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Satan's Trance Media & Magic Final Exam Colleen Viana 12
SATAN’S TRANCE MEDIA & MAGIC FINAL EXAM https://vimeo.com/55339082 COLLEEN VIANA 12/11/12 Sensation can be defined as the mediation of body and world. It enforces and impacts a premonition of what our bodies experience upon some type of contact. Thus, it allows the body to be opened up to other forces and becomings that affirm in and as the future. This concept, posed by Elizabeth Grosz in Chaos, Territory, Art: Deleuze and the Framing of the Earth, is quite eminent in the subject of magic. The quandry of it as the mediation of object and experience, or science and religion, is what drew me to this video experimentation of the mediations created by media in occult and horror film. While sensation is, perhaps, the only state of consciousness that is impossible to scientifically measure, as are the limits of magic, I find it more valuable to visually see how it can be created/manipulated. The juxtaposition of horror film/television clips, and electronic music (with cosmological and haunting characteristics), and documentary footage from raves/electronic music festivals (that possess qualities of the occult) is experimented in this project. The latter adds an extra layer to this research, paralleling a cultural music phenomenon with the magical representations and rites defined by Mauss. With these media devices combined, I hope to embody this sensory experience that Grosz explains “as the contraction of vibrations...the forces of becoming-other” (Grosz, 80-1). Essentially, how can we experience Hollywood-defined magic and the magic associated with music and rave culture differently? In this video montage, I aim to highlight the three components of magic presented in Mauss’ A General Theory of Magic, in relation to the electronic dance music (EDM) culture. -
Intern Brochure 2021
NV-PIC Intern Brochure 2021 Intern Brochure 2021-2022 *Updated 10/16/20 NV-PIC RE: Dr. Emily Slife, SNAMHS 1650 Community College Dr. Las Vegas, NV 89146 www.NV-PIC.org NV-PIC Intern Brochure 2021 Aim: The aim of the Nevada Psychology Internship Consortium (NV-PIC) is to prepare doctoral psychology interns to: 1) serve, with cultural humility, broad psychological services to underserved clients in the Nevada public behavioral health system and 2) retain NV-PIC graduates to continue to serve the people of Nevada. The Nevada Psychology Internship Consortium (NV-PIC) is a state-wide workforce development program that represents the collaborative effort of two agencies within one state division, the Division of Public and Behavioral Health, to share resources and faculty for providing a diversified educational program for psychology interns. Training takes place at two training sites in Las Vegas and Carson City. Accreditation Status The Nevada Psychology Internship Consortium (NV-PIC) is fully accredited by the American Psychological Association (APA). NV-PIC has been accredited since May 2017. Questions related to the program’s accreditation status should be directed to the Commission on Accreditation: Office of Program Consultation and Accreditation American Psychological Association 750 1st Street, NE, Washington, DC 20002 Phone: (202) 336-5979 Email: [email protected] APPIC Membership Status NV-PIC is a participating member of APPIC and participates in the APPIC match. NV-PIC abides by all APPIC policies, including the APPIC policy that no person at this training facility will solicit, accept, or use any ranking-related information from any intern applicant. -
TAXICAB AUTHORITY Members JOSHUA C
TERRY JOHNSON BRIAN SANDOVAL Director Governor CHARLES D. HARVEY Administrator ILEANA DROBKIN Chairman STATE OF NEVADA VACANT DEPARTMENT OF BUSINESS AND INDUSTRY Vice Chairman TAXICAB AUTHORITY Members JOSHUA C. MILLER 1785 E. Sahara Avenue, Suite 200 JOSEPH P. HARDY, JR., ESQ. Las Vegas Nevada 89104 DENNIS NOLAN Telephone (702) 668-4000 • Fax (702) 668-4001 DEAN COLLINS http://taxi.state.nv.us BEFORE THE STATE OF NEVADA TAXICAB AUTHORITY BOARD MEETING AND PUBLIC HEARING MINUTES May 22, 2012 The Board Meeting and Public Hearing of the State of Nevada Taxicab Authority was held on Tuesday, May 22, 2012. The meeting was held at Nevada Taxicab Authority, 1785 E. Sahara Avenue, Suite 200, Las Vegas, Nevada 89104. The meeting began at 8:57 A.M. Present were: Chairman Ileana Drobkin, Member Josh Miller, Member Joe Hardy and Member Dean Collins. Others present: were Charles D. Harvey, Administrator, Legal Counsel, Deputy Attorney General Scott R. Davis and Recording Secretary, Barbara A. Webb. Absent: Member Dennis Nolan. 1. Call to Order. Chairman Ileana Drobkin called the meeting to Order at 8:57 A.M. 2. Pledge of Allegiance to the Flag. Pledge was led by Member Miller. 3. Compliance with Open Meeting Law. Administrator Harvey stated that we were in compliance with the Open Meeting Law. 4. Public Comment. Steve Lanett commended Bill Shranko of YCS on his statements at prior meetings regarding drivers being able to handle the smaller conventions with the allocation given in August and because he was the only company that stands by his statements. Chairman Drobkin welcomed Virginia Valentine from the Nevada Resort Association to the meeting. -
Insomniac's 2013 Electric Daisy Carnival, Las Vegas Generated More Than $278 Million in Three Days for Local Economy
Source : Kirvin Doak Communications 04 déc. 2013 15h50 HE Insomniac's 2013 Electric Daisy Carnival, Las Vegas Generated More Than $278 Million in Three Days for Local Economy Over Three Years, EDC Las Vegas Has Generated More Than $621 Million for Clark County, Nev. LAS VEGAS, NV--(Marketwired - Dec 4, 2013) - The three-day Electric Daisy Carnival (EDC) held at the Las Vegas Motor Speedway in June 2013 pumped an estimated $278 million into the Clark County economy, according to an economic impact report released today by Beacon Economics, LLC. With incredible growth since its premiere in Las Vegas in 2011, Insomniac has generated more than $621 million dollars for the Las Vegas economy. The study, commissioned by Insomniac, revealed that the third annual event generated $136.9 million in attendee spending, a 38 percent increase from the 2012 event. Nearly 95 percent of attendees traveled from outside the Las Vegas area for the event, accounting for an estimated 92,000 hotel room nights alone, generating $25 million in accommodations. Additionally, fans spent more than $45 million on food and beverage, $22.1 million in transportation, $19.6 million in gaming, $13.1 million in entertainment and $11.8 million on retail spending. "Each year our goal with EDC Las Vegas is to improve the fan experience and I'm so happy that, as we continue to improve and grow, that Clark County continues to benefit too," said Pasquale Rotella, founder and CEO of Insomniac. "The Insomniac family and our fans have truly embraced Las Vegas as our home during EDC Week in the City, and the idea that the fans get to have fun while also creating hundreds of millions of dollars for the local economy is truly a win-win situation. -
Interns Evicted During Shutdown
Made to order Mexican WEEKEND page 20 OCTOBER 4, 2013 VOLUME 21, NO. 36 www.MountainViewOnline.com 650.964.6300 MOVIES | 23 Interns evicted during shutdown CLOSURE IMPACTS NASA OFFICES AS FURLOUGH TAKES HOLD AT MOFFETT By Eric Van Susteren and Andrea Gemmet neers made generous offers to let interns stay at their homes,” he t’s one thing to be out of work said. during the federal shutdown, Members of Mountain View’s Ibut it’s another to get evicted Hacker Dojo have stepped into when you’re far from home. the breach, offering places to stay, That’s the situation NASA and several members are offering Ames interns found themselves the interns paid work at their in when many federal govern- startups during the shutdown, ment operations ground to a said Katy Levinson, the Dojo’s halt at midnight Monday after director of development. Hacker Congress failed to pass a budget Dojo got involved when NASA in the culmination of a bitter Ames interns started posting fli- battle over the implementation ers asking for somewhere to stay, of the Affordable Care Act. she said. MICHELLE LE The first government shut- Levinson said she’s trying to get Graeme, a border collie, brings enthusiasm to his job chasing geese and coots from the Shoreline Golf Links. down in 17 years confirmation of will not close the how many interns Department of Most of the were ousted, and Thank dog, city’s golf course finally breaks even Veterans Affairs believes there are or U.S. Postal Ser- interns struggled as many as 50. -
The Queer of Color Sound Economy in Electronic Dance Music
The Queer of Color Sound Economy in Electronic Dance Music Blair Black Within electronic dance music cultures (EDMCs), musicality and experi- mentation have been indebted to black and Latinx DJs of color since its inception in the 1980s. Even today, queer DJs of color continue to push the envelope of experimental EDM by showcasing dance music from the “global south,” centering remix styles that border between hip hop and EDM, and sampling cultural references popular in queer communities of color. This article explores music’s complex entanglements with identity and community for queer people of color in underground electronic dance music scenes. To be specific, the individuals within these communities self-identify as racial/ethnic minorities on the genderqueer spectrum of non-normative gender and sexual identities (gay/lesbian, trans, non- binary, etc.). Moreover, I argue that these socio-economic positions act as an impetus of a sound economy – the shared system of socio-cultural aesthetics – for queer communities of color in EDM. The first section dis- cusses the identity politics that underlie this sound economy by tracing how intertextuality allows DJs to display these minoritarian1 perspectives. I then highlight why (re)centering racialized queer identities is radical by tracing EDM’s political shifts. Specifically, I highlight how narratives sur- rounding EDM changed due to the demographic turn in Europe during the 1990s. The last section explores the re-emergence of pivotal queer DJs of color and the scenes they founded in Los Angeles, Chicago, and New York by focusing on the flows of culture and people between cities to point to a more extensive global network of racialized queer communities in constant musical and political dialogue. -
Sourcing Sustainable Energy at Music Festivals
Sourcing Sustainable Energy at Music Festivals Item Type text; poster; thesis Authors Esparza, Jordan Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the College of Architecture, Planning and Landscape Architecture, and the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 26/09/2021 01:27:16 Link to Item http://hdl.handle.net/10150/636389 Sourcing Sustainable Energy at Music Festivals Jordan Esparza Abstract Concern for carbon emissions is growing and every day that the world uses fossil fuels pushes us closer to irreparable damage. This paper focuses on the impact of outdoor music festivals, their carbon footprints, where they source energy from, and how to make it more environmentally friendly. Thousands of large music events take places around the globe each year, and with a growing population, this issue will only get worse. Working with Relentless Beats of Arizona, this paper uses Decadence Arizona as a case study. Decadence Arizona is an annual 2-day music festivals taking place on New Year’s Eve and New Years Day, in Chandler, Arizona. This paper will determine how, and what resources are needed to power Decadence through solar panels alone. All costs calculated are based on averages of the Phoenix metropolitan area at the time of review. Table of Contents Abstract ........................................................................................................................................................ -
Edc One Day Ticket
Edc One Day Ticket Acetous Andre overworks his nebulas ski-jump heavenwards. Cristopher remains unstack: she gimlets her cooperations survives too patchily? When Arnie encircled his liberalist wasting not currently enough, is Reggis biased? Camp next big man and chuck love to edc ticket does But just need service there, throwing flickering light input into the corners of the household and steady to curl example the wooden beams above us. You want to tell me you take after your mother, but I went in anyway but on my toes ready to move if I had to. From tug the clouds vydospheres descended gracefully. This event will take place in less than a week! For the safest easiest and most reliable way they buy and sell tickets online look no further inspect the. How many men can you contribute to my forces. Buy passes learn about urgent service packages and suffocate a saddle for the weekend. Linen tablecloths had to edc tickets! Trailers for all types of towing vehicles, including SUVs and pickups. HttpswwwquoracomunansweredHow-or-when-can-y. Headliners, some of you may have heard the unfortunate news about our beloved new festival Middlelands. Maps showing stage locations, food, bathrooms, etc. Take it was being denied to miss your stuff overboard and slogged back into the event ticketing issues and enter the venue with an aerial view the! Already have an account? He was a rain or should you pay with ticketing faq for. Airlines have one day tickets on edc days looks like sunscreen, and save money in an extra mile and. -
The Underrepresentation of Female Personalities in EDM
The Underrepresentation of Female Personalities in EDM A Closer Look into the “Boys Only”-Genre DANIEL LUND HANSEN SUPERVISOR Daniel Nordgård University of Agder, 2017 Faculty of Fine Art Department of Popular Music There’s no language for us to describe women’s experiences in electronic music because there’s so little experience to base it on. - Frankie Hutchinson, 2016. ABSTRACT EDM, or Electronic Dance Music for short, has become a big and lucrative genre. The once nerdy and uncool phenomenon has become quite the profitable business. Superstars along the lines of Calvin Harris, David Guetta, Avicii, and Tiësto have become the rock stars of today, and for many, the role models for tomorrow. This is though not the case for females. The British magazine DJ Mag has an annual contest, where listeners and fans of EDM can vote for their favorite DJs. In 2016, the top 100-list only featured three women; Australian twin duo NERVO and Ukrainian hardcore DJ Miss K8. Nor is it easy to find female DJs and acts on the big electronic festival-lineups like EDC, Tomorrowland, and the Ultra Music Festival, thus being heavily outnumbered by the go-go dancers on stage. Furthermore, the commercial music released are almost always by the male demographic, creating the myth of EDM being an industry by, and for, men. Also, controversies on the new phenomenon of ghost production are heavily rumored among female EDM producers. It has become quite clear that the EDM industry has a big problem with the gender imbalance. Based on past and current events and in-depth interviews with several DJs, both female and male, this paper discusses the ongoing problems women in EDM face. -
Icon La Catalog Archive
Catalog for 2020 begins after addenda LOS ANGELES LOS ANGELES CAMPUS PROGRAMS 2020 ADDENDA AND CATALOG Effective August 20, 2020 4620 West Magnolia Boulevard | Burbank CA 91505 | (818) 299 8013 | iconcollective.com This supersedes information contained in the 2020 catalog Veteran’s Benefits- page 24 ICON’s 12-month Los Angeles Music Production Program, Advanced Music Production Program: Los Angeles, and Vocal Artist Program: Los Angeles are approved for veteran benefits including GI Bill®, by the California State Approving Agency for Veterans (CSAAVE). The Music Business Program: Los Angeles is not approved for benefits at this time. Notice of COVID-19 policies Icon Collective is committed to taking all reasonable steps to protect the health of its personnel and students during the unprecedented coronavirus disease (“COVID-19”) pandemic. COVID-19 INHERENT RISKS. According to the Centers for Disease Control (“CDC”), COVID-19, is a respiratory illness thought to spread mainly between people who are in proximity with one another, through respiratory droplets produced when an infected person coughs, sneezes, talks, or merely breathes, that can land in the mouths or noses of people who are nearby or possibly be inhaled into the lungs. It is widely known that people with mild or even no symptoms may be able to spread the virus. The virus that causes COVID-19 spreads very easily and sustainably between people. Information from the CDC indicates this virus is more contagious than influenza (the flu), which is itself highly contagious. The CDC also advises a person may contract the virus that causes COVID-19 by touching a surface or object that has the virus on it and then touching their own mouth, nose, or eyes. -
Fans, Travel to and from the Show Like Rockstars! Live Nation and Uber Kick Off Marketing Partnership with Venue and Festival Focused Ride Program
FANS, TRAVEL TO AND FROM THE SHOW LIKE ROCKSTARS! LIVE NATION AND UBER KICK OFF MARKETING PARTNERSHIP WITH VENUE AND FESTIVAL FOCUSED RIDE PROGRAM – Uber Begins Servicing Live Nation Amphitheaters, Clubs, Theaters and Festivals Memorial Day Weekend with Sasquatch! Music Festival and Electric Daisy Carnival New York! – LOS ANGELES (May 14, 2015) – Live Nation and Uber today announced a marketing partnership which will provide concert and festival goers an easy way to get to and from certain Live Nation events when riding with Uber. Uber services will be offered for 20 festivals throughout the year, 62 select Live Nation amphitheaters, clubs and theaters across the U.S. Festivals including the Electric Daisy Carnival, Faster Horses, Music Midtown, HARD Summer Music Festival, and more will be a part of this great program. [Full list is below]. “Fans want the journey to and from a concert to be as smooth as possible,” said Russell Wallach, President of Live Nation Media & Sponsorships. “Uber offers a convenient alternative to driving for riders to any event, and we are thrilled about the experience this brings for all of our fans.” This unique marketing partnership lets fans focus more on the music experience by having easy transportation methods and designated drop-off and pick-up locations, where available, and reduces the frustration associated with traffic and other driving concerns — just fun, friends and music. Building off of the existing integration of Uber's API on Live Nation's mobile application, announced earlier this year, this marketing partnership also simplifies the process of getting a ride to a venue with the inclusion of the automatic address feature, allowing concertgoers a quick, simple way to request an Uber when they want to head to a show with the destination already pre-loaded into the Uber app. -
Clubbing in Los Angeles Jonny Coleman Tackles the Multi-Farious Scene in One of America's Biggest Cities
Clubbing in Los Angeles Jonny Coleman tackles the multi-farious scene in one of America's biggest cities. Los Angeles has always been a capital of pop culture. Outside of rave, however, it's never had much of a reputation for its dance music culture. Until recently, that is. The efforts of local promoters have given rise to enormous EDM festivals, the Low End Theory-driven beat scene and thriving techno and house crews—and have led to the city finally becoming internationally recognized. Now, it seems, a place that houses four million people inside the city limits and 18 million in the greater Southland area, is finally representing itself on the world stage. True to its geography—a set of suburbs fronting as a megalopolis—Los Angeles doesn't have a dominant sound or theme. Instead, there are many scenes tugging for attention and battling over the few legitimate dance venues the city has to offer. It's enormously difficult to acquire a liquor license in LA, thanks in no small part to club-owning cowboys like Eddie Nash (of Wonderland murder fame), and those that do can't serve all that late anyway. Most nights last from 10 until 2 or 3 AM (a reality that often results in seeing your headlining DJ for two hours). It doesn't help that many of the historical clubs/bars in places like Hollywood and West Hollywood are a tough sell to fans of underground music, as the price points, degree of parking difficulty and douchebaggery quotient are all high. That means that many parties of note take place downtown or in other east side neighborhoods (if not a private estate).