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Managing the Boundaries of Taste: Culture, Valuation, and Computational Social Science* Ryan Light University of Oregon Colin Od
Managing the Boundaries of Taste: Culture, Valuation, and Computational Social Science* Ryan Light University of Oregon Colin Odden Ohio State University Ohio Colleges of Medicine This is a pre-copyedited, author-produced version of an article accepted for publication in Social Forces following peer review. The version of record is available online at: https://doi.org/10.1093/sf/sox055. *Please direct all correspondence to Ryan Light, [email protected]. The authors thank James Moody, Jill Ann Harrison, Matthew Norton, Brandon Stewart, Achim Edelmann, Clare Rosenfeld Evans, Jordan Besek, and Brian Ott for their helpful comments on earlier drafts of this paper. Managing the Boundaries of Taste: Culture, Valuation, and Computational Social Science Abstract The proliferation of cultural objects, such as music, books, film and websites, has created a new problem: How do consumers determine the value of cultural objects in an age of information glut? Crowd-sourcing – paralleling word-of-mouth recommendations – has taken center stage, yet expert opinion has also assumed renewed importance. Prior work on the valuation of artworks and other cultural artifacts identifies ways critics establish and maintain classificatory boundaries, such as genre. We extend this research by offering a theoretical approach emphasizing the dynamics of critics’ valuation and classification. Empirically, this analysis turns to Pitchfork.com, an influential music review website, to examine the relationship between classification and valuation. Using topic models of fourteen years of Pitchfork.com album reviews (n=14,495), we model the dynamics of valuation through genre and additional factors predictive of positive reviews and cultural consecration. We use gold record awards to study the relationship between valuation processes and commercial outcomes. -
El Pais Digital
EL PAIS DIGITAL CON EL ARTISTA LUIS CAMNITZER "Aprendí a pensar en Uruguay" Pedro da Cruz LUIS CAMNITZER es artista visual, investigador, docente y crítico. Nació en Lübeck, Alemania, en 1937, y un año más tarde su familia emigró a Uruguay. Estudió en la Escuela de Bellas Artes y la Facultad de Arquitectura. En 1964 se radicó en Estados Unidos. En 1969 ingresó como profesor en la State University of New York, en la que enseñó durante treinta años. En 2007 fue curador pedagógico de la Bienal del Mercosur en Porto Alegre, y en 2008 publicó Didáctica de la liberación. Arte conceptualista latinoamericano. Una serie de sus obras, pertenecientes al acervo de DAROS Latinamerica, son actualmente mostradas en el Museo Nacional de Artes Visuales. TOMA DE CONCIENCIA. -Nacido en Alemania, crecido en Uruguay, activo en Estados Unidos. ¿Cómo percibís las distintas posturas sobre tu origen y pertenencia nacional? -Siempre me extraña que haya una creencia subyacente de que el lugar donde nacés se te mete en la estructura genética y te condiciona. Me parece una posición muy reaccionaria e irreal, anticientífica. -Tú viniste a Uruguay con tu familia cuando tenías un año. -Exacto. Siempre digo que si mis padres hubieran esperado un año, hubiera nacido en Uruguay. ¿Y eso me hace distinto? No. Sería exactamente la misma persona. Entonces, la nacionalidad, en la medida en que crees en que la nacionalidad tiene sentido, o la nación tiene sentido, la ubicas por los entornos culturales. No por los entornos donde respiraste por primera vez, sino donde tomaste conciencia por primera vez. -
JEN CLOHER Jen Cloher
JEN CLOHER Jen Cloher Album Biography: June 6, 2017 Album Release: August 11, 2017 “It’s self-titled.” The three-word answer is all that Jen Cloher requires to describe her new album, a letter in triplicate addressed to music, to Australia and to love. It’s the most honest album she’s ever written. Jen liKes best to tell the truth. Jen Cloher is the culmination of a period of artistic and personal growth in which the artist tooK her rightful place as the punk-rocK figurehead of Melbourne’s famous DIY music scene. The NIDA graduate is an outspoKen advocate for artist rights, a label boss and band-leader, she also happens to be the partner of acclaimed songwriter Courtney Barnett. Cloher’s fascinating life-story is enough justification to taKe notice here, but it’s the music that will have you returning to this album again and again. Cloher says: “It’s a classic rocK album, recorded live in one room with minimal overdubs… I’m not too good at going into descriptive language around my own music but I suppose it is intimate without ever feeling too precious.” The bulK of Cloher’s album was recorded in October 2016 by Greg WalKer amidst the rolling greenery of Jumbunna in Victoria’s Gippsland, these are songs of distance and songs of driving. Four years on, the band that first played together on Cloher’s acclaimed third album, the Australian Music Prize nominated In Blood Memory, are bold and assured. The songs are split here and there by the melodic intricacy of guitarist Courtney Barnett while drummer Jen Sholakis and bassist Bones Sloane add weight and space, playing only what is needed, leaving room for the songs to breathe, transform and soar. -
Spanglish Code-Switching in Latin Pop Music: Functions of English and Audience Reception
Spanglish code-switching in Latin pop music: functions of English and audience reception A corpus and questionnaire study Magdalena Jade Monteagudo Master’s thesis in English Language - ENG4191 Department of Literature, Area Studies and European Languages UNIVERSITY OF OSLO Spring 2020 II Spanglish code-switching in Latin pop music: functions of English and audience reception A corpus and questionnaire study Magdalena Jade Monteagudo Master’s thesis in English Language - ENG4191 Department of Literature, Area Studies and European Languages UNIVERSITY OF OSLO Spring 2020 © Magdalena Jade Monteagudo 2020 Spanglish code-switching in Latin pop music: functions of English and audience reception Magdalena Jade Monteagudo http://www.duo.uio.no/ Trykk: Reprosentralen, Universitetet i Oslo IV Abstract The concept of code-switching (the use of two languages in the same unit of discourse) has been studied in the context of music for a variety of language pairings. The majority of these studies have focused on the interaction between a local language and a non-local language. In this project, I propose an analysis of the mixture of two world languages (Spanish and English), which can be categorised as both local and non-local. I do this through the analysis of the enormously successful reggaeton genre, which is characterised by its use of Spanglish. I used two data types to inform my research: a corpus of code-switching instances in top 20 reggaeton songs, and a questionnaire on attitudes towards Spanglish in general and in music. I collected 200 answers to the questionnaire – half from American English-speakers, and the other half from Spanish-speaking Hispanics of various nationalities. -
L the Charlatans UK the Charlatans UK Vs. the Chemical Brothers
These titles will be released on the dates stated below at physical record stores in the US. The RSD website does NOT sell them. Key: E = Exclusive Release L = Limited Run / Regional Focus Release F = RSD First Release THESE RELEASES WILL BE AVAILABLE AUGUST 29TH ARTIST TITLE LABEL FORMAT QTY Sounds Like A Melody (Grant & Kelly E Alphaville Rhino Atlantic 12" Vinyl 3500 Remix by Blank & Jones x Gold & Lloyd) F America Heritage II: Demos Omnivore RecordingsLP 1700 E And Also The Trees And Also The Trees Terror Vision Records2 x LP 2000 E Archers of Loaf "Raleigh Days"/"Street Fighting Man" Merge Records 7" Vinyl 1200 L August Burns Red Bones Fearless 7" Vinyl 1000 F Buju Banton Trust & Steppa Roc Nation 10" Vinyl 2500 E Bastille All This Bad Blood Capitol 2 x LP 1500 E Black Keys Let's Rock (45 RPM Edition) Nonesuch 2 x LP 5000 They's A Person Of The World (featuring L Black Lips Fire Records 7" Vinyl 750 Kesha) F Black Crowes Lions eOne Music 2 x LP 3000 F Tommy Bolin Tommy Bolin Lives! Friday Music EP 1000 F Bone Thugs-N-Harmony Creepin' On Ah Come Up Ruthless RecordsLP 3000 E David Bowie ChangesNowBowie Parlophone LP E David Bowie ChangesNowBowie Parlophone CD E David Bowie I’m Only Dancing (The Soul Tour 74) Parlophone 2 x LP E David Bowie I’m Only Dancing (The Soul Tour 74) Parlophone CD E Marion Brown Porto Novo ORG Music LP 1500 F Nicole Bus Live in NYC Roc Nation LP 2500 E Canned Heat/John Lee Hooker Hooker 'N Heat Culture Factory2 x LP 2000 F Ron Carter Foursight: Stockholm IN+OUT Records2 x LP 650 F Ted Cassidy The Lurch Jackpot Records7" Vinyl 1000 The Charlatans UK vs. -
El Oído Pensante- Año 1
Artículo / Artigo / Article Acerca de la heterogeneidad del rock: el “aguante” en el heavy metal en Argentina Manuela Belén Calvo Universidad Nacional del Centro de la Provincia de Buenos Aires Consejo Nacional de Investigaciones Científicas y Técnicas, Argentina [email protected] Resumen En este artículo examinamos la heterogeneidad del rock a partir del análisis de uno de sus subgéneros: el heavy metal en el contexto de Argentina. Nos centramos en el “aguante”, un término asociado a los fans de fútbol, el cual es usado en el rock para referirse a las dimensiones cultural y social del género musical. La expresión posee diversos significados. Uno de ellos está relacionado con algunas formas de “resistencia”, tales como resistencia física de los fans durante el concierto y el hecho de resistir frente a las adversidades de la vida. El propósito de este artículo es analizar cómo el “aguante” en el heavy metal argentino está vinculado al mismo tiempo como el contexto local del “rock chabón” y la tradición global del heavy metal. Por otra parte, discutimos con la definición del heavy meta como género musical, debido a que su público y sus productores lo reconocen como un género separado del rock. Palabras clave: rock, heavy metal, “aguante”, Argentina Sobre a heterogeneidade do rock: o aguante no heavy metal na Argentina Resumo O objetivo desse artigo é expor a heterogeneidade do rock a partir da análise de um de seus subgêneros: o heavy metal na Argentina. Enfocamos a questão do aguante –expressão associada às torcidas de futebol– como um reflexo das dimensões cultural e social do citado subgênero. -
Freakwater.” – CHICAGO TRIBUNE
“Songs about broken vows, impoverished families and impending death aren’t sup- posed to be pretty. Just don’t tell Freakwater.” – CHICAGO TRIBUNE “Bean and Irwin gave so generously of themselves that style and substance became virtually indistinguishable.” – PITCHFORK FREAKWATER SCHEHERAZADE RELEASE DATE: FEBRUARY 5, 2016 If you stop talking you’ll die. The storied namesake of the first time in the band’s long career that they recorded Freakwater’s new album, Scheherazade, told elaborate, an album outside of Chicago. The slower pace of Louisville interwoven tales of depth and pathos, because her life – what Janet calls “the Kentucky crawl” – and an literally depended on it. These songs, like Scheherazade’s extended cast of talented local musicians proved perfect “A Thousand And One Nights,” are stories within stories, elements for developing their new songs. Freakwater’s spinning into other stories, asking more than they answer. amazing collaborators on Scheherazade include Ellkington They lie between resignation and resolve, between desolate (Tweedy, Horse’s Ha, Eleventh Dream Day) on pedal steel and luminous. There are unnamed protagonists, unknown and mandola, Evan Patterson (Young Widows, Jaye Jayle) destinations, unknowable resolutions. There are the on electric guitars, Warren Ellis (Dirty Three, Nick Cave) on mysteries of the living and the mysteries of the dead; they fiddle and alto flute,Sarah Balliet (Murder By Death) on lay between resignation and resolve, between desolate and cello, and Morgan Geer (Drunken Prayer) on electric guitar. luminous. These stories are neither pretty nor not pretty, just honest, literate, and intensively inhabited by their narrators. With its generations old deep harmonies and horrors, “What the People Want,” the album’s eerie opening track, Anchored around the fragile and compelling harmonies of captures a preternatural ability to meld the alluring and Janet Bean and Catherine Irwin and the subdued, oracular the gruesome, the beauty in the murder ballad. -
Sandspur, Vol. 43 No. 12, December 15, 1937
University of Central Florida STARS The Rollins Sandspur Newspapers and Weeklies of Central Florida 12-15-1937 Sandspur, Vol. 43 No. 12, December 15, 1937 Rollins College Find similar works at: https://stars.library.ucf.edu/cfm-sandspur University of Central Florida Libraries http://library.ucf.edu This Newspaper is brought to you for free and open access by the Newspapers and Weeklies of Central Florida at STARS. It has been accepted for inclusion in The Rollins Sandspur by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Rollins College, "Sandspur, Vol. 43 No. 12, December 15, 1937" (1937). The Rollins Sandspur. 508. https://stars.library.ucf.edu/cfm-sandspur/508 Florida's Oldest College Newspaper fto iunsi^san{i0pur VOLUME 43 (Weekly Student Newspaper) WINTER PARK, FLORIDA, WEDNESDAY, JANUARY 12, 1938 (Complete Campus Coverage) NUMBER 13 NEW CHAPTER OF SIGMA NU INSTALLED SATURDAY REGULATIONS FOR New Flagship of Far East Fleet MARTIN TALKS INITIATION S0LI0IST8 FOR INSTALLATION OF The Faculty Committee on Student Standing wishes to EPSILON TAU IS call attention to the follow ing regulations with regard BACH PROGRAM to initiation into the frater CLIMAX OF WEEK nities and sororities at Rol lins College; Second Division Convention CtllSE WAfI The candidate must have MADE PUBLIC Held in Chapter House completed one full term of Saturday Morning Sees Challenge to America in work as a regular student at Three Soloists Are From GUST OF NEW Far Eastern Situation Rollins College with a satis Bethlehem Bach Festival COATES IS COMMANDER Unequaled in Decades factory rating in each course Group taken. -
La Década Perdida En Ecuador a Través De Los Documentales Sobre Alfaro Vive Carajo
Garrido Sanchís, Rubén (2018). El Documental y la historia de los vencidos: la década perdida en Ecuador a través de los documentales sobre Alfaro Vive Carajo El documental y la historia de los vencidos: la década perdida en Ecuador a través de los documentales sobre Alfaro Vive Carajo The Documentary and the history of the defeated: the lost decade in Ecuador through the documentaries on Alfaro Vive Carajo Resumen La utilización del documental como testimonio histórico ayuda a la construcción de un relato histórico más amplio. Esto es especialmente interesante a la vista de la creación de una historia de los vencidos que aporta visiones que chocan con la interpretación doctrinaria del pasado. Para ello nos basaremos en los documentales de Alfaro vive, del sueño al caos (Isabel Dávalos, 2007) y Alfaro Vive Carajo (Mauricio Samaniego, 2015) como ejemplos del rescate de otras miradas referentes al conflicto guerrillero de Alfaro Vive Carajo (AVC) vivido en el Ecuador en la década de los 80. Finalizaremos con una crítica a la simplificación de la construcción binaria del discurso “Este- Oeste” durante la Guerra Fría. Palabras claves Documental histórico; vencidos; Alfaro; Febres Cordero; Guerra Fría. Abstract The use of the documentary as a historical testimony helps to build a larger historical narration. This is especially interesting in view of the creation of a history of the defeated that brings visions against the doctrinal interpretation of the past. For this we will be based on the documentaries of Isabel Dávalos Alfaro vive, del sueño al caos (2007) and Mauricio Samaniego Alfaro Vive Carajo (2015) as examples of the rescue of other glances referring to the guerrilla conflict of Alfaro Vive Carajo (AVC ) at ecuador during the 80’s. -
Una Interjección De Sucre 1
Una interjección de Sucre 1 José Luis Ayala Universidad Ricardo Palma [email protected] Resumen Ricardo Palma asevera que el general José Antonio de Sucre era un mili- tar culto, quien casi nunca se expresaba con palabras cargadas de doble significado o de connotación grosera. Al contrario, gozaba de un evidente prestigio moral y ético, no solo ante el propio general Simón Bolívar sino también entre los oficiales que lo conocían. Sucre era además de buen amigo, una persona leal de quien Bolívar pensaba que algún día le sucede- ría en el mando y construcción de la nuevas Repúblicas. Es por esa razón que Ricardo Palma, nombra una palabra expresada por Sucre, como una evidente rareza en el lenguaje del héroe asesinado en Berruecos. Palabras Clave: cartas, interjección, lenguaje culto, Sucre, Bolivar, Palma Abstract Ricardo Palma asserts that General José Antonio de Sucre was a cultured military man, who almost never expressed himself with words loaded with double meanings or coarse connotations. Quite the opposite, he enjoyed an evident moral and ethical prestige, not only from the standpoint of his own General Simon Bolivar, but among the officers who knew him. Sucre was also a good friend, a loyal person whom Bolí- var thought would succeed him some day in the command and the building of the new Republics. It is for that reason that Ricardo Palma names a word expressed by Sucre, as an evident rarity in the language of the murdered hero in Berruecos. Keywords: letters, interjection, cultured language, Sucre, Bolivar, Palma 1 Palma Ricardo (1995) La pinga de Bolívar y otras tradiciones. -
Every Purchase Includes a Free Hot Drink out of Stock, but Can Re-Order New Arrival / Re-Stock
every purchase includes a free hot drink out of stock, but can re-order new arrival / re-stock VINYL PRICE 1975 - 1975 £ 22.00 30 Seconds to Mars - America £ 15.00 ABBA - Gold (2 LP) £ 23.00 ABBA - Live At Wembley Arena (3 LP) £ 38.00 Abbey Road (50th Anniversary) £ 27.00 AC/DC - Live '92 (2 LP) £ 25.00 AC/DC - Live At Old Waldorf In San Francisco September 3 1977 (Red Vinyl) £ 17.00 AC/DC - Live In Cleveland August 22 1977 (Orange Vinyl) £ 20.00 AC/DC- The Many Faces Of (2 LP) £ 20.00 Adele - 21 £ 19.00 Aerosmith- Done With Mirrors £ 25.00 Air- Moon Safari £ 26.00 Al Green - Let's Stay Together £ 20.00 Alanis Morissette - Jagged Little Pill £ 17.00 Alice Cooper - The Many Faces Of Alice Cooper (Opaque Splatter Marble Vinyl) (2 LP) £ 21.00 Alice in Chains - Live at the Palladium, Hollywood £ 17.00 ALLMAN BROTHERS BAND - Enlightened Rogues £ 16.00 ALLMAN BROTHERS BAND - Win Lose Or Draw £ 16.00 Altered Images- Greatest Hits £ 20.00 Amy Winehouse - Back to Black £ 20.00 Andrew W.K. - You're Not Alone (2 LP) £ 20.00 ANTAL DORATI - LONDON SYMPHONY ORCHESTRA - Stravinsky-The Firebird £ 18.00 Antonio Carlos Jobim - Wave (LP + CD) £ 21.00 Arcade Fire - Everything Now (Danish) £ 18.00 Arcade Fire - Funeral £ 20.00 ARCADE FIRE - Neon Bible £ 23.00 Arctic Monkeys - AM £ 24.00 Arctic Monkeys - Tranquility Base Hotel + Casino £ 23.00 Aretha Franklin - The Electrifying £ 10.00 Aretha Franklin - The Tender £ 15.00 Asher Roth- Asleep In The Bread Aisle - Translucent Gold Vinyl £ 17.00 B.B. -
University Micrdnlms International 300 N
INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the Him is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. Unless we meant to delete copyrighted materials that should not have been filmed, you will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photo graphed the photographer has followed a definite method in “sectioning” the material. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. 4. For any illustrations that cannot be reproduced satisfactorily by xerography, photographic prints can be purchased at additional cost and tipped into your xerographic copy.