1935) The fact that the vicious crimes of this disgusting criminal’s insidious terrorist organization — such as the King David Hotel bombing and Deir Yassin Massacre — are not mentioned in Western history texts or at all covered in High School and University history classes, is a testament to the veracity of his exultant statement. -
Intactcd11 Progressi
Marillion goes PHOTO: NIELS VAN IPEREN Somewhere Else It has been nearly a quarter century since Marillion arose at Band considers its chemistry the forefront of progressive rock’s second wave in the early th 1980s. During that span the band gradually adapted to a tighter than ever on 14 changing musical landscape, morphing from prototypical neo- progressive band, replete with references to Peter Gabriel-era studio release Genesis, to crack contemporary rock band. Rock, yes — but still progressive? According to guitarist Steve Rothery, yes, probably, but bassist Pete Trewavas isn’t so sure. By ROSS BOISSONEAU “It’s a rock band,” Trewavas says flatly, before adding, “I’m not even sure it’s a rock band.” “Some people call you progressive,” says Rothery, “but they mean that as an insult, like the worst ‘70s excess or self- indulgent twaddle. The true meaning is it doesn’t have to conform to short-radio format. “You can absorb classical, jazz. It [progressive music] has more meaning than most conventional pop songs. In that regard, yes, we’re a progressive band.” Drummer Ian Mosley is more succinct. “I’ve never really thought about progressive rock, I much prefer to think of music as good or bad – whether it’s long or short,” he says. Not that this discussion settles anything definitively. Marillion long has been considered a standard-bearer among second-generation prog bands, along with outfits such as Pallas and Pendragon, which followed on the heels of Kansas and 42 Progression 51 • Spring/Summer 2007 Rush and the “golden-era” groups who pioneered progressive “We’ve improved as musicians, and I think we’ve learned rock in the ‘70s – the likes of King Crimson, Yes, and Emerson, the craft of writing and arranging,” says Trewavas of the new Lake & Palmer. -
American Fiction in the Age of Capitalist Realism
SECOND NATURE:AMERICAN FICTION IN THE AGE OF CAPITALIST REALISM Matt Kavanagh, Department of English McGill University, Montreal March 2007 A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Ph.D © Matt Kavanagh 2007 ii Abstract SECOND NATURE:AMERICAN FICTION IN THE AGE OF CAPITALIST REALISM During the 1990s the global triumph of capitalism has made it, paradoxically, all the more difficult to see. Not only is capitalism increasingly derealized (e.g. cyber- capital), its very ubiquity renders it unremarkable, to the point that it appears a neutral part of objective reality. This dissertation examines how American writers have responded to the ‘spectrality’ that results from the mediation of everyday experience through the market. I discuss formal strategies in the work of Bret Ellis, Chuck Palahniuk, Don DeLillo, William Gibson and others to represent the unrepresentable: what Slavoj iek calls the impersonal and anonymous function of the global market mechanism. Chapter one provides a formalist reading of Ellis’s American Psycho, a novel whose claustrophobic narrative represents the world of late capitalism at the level of its concept (“This is not an exit”). Lacking any sense of a horizon, Patrick Bateman experiences the world as radically closed. Because he is incapable of recognizing an elsewhere, he cannot imagine an otherwise; demonstrating no awareness of antagonism, Patrick acts it out in increasingly brutal and frenetic outbursts of violence. Where American Psycho presents Patrick’s sadistic violence as a symptom, my second chapter suggests that Fight Club’s consensual beatings treat violence as a fetish. -
Repurposing Digital Methods
REPURPOSING DIGITAL METHODS The research afordances of platforms and engines Esther Weltevrede ) iv ( Repurposing digital methods The research afordances of platforms and engines Academisch proefschrift ter verkrijging van de graad van doctor aan de Universiteit van Amsterdam op gezag van de Rector Magnificus prof. dr. D.C. van den Boom ten overstaan van een door het College voor Promoties ingestelde commissie, in het openbaar te verdedigen in de Agnietenkapel op 28 januari 2016, te 10.00 uur door Esther Josephina Theresia Weltevrede geboren te Geldermalsen ) v ( Promotiecommissie Promotor: Prof. dr. R.A. Rogers Universiteit van Amsterdam Overige leden: Prof. dr. L.W.M. Bod Universiteit van Amsterdam Prof. dr. R. Boast Universiteit van Amsterdam Prof. dr. A. Bruns Queensland University of Technology Prof. dr. M.J.P. Deuze Universiteit van Amsterdam Prof. dr. H. Kennedy University of Shefeld Prof. dr. J.J. Noordegraaf Universiteit van Amsterdam Faculteit: Geesteswetenschappen The research of this doctoral dissertation received financial support from the Amster- dam School of Cultural Analysis (ASCA PhD fellowship) and two European grants for the Contropedia project (EU FP7 EINS grant #288021 and in part EU FP7 EMAPS grant #288964). ) vi ( Table of Contents Acknowledgements ix Acknowledgements co-authored articles xii List of figures xvi List of tables xix Referenced tools xx Referenced projects xxii Introduction: A device-driven perspective to digital research 1 The device as object and method 6 Digital media afordances 10 Repurposing and -
Business Studies Journal
Volume 6, Number 1 Print ISSN 1944-656X Online ISSN 1944-6578 BUSINESS STUDIES JOURNAL Gary Schneider Quinnipiac University The official journal of the Academy for Business Studies, an Affiliate of the Allied Academies The Business Studies Journal is owned and published by Jordan Whitney Enterprises, Inc. Editorial content is under the control of the Allied Academies, Inc., a non-profit association of scholars, whose purpose is to support and encourage research and the sharing and exchange of ideas and insights throughout the world. Page ii Authors execute a publication permission agreement and assume all liabilities. Neither Jordan Whitney Enterprises, Inc. nor Allied Academies is responsible for the content of the individual manuscripts. Any omissions or errors are the sole responsibility of the authors. The Editorial Board is responsible for the selection of manuscripts for publication from among those submitted for consideration. The Publishers accept final manuscripts in digital form and make adjustments solely for the purposes of pagination and organization. The Business Studies Journal is owned and published by Jordan Whitney Enterprises, Inc. PO Box 1032, Weaverville, NC 28787, USA. Those interested in communicating with the Journal, should contact the Executive Director of the Allied Academies at [email protected]. Copyright 2014 by Jordan Whitney Enterprises, Inc., USA Business Studies Journal, Volume 6, 2014 Page iii EDITORIAL BOARD MEMBERS Ismet Anitsal Santanu Borah Tennessee Tech University University of North Alabama Cookeville, Tennessee Florence, Alabama Thomas M. Box Steven V. Cates Pittsburg State University Kaplan University Pittsburg, Kansas Phoenix, Arizona Susan Conners Carolyn Gardner Purdue University Calumet Kutztown University Hammond, Indiana Kutztown, Pennsylvania Ramaswamy Ganesan Lewis Hershey King Saud University Fayetteville State University Riyadh, Saudi Arabia Fayetteville, North Carolina Jeff Jewell Marvin P. -
Lita Ford and Doro Interviewed Inside Explores the Brightest Void and the Shadow Self
COMES WITH 78 FREE SONGS AND BONUS INTERVIEWS! Issue 75 £5.99 SUMMER Jul-Sep 2016 9 771754 958015 75> EXPLORES THE BRIGHTEST VOID AND THE SHADOW SELF LITA FORD AND DORO INTERVIEWED INSIDE Plus: Blues Pills, Scorpion Child, Witness PAUL GILBERT F DARE F FROST* F JOE LYNN TURNER THE MUSIC IS OUT THERE... FIREWORKS MAGAZINE PRESENTS 78 FREE SONGS WITH ISSUE #75! GROUP ONE: MELODIC HARD 22. Maessorr Structorr - Lonely Mariner 42. Axon-Neuron - Erasure 61. Zark - Lord Rat ROCK/AOR From the album: Rise At Fall From the album: Metamorphosis From the album: Tales of the Expected www.maessorrstructorr.com www.axonneuron.com www.facebook.com/zarkbanduk 1. Lotta Lené - Souls From the single: Souls 23. 21st Century Fugitives - Losing Time 43. Dimh Project - Wolves In The 62. Dejanira - Birth of the www.lottalene.com From the album: Losing Time Streets Unconquerable Sun www.facebook. From the album: Victim & Maker From the album: Behind The Scenes 2. Tarja - No Bitter End com/21stCenturyFugitives www.facebook.com/dimhproject www.dejanira.org From the album: The Brightest Void www.tarjaturunen.com 24. Darkness Light - Long Ago 44. Mercutio - Shed Your Skin 63. Sfyrokalymnon - Son of Sin From the album: Living With The Danger From the album: Back To Nowhere From the album: The Sign Of Concrete 3. Grandhour - All In Or Nothing http://darknesslight.de Mercutio.me Creation From the album: Bombs & Bullets www.sfyrokalymnon.com www.grandhourband.com GROUP TWO: 70s RETRO ROCK/ 45. Medusa - Queima PSYCHEDELIC/BLUES/SOUTHERN From the album: Monstrologia (Lado A) 64. Chaosmic - Forever Feast 4. -
Marillion.Com " Non Lascia Il Segno
Marillion Scritto da Montag Domenica 01 Novembre 2009 15:18 - Il primo 'nucleo' dei Marillion nasce nel '78 da un'idea del batterista Mick Pointer. Il nome del gruppo è Silm arillion , nome tratto da un libro pubblicato postumo di J.R.R. Tolkien, autore e ispiratore (involontario) di un genere letterario che è il Fantasy . All'inizio i Silmarillion sono una band strumentale, con influenze non definite ma con una propensione ad una musica piuttosto complessa. Ma il gruppo è giovane e, dopo i primi 'disastri' live, chitarrista e tastierista se ne vanno. L'anno successivo, grazie ai soliti e mitici annunci sulle riviste di settore, si unisce al gruppo Ste ve Rothery , un chitarrista affascinato da artisti quali Gilmour, Hackett e Latimer. La sintonia con il resto del gruppo, in special modo con Mick, è totale. Si riesce a trovare un tastierista, Brian Jelliman, e il nome del gruppo viene 'accorciato' a Marillion. Si cominciano a produrre i primi demo di carattere estremamente differente dai Marillion che conosciamo: musica barocca con tinte neoclassiche, inserti di flauto e un'aria bucolica pervade la loro proposta musicale. Si cercano ingaggi per concerti, e dopo vari fiaschi si arriva a suonare persino in una clinica psichiatrica (almeno così narra la leggenda...). Sul finire del '79 una piccola svolta: Doug Irvine (bassista) si cura delle parti cantate! Questa scelta (del canto, cioè) 'sconvolge' la musica dei Marillion. Da brani precedenti, come una fenice, sorge la prima 'canzone' della band, Close (che con Fish diverrà The Web ). Purtroppo, Doug lascia la band e i reduci sono costretti a cercare bassista e cantante.