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Victorian / Planning / Environmental / Law / Association / Volume 105
victorian / planningrevue / environmental / law / association / volume 105 October 2018 Contents President 3 The housing problem 18 Editorial Licence 4 YPG 2017 Award: Affordable housing study 20 The Minister for Planning 5 Automated vehicles: another inconvenient truth 12 Shadow Minister for Planning 10 Paul Jerome Awards 6 Car congestion in Melbourne: VCAT decisions 41 Heritage fabricated 46 VEPLA Conference Justice Michelle Quigley QC 28 Peter Mares 33 Rosy Batty 36 Gideon Haigh 39 Places Box Hill: ‘don’t box me in!’ 15 Rory’s ramble 53 Covenants continued 49 Unlocking significant social effects 55 Planning Xchange 52 Sound bites 44 Stonnington; managing a city in two parts 22 The Business Tribunal Talk 17 Creating a city of 20 minute neighbourhoods 8 The Fast Lane – Parking changes VC148 48 Seminars Commercial 3 – a new zone for EPA Act changes 50 mixed use and creative industries 24 David Davis breakfast 58 YPG: ideas for the future 59 Cover photo: The VPELA conference witnessed some amazing sessions and speakers. The cover depicts L-R Tamara Brezzi, President VPELA, Michael Deidun, Conference Convenor with Rosie Batty, Peter Mares, Author “No Place Like Home – Repairing Australia’s Housing crisis”, Devo aka the Ratio Gang, costume winners of the Gala and Gideon Haigh, Journalist & sporting commentator. Newsletter editor: VPELA Bernard McNamara PO Box 1291 Camberwell 3124 M: 0418 326 447 www.vpela.org.au E: [email protected] E: [email protected] T: 9699 7025 T: 9813 2801 2 / VPELA Revue October 2018 The President Dorothy’s dream Tamara Brezzi President, VPELA At the conclusion of the Hollywood classic, The Wizard of Oz, It would not be in his nature to simply identify and then moan Dorothy famously slips in to her sparkly shoes, clicks her heels, about a problem without offering an intelligent, comprehensive, and whispers repeatedly “There’s no place like home” in an well thought through solution. -
A Life in Stasis: New Album Reviews
A Life In Stasis: New Album Reviews Music | Bittles’ Magazine: The music column from the end of the world With the Olympics failing to inspire, it can seem as if the only way to spend the long summer months is by playing endless rounds of tiddlywinks, or consuming copious amounts of Jammy Dodgers. But, that doesn’t have to be the case. There is a better way! For instance, you can take up ant farming, as my good friend Jeffrey has recently done, or immerse yourself in the wealth of fantastic new music which has recently come out. Personally, I would recommend the latter. By JOHN BITTLES In the following column we review some of the best new albums hitting the shelves over the coming weeks. We have the shadowy electronica of Pye Corner Audio, pop introspection by Angel Olsen, the post dubstep blues of Zomby, some sleek house from Komapkt, Kornél Kovács and Foans, the experimental genius of Gudrun Gut and Momus, and lots more. So, before someone starts chucking javelins in my direction, we had better begin… Back in 2012 Sleep Games by Pye Corner Audio quickly established itself as one of the most engaging and enthralling albums of modern times. On the record, ghostly electroncia, John Carpenter style synths, and epic, ambient soundscapes converged to create a body of work which still sounds awe-inspiringly beautiful today. After the melancholy acid of his Head Technician reissue last month, Martin Jenkins returns to his Pye Corner Audio alias late August with the haunted landscapes of the Stasis LP. -
'And I Swear...' – Profanity in Pop Music Lyrics on the American Billboard Charts 2009-2018 and the Effect on Youtube Popularity
INTERNATIONAL JOURNAL OF SCIENTIFIC & TECHNOLOGY RESEARCH VOLUME 9, ISSUE 02, FEBRUARY 2020 ISSN 2277-8616 'And I Swear...' – Profanity In Pop Music Lyrics On The American Billboard Charts 2009-2018 And The Effect On Youtube Popularity Martin James Moloney, Hanifah Mutiara Sylva Abstract: The Billboard Chart tracks the sales and popularity of popular music in the United States of America. Due to the cross-cultural appeal of the music, the Billboard Chart is the de facto international chart. A concern among cultural commentators was the prevalence of swearing in songs by artists who were previously regarded as suitable content for the youth or ‗pop‘ market. The researchers studied songs on the Billboard Top 10 from 2009 to 2018 and checked each song for profanities. The study found that ‗pop‘, a sub-genre of ‗popular music‘ did contain profanities; the most profane genre, ‗Hip-hop/Rap‘ accounted for 76% of swearing over the ten-year period. A relationship between amount of profanity and YouTube popularity was moderately supported. The researchers recommended adapting a scale used by the British television regulator Ofcom to measure the gravity of swearing per song. Index Terms: Billboard charts, popularity, profanity, Soundcloud, swearing, YouTube. —————————— —————————— 1 INTRODUCTION Ipsos Mori [7] the regulator of British television said that profane language fell into two main categories: (a) general 1.1 The American Billboard Charts and ‘Hot 100’ swear words and those with clear links to body parts, sexual The Billboard Chart of popular music was first created in 1936 references, and offensive gestures; and (b) specifically to archive the details of sales of phonographic records in the discriminatory language, whether directed at older people, United States [1]. -
Digimag46.Pdf
DIGICULT Digital Art, Design & Culture Founder & Editor-in-chief: Marco Mancuso Advisory Board: Marco Mancuso, Lucrezia Cippitelli, Claudia D'Alonzo Publisher: Associazione Culturale Digicult Largo Murani 4, 20133 Milan (Italy) http://www.digicult.it Editorial Press registered at Milan Court, number N°240 of 10/04/06. ISSN Code: 2037-2256 Licenses: Creative Commons Attribution-NonCommercial-NoDerivs - Creative Commons 2.5 Italy (CC BY- NC-ND 2.5) Printed and distributed by Lulu.com E-publishing development: Loretta Borrelli Cover design: Eva Scaini Digicult is part of the The Leonardo Organizational Member Program TABLE OF CONTENTS Marco Mancuso Persepolis 2.0: Creative Support To Iran .................................................................. 3 Mark Hancock Vlogging, Networked Cinematic Poetics ................................................................. 9 Marco Mancuso Pirates At The Parliament: The Big Dream?! .......................................................... 14 Davide Anni A New Center For Art and Technologies ............................................................... 24 Loretta Borrelli Hackmeeting 2009: Meeting With The Debian Community .............................. 27 Philippa Barr Alessandro De Gloria, From Child’s Play To Serious Games ............................... 33 Alessio Galbiati Rip: A Remix Manifesto. A Specter Wanders In The Net .................................... 39 Silvia Casini The Ethics Of Gaze: Raymond Depardon and William Kentridge ...................... 43 Giulia Baldi Soundclusters: -
Decoding Dubstep: a Rhetorical Investigation of Dubstepâ•Žs Development from the Late 1990S to the Early 2010S
Florida State University Libraries Honors Theses The Division of Undergraduate Studies 2013 Decoding Dubstep: A Rhetorical Investigation of Dubstep's Development from the Late 1990s to the Early 2010s Laura Bradley Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] 4-25-2013 Decoding Dubstep: A Rhetorical Investigation of Dubstep’s Development from the Late 1990s to the Early 2010s Laura Bradley Florida State University, [email protected] Bradley | 1 THE FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES DECODING DUBSTEP: A RHETORICAL INVESTIGATION OF DUBSTEP’S DEVELOPMENT FROM THE LATE 1990S TO THE EARLY 2010S By LAURA BRADLEY A Thesis submitted to the Department of English in partial fulfillment of the requirements for graduation with Honors in the Major Degree Awarded: Spring 2013 Bradley | 2 The members of the Defense Committee approve the thesis of Laura Bradley defended on April 16, 2012. ______________________________ Dr. Barry Faulk Thesis Director ______________________________ Dr. Michael Buchler Outside Committee Member ______________________________ Dr. Michael Neal Committee Member Bradley | 3 ACKNOWLEDGEMENTS Many people have shaped and improved this project, through all of its incarnations and revisions. First, I must thank my thesis director, Dr. Barry Faulk, for his constant and extremely constructive guidance through multiple drafts of this project—and also his tolerance of receiving drafts and seeing me in his office less than a week later. Dr. Michael Buchler’s extensive knowledge of music theory, and his willingness to try out a new genre, have led to stimulating and thought provoking discussions, which have shaped this paper in many ways. -
Have You Heard of Edm?
HAVE YOU HEARD OF EDM? No clue what you’re talking about. Yes, but not totally sure what it is. Heck yes. Love it when the bass drops. EDM stands for Do you subscribe to electronic any EDM artists’ dance music. channels on YouTube? It encompasses a variety of electronic music, including everything from '90s techno to modern subgenres such as Yes No dubstep, house, trance, and trap. EDM also includes club mixes and DJ collaborations. Got it. Like Daft Punk's Do you consider yourself You’re not alone. Viewership through tech-savvy? I didn't "Get Lucky," subscriptions is skyrocketing: realize this right? Love that kind of music song. I guess In 2014, subscribers to EDM was so big. I am into EDM. channels on YouTube went up Yes No EDM is crazy popular. There were nine EDM collaborations 60% 77% 175% on smartphones on TVs on gaming on Billboard Hot 100 year-end devices list in 2014. On YouTube, the official versions of these EDM Songs on Makes sense! mega-hits generated big numbers: Billboard Hot 100 for 2014: EDM fans are more likely than their peers to be online, engaging in 2.3 billion #15 “Turn Down for What” tech-savvy behaviors such as these: VIEWS DJ Snake & Lil Jon • Buying music and ebooks, or #22 “Wake Me Up!” downloading apps to a tablet or 8.4 million Avicii featuring Aloe Blacc smartphone LIKES • Playing action/adventure #28 “Latch” video games Disclosure featuring Sam Smith • Following a brand on a #33 “Summer” social network Calvin Harris • Using the internet and TV #37 “Break Free” concurrently Interesting, I've probably Ariana Grande featuring Zedd but I don't really been listening #60 “Hey Brother” to EDM pay attention to Avicii the Billboard Hot without even 100 artists. -
A Narrative Exploring the Perception of Analog Synthesizer Enthusiasts' Identity and Communication Christoph Stefan Kresse Clemson University
Clemson University TigerPrints All Theses Theses 5-2015 Synthesized: A Narrative Exploring the Perception of Analog Synthesizer Enthusiasts' Identity and Communication Christoph Stefan Kresse Clemson University Follow this and additional works at: https://tigerprints.clemson.edu/all_theses Recommended Citation Kresse, Christoph Stefan, "Synthesized: A Narrative Exploring the Perception of Analog Synthesizer Enthusiasts' Identity and Communication" (2015). All Theses. 2114. https://tigerprints.clemson.edu/all_theses/2114 This Thesis is brought to you for free and open access by the Theses at TigerPrints. It has been accepted for inclusion in All Theses by an authorized administrator of TigerPrints. For more information, please contact [email protected]. SYNTHESIZED: A NARRATIVE EXPLORING THE PERCEPTION OF ANALOG SYNTHESIZER ENTHUSIASTS’ IDENTITY AND COMMUNICATION A Thesis Presented to the Graduate School of Clemson University In Partial Fulfillment of the Requirements for the Degree Master of Arts Communication, Technology, and Society by Christoph Stefan Kresse May 2015 Accepted by: Dr. Chenjerai Kumanyika, Ph.D., Committee Chair Dr. David Travers Scott, Ph.D. Dr. Darren L. Linvill, Ph.D. Dr. Bruce Whisler, Ph.D. i ABSTRACT This document is a written reflection of the production process of the creative project Synthesized, a scholarly-rooted documentary exploring the analog synthesizer world with focus on organizational structure and perception of social identity. After exploring how this production complements existing works on the synthesizer, electronic music, identity, communication and group association, this reflection explores my creative process and decision making as an artist and filmmaker through the lens of a qualitative researcher. As part of this, I will discuss logistic, as well as artistic and creative, challenges. -
Nostalgia Videolúdica: Un Acercamiento Al Movimiento Chiptune Israel V
TRANS 16 (2012) ARTÍCULOS/ ARTICLES Nostalgia videolúdica: un acercamiento al movimiento chiptune Israel V. Márquez (Universidad Complutense de Madrid) Resumen Abstract El objetivo de este artículo es ofrecer al lector un The aim of this paper is to give the reader an insight acercamiento al llamado “movimiento chiptune”, una into the so-called “chiptune movement”, a musical escena principalmente musical que utiliza el sonido de los scene that uses the sound chips of vintage computers microchips de viejos ordenadores y plataformas de juegos and gaming plattforms in an attempt to revive the en un intento por revivir el sonido y estética característicos sound and aesthetic characteristics of the first de los primeros videojuegos y de los ordenadores y consolas que les sirven de soporte. Este componente videogames. The musical component is accompanied musical se acompaña de un interesante arte visual by an interesting visual art based on 8-bit imagery and igualmente basado en la imaginería 8-bit y en la the exploration of the pixel as an art form. The exploración del pixel como forma artística. El movimiento chiptune movement has seen an increase in popularity chiptune ha conocido un aumento de popularidad durante in recent years to the point of being incorporated into los últimos años hasta el punto de estar siendo the mainstream as other subversive and experimental incorporado a la corriente dominante en la forma en que aesthetics such as punk, glitch or mash-up did in the otras estéticas subversivas y experimentales como el punk, past. el glitch o el mash-up lo hicieron en el pasado. -
MUSC - Music Lessons and Ensembles 1
MUSC - Music Lessons and Ensembles 1 MUSC 113 Double Bass credit: 2 to 4 Hours. (https:// MUSC - MUSIC LESSONS AND courses.illinois.edu/schedule/terms/MUSC/113/) Instruction in double bass at the undergraduate level. Additional fees ENSEMBLES may apply. See Class Schedule. May be repeated in separate terms to a maximum of 16 hours. Prerequisite: Passing of a performance audition is MUSC Class Schedule (https://courses.illinois.edu/schedule/DEFAULT/ required prior to the initial registration in any applied music course. Music DEFAULT/MUSC/) majors must register concurrently in an approved university orchestra. Courses MUSC 114 Harp credit: 2 to 4 Hours. (https://courses.illinois.edu/ schedule/terms/MUSC/114/) MUSC 101 Piano credit: 2 to 4 Hours. (https://courses.illinois.edu/ Instruction in harp at the undergraduate level. Additional fees may apply. schedule/terms/MUSC/101/) See Class Schedule. May be repeated in separate terms to a maximum Instruction in piano at the undergraduate level. Additional fees may apply. of 16 hours. Prerequisite: Passing of a performance audition is required See Class Schedule. May be repeated in separate terms to a maximum prior to the initial registration in any applied music course. of 16 hours. Prerequisite: Passing of a performance audition is required prior to the initial registration in any applied music course. MUSC 115 Guitar credit: 2 to 4 Hours. (https://courses.illinois.edu/ schedule/terms/MUSC/115/) MUSC 102 Harpsichord credit: 2 to 4 Hours. (https:// Instruction in guitar at the undergraduate level, predominantly classical. courses.illinois.edu/schedule/terms/MUSC/102/) Additional fees may apply. -
Pdf User Manual
SOUNDIRON Become a glitch master with Crystal, a collection of over 600 unique, shatteringly-crystalline, glitchy percussive strikes, stingers, multisamples and effects that will cut right through your mix. Crystal's unique sound comes from glass field recordings, twisted and mangled into an easy "out-of-the-box" solution for glitch percussion. Crystal is perfect for minimalist, EDM, IDM, dubstep, chillwave, glitch, post rock, soundtrack, downtempo, dub and ambient music. It's also fantastic for sci-fi sound design and creating user interface SFX for games and apps. When developing the concept for Crystal, we were inspired by the piercing and percussive quality of glass jars banging together. At the same time, subtle rustling and clinking-about created a nice background accent that can sit well in a track for added interest. Armed with this knowledge we set out to capture high fidelity recordings of glass, and after many weeks of thoughtful sound design and mastering, we had Crystal. The idea behind Crystal is that all of the sounds are completely cohesive and pretty much any sound can follow any *other* sound. To this end, you can achieve great results simply by turning on the arpeggiator, tweaking the sequencer dialog and mashing a bunch of keys—the results will surprise you! You can take this idea a step further by using the different sound presets with the sequencer, for example: give your beat a solid groove by sequencing the bass preset on downbeats, and the effects preset on the spaces in-between. This will keep your groove structurally sound while using chaos and randomness to your advantage. -
Ethnoforgery and Outsider Afrofuturism Feature Article Trace Reddell University of Denver (US)
Ethnoforgery and Outsider Afrofuturism Feature Article Trace Reddell University of Denver (US) Abstract This essay detours from Afrofuturism proper into ethnological forgery and Outsider practices, foregrounding the issues of authenticity, authorship and identity which measure Afrofuturism’s ongoing relevance to technocultural conditions and the globally-scaled speculative imagination. The ethnological forgeries of the German rock group Can, the work of David Byrne and Brian Eno, and trumpeter Jon Hassell’s Fourth World volumes posit an “hybridity-at-the-origin” of Afrofuturism that deconstructs racial myths of identity and appropriation/exploitation. The self-reflective and critical nature of these projects foregrounds issues of origination through production strategies that combine ethnic instrumentation and techniques, voices sampled from radio and TV broadcast, and genre-mashing hybrids of rock and funk along with unconventional styles like ambient drone, minimalism, noise, free jazz, field recordings, and musique concrète. With original recordings and major statements of Afrofuturist theory in mind, I orchestrate a deliberately ill-fitting mixture of Slavoj Žižek’s critique of multiculturalism, Félix Guattari’s concept of “polyphonic subjectivity,” and Marcus Boon’s idea of shamanic “ethnopsychedelic montage” in order to argue for an Outsider Afrofuturism that works along the lines of an alternative modernity at the seam of subject identity and technocultural hybridization. In tune with the Fatherless sensibilities that first united black youth in Detroit (funk, techno) and the Bronx (hip-hop) with Germany’s post-WWII generation (Can’s krautrock, Kraftwerk’s electro), Outsider Afrofuturism opens up alternative routes toward understanding subjectivity and culture—through speculative sonic practices in particular—while maintaining social behaviors that reject multiculturalism’s artificial paternal origins, boundaries and lineages. -
Dubstep - Wikipedia, the Free Encyclopedia Dubstep from Wikipedia, the Free Encyclopedia
6/18/2014 Dubstep - Wikipedia, the free encyclopedia Dubstep From Wikipedia, the free encyclopedia Dubstep /ˈdʌbstɛp/ is a genre of electronic dance music that originated in South London, England. It emerged in the late Dubstep 1990s as a development within a lineage of related styles Stylistic Reggae, dub, grime, 2-step garage, such as 2-step garage, broken beat, drum and bass, jungle, origins drum and bass, breakstep dub and reggae.[1] In the UK the origins of the genre can be Cultural Late 1990s — early 2000s, traced back to the growth of the Jamaican sound system origins London, England, United Kingdom party scene in the early 1980s.[1][2] The music generally features syncopated drum and percussion patterns with bass Typical Sequencer, turntables, sampler, drum lines that contain prominent sub bass frequencies. instruments machine, synthesiser, keyboard, personal computer The earliest dubstep releases date back to 1998, and were Derivative Future garage, post-dubstep, brostep, usually featured as B-sides of 2-step garage single releases. forms trap These tracks were darker, more experimental remixes with less emphasis on vocals, and attempted to incorporate Other topics elements of breakbeat and drum and bass into 2-step. In List of musicians, Drumstep, Dubstyle 2001, this and other strains of dark garage music began to be showcased and promoted at London's night club Plastic People, at the "Forward" night (sometimes stylised as FWD>>), which went on to be considerably influential to the development of dubstep. The term "dubstep" in reference to a genre of music began to be used by around 2002 by labels such as Big Apple, Ammunition, and Tempa, by which time stylistic trends used in creating these remixes started to become more noticeable and distinct from 2-step and grime.[3] A very early supporter of the sound was BBC Radio 1 DJ John Peel, who started playing it from 2003 onwards.