DOCSLIB.ORG

Unconstituted Praxis

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

UnconstitutedPraxis PraxisUnconstituted MATTIN MATTIN UnconstitutedPraxis PraxisUnconstituted MATTIN MATTIN Unconstituted Praxis Unconstituted Unconstituted Praxis MATTIN MATTIN 'Noise & Capitalism - Exhibition as Concert' with Mattin is the first part of the project 'Scores' Unconstituted Praxis organised in collaboration by CAC Brétigny and Künstlherhaus Stuttgart. The second part with Beatrice Gibson: The Tiger's Mind will be presented from November 6th to December 31st in Stuttgart, Germany. www.kuenstlerhaus.de By Mattin 'Scores' is part of the project 'Thermostat, cooperations between 24 French and German art centres', With contributions by: an initiative from the Association of French centres d'art, d.c.a., and the Institut Français in Germany. addlimb, Billy Bao, Marcia Bassett, Loïc Blairon, Ray Brassier, Diego Chamy, Janine Eisenaecher, Barry Esson, The project is generously supported by the German Federal Cultural Foundation, the French Ministry Ludwig Fischer, Jean-Luc Guionnet, Michel Henritzi, Anthony Iles, Alessandro Keegan, Alexander Locascio, of Culture and Communication, Culturesfrance Seijiro Murayama, Loty Negarti, Jérôme Noetinger, Andrij Orel & Roman Pishchalov, Acapulco Rodriguez, as well as by the Plenipotentiary for the Franco-German Cultural Relations. Benedict Seymour, Julien Skrobek, Taumaturgia and Dan Warburton. is initiated by Edited by: Anthony Iles Cover Illustration: Epilogue by Howard Slater Metal Machine Illustrations: Metal Machine Theory I-V, questions by Mattin answers by With support of Ray Brassier, commissioned and published 2010-2011 by the experimental music magazine Revue et Corrigée. Drunkdriver concert photographs: Drunkdriver/Mattin live at Silent Bar, Queens 3 January 2009 Olivier Léonhardt, Président de la Communauté d'agglomération du Val d'Orge/ by Tina De Broux. President of the community of agglomeration Val d’Orge Patrick Bardon, Vice-Président de la Communauté d'agglomération du Val d'Orge/ Noise & Capitalism - exhibition as concert documentation: photographs by Steeve Beckouet. Vice-President in charge of in charge of cultural equipments Bernard Decaux, Maire de Brétigny-sur-Orge/ Mayor of Brétigny-sur-Orge Translations: Philippe Camo, Adjoint au Maire de Brétigny-sur-Orge, Chargé des actions artistiques Spanish translations by Taumaturgia et culturelles, des festivités et du jumelage / Deputy Mayor in charge of culture French translation by Ray Brassier and festivals Published by CAC Brétigny & Taumaturgia, A Coruña Pierre Bal-Blanc, Directeur du CAC Brétigny / Director Adjointe du directeur, chargée de production / Production Manager : Taumaturgia Delphine Goutes Avda. da Coruña 24 Commissaire du projet culturel, Responsable des publics / Culture Projects : 15670 O Burgo Julien Duc-Maugé A Coruña/Spain Médiation / Art Education : Pierre Simon [email protected] Directrice administrative et financière / Head of Administration: http://taumaturgia.com Sophie Mugnier Assistante administrative / Accounting: Isabelle Dinouard, Nadine Monferme CAC Brétigny Coordination / Coordination : Céline Semence Centre d'art contemporain de Brétigny Gardienne, Gardien Adjoint/ Attendants, Facility Espace Jules Verne, Rue Henri Douard Managers: Vania Pion, Angela Chennaf, Rachid Boubekeur 91220 Brétigny-sur-Orge/France Tel.: (33) 01 60 85 20 76 CAC Brétigny is a facility of the agglomeration community of Val d'Orge authorised by [email protected] the Ministery of Culture and Communication. It receives the support of the DRAC Ile-de-France, the http://www.cacbretigny.com/ Ile-de-France Region, the General Council of Essonne, the town of Brétigny and the agglomeration community of Val d'Orge. Design: VIER5 Le CAC Brétigny est équipement de la Communauté d'agglomération du Val d'Orge, labellisé par le Assistants: Gerrit Schweiger, Nils Ulsamer Ministère de la Culture et de la Communication. Il reçoit le soutien de la DRAC Ile-de-France, de la Région Ile-de-France, du Conseil Général de l'Essonne, de la Ville de Brétigny Printing: VD Frankfurt, Frankfurt am Main, Germany et de la Communauté d'agglomération du Val d'Orge. Anti-Copyright Do whatever you want with any of this material with or without crediting the source. Links to PDF download: http://www.tatumaturgia.com/unconstituted_praxis.pdf 2011 http://www.cacbretigny.com/unconstituted_praxis.pdf ISBN: 978-84-939591-1-1 This publication has been realised as part of the exhibition Noise & Capitalism - exhibition as concert CAC Brétigny, 1 September - 30 October 2010 Cette publication est réalisée dans le cadre de l'exposition Bruit et capitalisme, l'exposition comme concert CAC Brétigny, 1 Septembre - 30 Octobre 2010 Mattin in collaboration with Loïc Blairon, Ray Brassier, Emma Hedditch, Esther Ferrer, Jean-Luc Guionnet, Anthony Iles, Matthieu Saladin, Howard Slater, Jarrod Fowler, Taku Unami, Zibigniew Karkowski & Evil Moisture (Andy Bolus), Tim Goldie, Diego Chamy, Malin Arnell, Ilya Lipkin, Barry Esson, Aitor Izagirre, David Baumflek, Daniel Lichtman, Maija Timonen, Anne Duffau... CAC BRETIGNY I’m destroyed, not dead cuz I’m destroyed Table of Contents Josetxo Anitua, ‘Reminder of a Precious Life’ Introduction Publisher’s Note by Taumaturgia Introduction by Alexander Locascio In memory of Jostetxo Anitua (1964-2008) Prologue to Unconstituted Praxis by Mattin Texts Oh I Love Freedom, But What Is It? A Second Subterranean Ethics The Multitude is a Hindrance Going Fragile Becoming Bilbao The Re-animated Corpse of Basque Culture Improvising Gaztetxes Give It All, Zero For Rules! Anti-CCopyright Anti-Copyright Devour Your Limitations! Managerial Authorship Theses On Noise Noise vs. Conceptual Art Against Representation Idioms and Idiots Interviews The Velvet Spectacle: an interview with Roman Pishchalov and Andrij Orel Towards Abject Music: an interview with Michel Henritzi A Single Decision: an interview with addlimb Why do you make records? a survey by Jérôme Noetinger You Cannot Survive Any of My Desires: Acapulco Rodriguez on Mattin & Billy Bao Fuck Separation: a conversation between Alessandro Keegan and Mattin Take Improvisation to the Streets: an interview with Dan Warburton Reviews Diego Chamy on Taku Unami & Mattin at KuLe, Berlin, 05/11/2007 Benedict Seymour on Karin Schneider & Mattin at Transmission, Glasgow, 26/04/2008 Ludwig Fischer on Drunkdriver & Mattin at Silent Barn, Queens, 03/01/2009 Marcia Bassett on Mattin at No Fun Fest Music Hall of Williamsburg, Brooklyn, 16/05/2009 Julien Skrobek on Taku Unami & Mattin at Rigoletto, Paris, 14/12/2009 Janine Eisenaecher on Anthony Iles, Ilya Lipkin, Mattin and Howard Slater, Basso, Berlin, 21/01/2010 Loïc Blairon on Mattin at KYTN, Dundee 26/02/2010 Barry Esson on Emma Hedditch, Anthony Iles, Mattin and Howard Slater, liam Casey and Laurie Pitt at KYTN, 28/12/2010 Loty Negarti on Mattin at Guardetxea, Donostia, 08/07/2010 Appendix Biographical Notes Discography Bibliography Index our own limits and those of Taumaturgia which said) to question the nature and parameters means of publication and languages of these Editorial Note have been devoured by the intensities that of improvisation: texts have made access to them somewhat underlie improvisation. Improvisation is not only an interaction between difficult. Here we collect them together for By Taumaturgia (Miguel Prado, Roberto Mallo, musicians and instruments, but a situation readers to facilitate access and make con- Raúl García) These intensities are the object of our inter- involving all the elements that constitute a nections between material which is not neces- est as publishers. We began to release albums concert, including the audience and the social sarily always easy or coherent. Readers can excited about subversive attributes of this and architectural space. explore the contradictions and problems them- At the beginning of 2007 we created the kind of music, but soon we realised that what selves, opening the texts to critical thinking in Taumaturgia project. It was initially conceived is crucial is the intention behind these prac- For this task and in this specific time, we con- a landscape in which today people seem preoc- as a record label exclusively devoted to tices. The sounds generated in an improvisation sider it indispensable to produce a book with cupied by simply confirming their own sense of experimental and improvised music. After some are a working tool, but have a double edge. a series of texts that are crucial for the aesthetics through refinement and innovation. months of work we contacted Mattin via e-mail They may soon be reified, qualified under the analysis of improvisation and noise. Both as a to prepare a concert of Josetxo Grieta in criteria of taste and virtuosity, and enter into an channel for generating theory; a tool to We have a subjective identification with this A Coruña. The concert was an incredible expe- aesthetic process that favours the domesti- understand more what it is we are doing when book's content. The texts were already there, rience (documented on Taumaturgia's second cation not only of the discourse but also the we are improvising, and a way to try to engage we only want to unite and share them. We want release), and since then we've shared many potential of improvisation as a form of praxis. with its force as a social practice. to distribute them through all the channels that conversations, experiences, concerts and a This book contains texts, interviews and respons- can activate thinking processes, encounters, great friendship. Mattin has influenced us a We do
Recommended publications
  • Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67

    Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67

    Listening in Double Time: Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67 Marc Howard Medwin A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2008 Approved by: David Garcia Allen Anderson Mark Katz Philip Vandermeer Stefan Litwin ©2008 Marc Howard Medwin ALL RIGHTS RESERVED ii ABSTRACT MARC MEDWIN: Listening in Double Time: Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67 (Under the direction of David F. Garcia). The music of John Coltrane’s last group—his 1965-67 quintet—has been misrepresented, ignored and reviled by critics, scholars and fans, primarily because it is a music built on a fundamental and very audible disunity that renders a new kind of structural unity. Many of those who study Coltrane’s music have thus far attempted to approach all elements in his last works comparatively, using harmonic and melodic models as is customary regarding more conventional jazz structures. This approach is incomplete and misleading, given the music’s conceptual underpinnings. The present study is meant to provide an analytical model with which listeners and scholars might come to terms with this music’s more radical elements. I use Coltrane’s own observations concerning his final music, Jonathan Kramer’s temporal perception theory, and Evan Parker’s perspectives on atomism and laminarity in mid 1960s British improvised music to analyze and contextualize the symbiotically related temporal disunity and resultant structural unity that typify Coltrane’s 1965-67 works.
  • Mysticism, Implicit Religion and Gravetemple's Drone Metal By

    Mysticism, Implicit Religion and Gravetemple's Drone Metal By

    1 The Invocation at Tilburg: Mysticism, Implicit Religion and Gravetemple’s Drone Metal by Owen Coggins 1.1 On 18th April 2013, an extremely slow, loud and noisy “drone metal” band Gravetemple perform at the Roadburn heavy metal and psychedelic rock festival in Tilburg in the Netherlands. After forty-five minutes of gradually intensifying, largely improvised droning noise, the band reach the end of their set. Guitarist Stephen O’Malley conjures distorted chords, controlled by a bank of effects pedals; vocalist Attila Csihar, famous for his time as singer for notorious and controversial black metal band Mayhem, ritualistically intones invented syllables that echo monastic chants; experimental musician Oren Ambarchi extracts strange sounds from his own looped guitar before moving to a drumkit to propel a scattered, urgent rhythm. Momentum overtaking him, a drumstick slips from Ambarchi’s hand, he breaks free of the drum kit, grabs for a beater, turns, and smashes the gong at the centre of the stage. For two long seconds the all-encompassing rumble that has amassed throughout the performance drones on with a kind of relentless inertia, still without a sonic acknowledgement of the visual climax. Finally, the pulsating wave from the heavily amplified gong reverberates through the corporate body of the audience, felt in physical vibration more than heard as sound. The musicians leave the stage, their abandoned instruments still expelling squalling sounds which gradually begin to dissipate. Listeners breathe out, perhaps open their eyes, raise their heads, shift their feet and awaken enough to clap and shout appreciation, before turning to friends or strangers, reaching for phrases and gestures, often in a vocabulary of ritual, mysticism and transcendence, which might become touchstones for recollection and communication of their individual and shared experience.
  • Eartrip7.Pdf Download

    Eartrip7.Pdf Download

    CONTENTS Editorial An internet-related rant and a summary of the delights to follow in the rest of the current issue. By David Grundy. [pp.3-4] Listening to Sachiko M 12,000 words (count' em) – a lengthy, and no-doubt futile attempt to get to grips with some of the recordings of empty-sampler player (or, in her own words, 'non-musician'), Sachiko M, including interminable ramblings on such albums as 'Bar Sachiko,' 'Filament 1', and 'Tears'. By David Grundy. [pp.5-26] The Drop at the Foot of the Ladder: Musical Ends and Meanings of Performances I Haven't Been To, Fluxus and Today 11,000 words (count 'em), covering the delicate and indelicate negotiations between music and performance, audience and performer, art and non-art, that take place in the 1960s works of Fluxus and their distant inheritors, Mattin and Taku Unami. By Lutz Eitel. [pp.27-52] Feature: Live in Seattle Two solo takes and a duo relating to Coltrane's 1965 recording, made at the breaking point of his 'Classic Quartet', poised between old and new, music that pushes at the limits and drops back only to push again with furious persistence. By David Grundy and Sean Bonney. [pp.53-74] Interview: The Rent To call The Rent a Steve Lacy 'tribute band' would be to do them an immense disservice, though their repertoire consists mainly of Lacy compositions. Their conversation with Ted Harms covers such topics as inter-disciplinarity, the Lacy legacy, and the notion of jazz repertoire. [pp.75-83] You Tube Watch: Billy Harper A feature devoted this issue to the great Texan tenor Billy Harper.
  • EUROPE), Y2,500 (JAPAN) Chart Ill 1111 Ill Changes #BXNCCVR 3 -DIGIT 908

    EUROPE), Y2,500 (JAPAN) Chart Ill 1111 Ill Changes #BXNCCVR 3 -DIGIT 908

    $6.95 (U.S.), $8.95 (CAN.), £5.50 (U.K.), 8.95 (EUROPE), Y2,500 (JAPAN) Chart Ill 1111 Ill Changes #BXNCCVR 3 -DIGIT 908 II 1111[ III.IIIIIII111I111I11II11I11III I II...11 #90807GEE374EM002# BLBD 897 A06 B0098 001 MAR 04 2 MONTY GREENLY 3740 ELM AVE # A Overview LONG BEACH CA 90807 -3402 Page 10 New Features l3( AUGUST 2, 2003 Page 57 THE INTERNATIONAL NEWSWEEKLY OF MUSIC, VIDEO AND HOME ENTERTAINMENT www.billboard.com HOT SPOTS New Player Eyes iTunes BuyMusic.com Rushes Dow nload Service to PC Market BY BRIAN GARRITY Audio -powered stores long offered by Best Buy, Tower Records and fye.com. NEW YORK -An unlikely player has hit the Web What's more, digital music executives say BuyMusic with the first attempt at a Windows -friendly answer highlights a lack of consistency on the part of the labels to Apple's iTunes Music Store: buy.com founder when it comes to wholesaling costs and, more importantly, Scott Blum. content urge rules. The entrepreneur's upstart pay -per-download venture,' In fact, this lack of consensus among labels is shap- buymusic.com, is positioning itself with the advertising ing up as a central challenge for all companies hoping slogan "Music downloads for the rest of us." to develop PC -based download stores. But beyond its iTunes- inspired, big -budget TV mar- "While buy.com's service is the least restrictive [down- the new service is less a Windows load store] that is currently available in the Windows keting campaign, SCOTT BLUI ART VENTURE 5 Trio For A Trio spin on Apple's offering and more like the Liquid (Continued on page 70) Multicultural trio Bacilos garners three nominations for fronts the Latin Grammy Awards.
  • Whitehouse, "Never Forget Death", "Halogen"

    Whitehouse, "Never Forget Death", "Halogen"

    Brainwashed - Whitehouse, "Never Forget Death", "Halogen" Written by Creaig Dunton Sunday, 03 June 2012 22:03 - Last Updated Sunday, 03 June 2012 23:20 These two albums are two thirds of what I consider to be Whitehouse's most idiosyncratic, and therefore most compelling phase in their 26-plus years of activity. Culminating with 1995's Qual ity Time , which I have discussed at length before , the phase began here, with probably their most musical and understated (in relative terms, of course) works, respectively. Susan Lawly Quality Time was my initial exposure to Whitehouse, but by the time 1998's Mummy and Daddy was released, I had pretty much already digested much of their discography. Looking over their body of work, I see four distinct phases in their albums, from lyrics to vocals to the noises that which accompanies them. The first phase, beginning with 1980's Birthdeath Experience up until 1983's legendary Right to Kill perhaps shows their greatest and most productive evolution. At that point, consisting of William Bennett and whomever he was acquainted with at that time (including Steve Stapleton for a few live performances), the band went from an atonal anomaly: in a modern context, Birthdeath Experience and Total Sex sound almost quaint; to a violent monstrosity: New Britain and Right to Kill are just as powerful and disturbing 30 years later. 1 / 5 Brainwashed - Whitehouse, "Never Forget Death", "Halogen" Written by Creaig Dunton Sunday, 03 June 2012 22:03 - Last Updated Sunday, 03 June 2012 23:20 The "second coming" as it was heralded at the time began with 1985's Great White Death and saw the band as a power trio of sorts: Bennett in the lead, backed by author Peter Sotos and Kevin Tomkins (then formally, and now once again currently of Sutcliffe Jugend).
  • David Sylvian As a Philosopher Free Download

    David Sylvian As a Philosopher Free Download

    DAVID SYLVIAN AS A PHILOSOPHER FREE DOWNLOAD Leonardo Vittorio Arena | 66 pages | 28 Feb 2016 | Mimesis International | 9788869770029 | English | MI, Italy ISBN 13: 9788869770029 It would be another six months before the Nine Horses album would surface. But ours is a way of life. Secrets of the Beehive made greater use of acoustic instruments and was musically oriented towards sombre, emotive ballads laced with string arrangements by Ryuichi Sakamoto and Brian Gascoigne. Sylvian and Fripp's final collaboration was the installation Redemption — Approaching Silence. The two artists lived in New Hampshire where they had two children. For me, that David Sylvian as a Philosopher an exploration of intuitive states via meditation and other related disciplines which, the more I witnessed free-improv players at work, appeared to be crucially important to enable a being there in the moment, a sustained alertness and receptivity. Keep me signed in. Lyrics by David Sylvian. Forgot your details? By Stephen Holden, 16 December David Sylvian. Venice by Christian Fennesz Recording 3 editions published in in Undetermined and English and held by 26 WorldCat member libraries worldwide. Martin Power. Following Dead BeesSylvian released a pair of compilation albums through Virgin, a two-disc retrospective, Everything and Nothingand an instrumental collection, Camphor. He has said about his process, "With Blemish I started each day in the studio with a very simple improvisation David Sylvian as a Philosopher guitar. His father Bernard was a plasterer by trade, his mother Sheila a housewife. Home Learning. Never one to conform to commercial expectations, Sylvian then collaborated with Holger Czukay.
  • Aventura We Broke the Rules Full Album Zip — Aventura, We Broke the Rules Full Album Zip > DOWNLOAD (Mirror #1) Aventura Broke Rulesaventura We

    Aventura We Broke the Rules Full Album Zip — Aventura, We Broke the Rules Full Album Zip > DOWNLOAD (Mirror #1) Aventura Broke Rulesaventura We

    Aventura, We Broke The Rules Full Album Zip Aventura, We Broke The Rules Full Album Zip 1 / 3 Clean-playing CD in original case. Quantity. 1 available. UPC. Item Number. Aventura, We Broke The Rules Full Album Zip > DOWNLOAD .... Need for Speed Payback, PC download, full version game, full pc game, for PC Before downloading make ... Need for Speed The Run te leva para uma emocionante aventura onde a força policial, impiedosa e ... Portable zip version: Extract the downloaded file archive. ... With it, they need to break different types of rules. 1. aventura we broke the rules 2. aventura we broke the rules download 3. aventura we broke the rules vinyl Aventura - We Broke The Rules download free mp3 flac. ... MP4 ADX DTS MIDI AAC; Size MP3 ZIP: 1851 mb; Size FLAC ZIP: 1450 mb; Rating: 4.9/5; Votes: 526.. Board of Rules and Appeals ... The Design Professional of Record must declare townhouse and twin ... Permit fee sheets break down the cost of the permit by category: ... Requires a Zoning Improvement Permit (ZIP) Adobe Reader . ... and suppliers have been paid at the time he requests final payment.. Download Album ▷▷ https://dl-mp3album.cf/?i=211280098 [album] Aventura - We Broke the Rules ZIP ALBUM MP3, [.mp3] Aventura - We Broke the Rules .... To start the project, think of some youth organisations that you already know. They can ... Max and Larry at break – we all love basketball. ... Write full sentences and use the ... Songs, stories and games ... Each Interact club has different rules – some are only for boys, ... cotton plant – dye – button – zip – pocket – thread.
  • Noise & Capitalism

    Noise & Capitalism

    Cover by Emma (E), Mattin (M) and Sara (S) Noise & Capitalism Noise & Capitalism the interesting part, it’s an you copy another persons E: I was just thinking - you were saying that you Is it possible to try to make than male identified bodies was given at school, she is done this, quite often I have interesting challenge for drawing, where S starts what we’ve been talking weren’t sure if this would something, to capture some- writing in the book. I had studying Graphic Design. S compartmentalised my work our exchange. Now we are and I do a version, and I about, I mean I’ve talked work in relation to the as- thing in design that trans- been involved in an exhibi- sent me the work that she and friendships because I saying that you would do pass it to M, and then that about it with you and with signment you’ve been given, mits the relations produced tion called ‘Her Noise’ at and Brit Pavelson made, it is feel self-conscious or un- the design when maybe you becomes the cover. M, about the projection of because of the time, and the in making this cover? I am the South London Gallery a book that tells in both the generous perhaps. think that we should do the M: Yes it sounds interesting you as the expert and, just amount of time that you & Capitalism Noise struggling with this process in 2005, which in some way text and layout, what are the I started to project that design.
  • Deadmau5, Derek Bailey, and the Laptop Instrument – Improvisation, Composition, and Liveness in Live Coding

    Deadmau5, Derek Bailey, and the Laptop Instrument – Improvisation, Composition, and Liveness in Live Coding

    Deadmau5, Derek Bailey, and the Laptop Instrument – Improvisation, Composition, and Liveness in Live Coding Adam Parkinson Renick Bell EAVI, Goldsmiths Tama Art University [email protected] [email protected] ABSTRACT Dance music superstar Deadmau5 and the improvising guitarist Derek Bailey represent, through their writing and prac- tice, two very different approaches to performing live. By critically considering the practice of live coding in relation to these divergent approaches, we discuss live coding with regards to where the liveness lies and how the laptop and soware are treated as a musical instrument. Each practice uses the laptop as a musical tool in a very different way. Live coding uses the laptop as an instrument in a manner that draws upon the techniques and strategies of free improvisation, in contrast to Deadmau5’s notion of laptop as playback device and the live performance as spectacle. We discuss Dead- mau5’s practice in relation to Francisco Lopez’s notion of the possibilities of electronic performance, and ideas about labour and liveness. 1. Introduction In this paper, we will explore the practice of live coding in relation to two very different but related practices: the performance practice of dance music “superstar” Deadmaus, and the “non-idiomatic” free improvisation discussed in particular by British guitarist Derek Bailey in his book Improvisation: its Nature and Practice in Music (Bailey 1993). For the former, the “live” show is a synaesthetic, perfectly coordinated, precisely pre-planned immersive audio-visual experience in which the performer simply presses “play”, whereas for the laer, the “live” show is continually composed in real-time.
  • Notes from the Underground: a Cultural, Political, and Aesthetic Mapping of Underground Music

    Notes from the Underground: a Cultural, Political, and Aesthetic Mapping of Underground Music

    Notes From The Underground: A Cultural, Political, and Aesthetic Mapping of Underground Music. Stephen Graham Goldsmiths College, University of London PhD 1 I declare that the work presented in this thesis is my own. Signed: …………………………………………………. Date:…………………………………………………….. 2 Abstract The term ‗underground music‘, in my account, connects various forms of music-making that exist largely outside ‗mainstream‘ cultural discourse, such as Drone Metal, Free Improvisation, Power Electronics, and DIY Noise, amongst others. Its connotations of concealment and obscurity indicate what I argue to be the music‘s central tenets of cultural reclusion, political independence, and aesthetic experiment. In response to a lack of scholarly discussion of this music, my thesis provides a cultural, political, and aesthetic mapping of the underground, whose existence as a coherent entity is being both argued for and ‗mapped‘ here. Outlining the historical context, but focusing on the underground in the digital age, I use a wide range of interdisciplinary research methodologies , including primary interviews, musical analysis, and a critical engagement with various pertinent theoretical sources. In my account, the underground emerges as a marginal, ‗antermediated‘ cultural ‗scene‘ based both on the web and in large urban centres, the latter of whose concentration of resources facilitates the growth of various localised underground scenes. I explore the radical anti-capitalist politics of many underground figures, whilst also examining their financial ties to big business and the state(s). This contradiction is critically explored, with three conclusions being drawn. First, the underground is shown in Part II to be so marginal as to escape, in effect, post- Fordist capitalist subsumption.
  • Contemporary Sounds

    Contemporary Sounds

    13 &14/November/2009 HyperSounds/Madrid Contemporary Sounds Advanced music HyperSounds Index What’s HyperSounds? ............................................... 03 Programme ................................................................... 07 Lives and Dj’s Installations, screening and panels Lives Dj’s Installation Screening Panels Spaces ............................................................................ 14 Dates & Times ................................................................. 15 Press Contact ................................................................ 16 2 HyperSounds HyperSounds 13.14. November Museo Nacional Centro de Arte Reina Sofía Madrid What’s HyperSounds? www.museoreinasofia.es www.hypersounds.es The Museo Nacional Centro de Arte Reina Sofía, with the artistic direction of Advanced Music, presents Hypersounds; a series of concerts, performances, installations and panels by artists who have produced outstanding work in the field of sonic investigation. Hypersounds includes live performances by Various Production, Umfeld, Tender Forever and Shit & Shine, Dj sets by Spanish and international DJs and two sonic installations by the Dutch artist Edwin van der Heide. The line-up is completed with the Spanish première of the film “Amplified Gesture,” a complement to the latest album byDavid Sylvian, and panels by Medialab Prado and the Pompeu Fabra University Musical Technology Group (Grupo de Tecnología Musical de la Universidad Pompeu Fabra). Hypersounds will take place in five spaces in the two Museo Nacional
  • Oye Como Va!: Hybridity and Identity in Latino Popular Music

    Oye Como Va!: Hybridity and Identity in Latino Popular Music

    Oye Como Va! Deborah Pacini Hernandez Oye Como Va! Hybridity and Identity in Latino Popular Music TEMPLE UNIVERSITY PRESS Philadelphia Temple University Press 1601 North Broad Street Philadelphia PA 19122 www.temple.edu/tempress Copyright © 2010 by Deborah Pacini Hernandez All rights reserved Published 2010 Printed in the United States of America The paper used in this publication meets the requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI Z39.48-1992 Library of Congress Cataloging-in-Publication Data Pacini Hernandez, Deborah. Oye como va! : hybridity and identity in Latino popular music / Deborah Pacini Hernandez. p. cm. Includes bibliographical references and index. ISBN 978-1-4399-0089-5 (cloth : alk. paper) — ISBN 978-1-4399-0090-1 (pbk. : alk. paper) 1. Hispanic Americans—Music—Social aspects. 2. Popular music—Social aspects—United States. I. Title. ML3917.U6P33 2009 781.64089’68073—dc22 2009012832 2 4 6 8 9 7 5 3 1 Contents Preface vii 1 Introduction: Hybridity, Identity, and Latino Popular Music 1 2 Historical Perspectives on Latinos and the Latin Music Industry 15 3 To Rock or Not to Rock: Cultural Nationalism and Latino Engagement with Rock ’n’ Roll 34 4 Turning the Tables: Musical Mixings, Border Crossings, and New Sonic Circuitries 54 5 New Immigrants, New Layerings: Tradition and Transnationalism in U.S. Dominican Popular Music 77 6 From Cumbia Colombiana to Cumbia Cosmopolatina: Roots, Routes, Race, and Mestizaje 106 7 Marketing Latinidad in a Global Era 142 Notes 163 Selected Bibliography 199 Index 207 Preface ecause hybridity—the mixture of two or more dissimilar elements— produces objects or people that are in between and out of place, it is Boften considered dangerous, inferior, or contaminating.