Num 10 Layout 1
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Re·Bus: Issue 1 (Spring 2008) Allegorial Impulses, Edited Iris Balija, Matthew Bowman, Lucy Bradnock and Beth Williamson
re·bus: Issue 1 (Spring 2008) Allegorial Impulses, edited Iris Balija, Matthew Bowman, Lucy Bradnock and Beth Williamson Melancholy and Allegory in Marcel Broodthaers' La Pluie (projet pour un texte), 2 Iris Balija Allegorical Impulses and the Body in Painting, 21 Matthew Bowman Prophet or witness? subverting the allegorical gaze in Francisco Goya's Truth 47 Rescued by Time, Mercedes Cerón The Other Side of the Gaze: Ethnographic Allegory in the Early Films of Maya 73 Deren, John Fox Resisting the Allegorical: Pieter Bruegal's Magpie on the Gallows, 86 Stephanie Porras Allegory and the Critique of the Aesthetic Ideology in Paul de Man, 101 Jeremy Spencer Allegorical Interruptions: Ruined Representation and the work of Ken Jacobs, 123 Francis Summers Contact details School of Philosophy and Art History University of Essex, Wivenhoe Park, Colchester, Essex CO4 3SQ, UK [email protected] © Iris Balija, 2008 Melancholy and Allegory in Marcel Broodthaers’ La Pluie (projet pour un texte) Iris Balija Abstract Drawing on Jacques Derrida’s notion of the two interpretations of interpretation in Writing and Difference, this paper proposes an allegorical or ‘poetical’ reading of Marcel Broodthaers’ two-minute film of 1969, La Pluie (projet pour un texte). Using the respective examples of Erwin Panofsky and Walter Benjamin’s interpretations of Albrecht Dürer’s 1514 engraving Melencolia I, I argue that although both approaches serve to illuminate Broodthaers’ film, the ambiguity and richness of signification found in the work are best captured by Benjamin’s allegorical method. More than cinema, the new techniques of the image (laser?) offer the way to a solution that is, I fear, momentous, if certainly interesting. -
Musica Straniera
MUSICA STRANIERA AUTORE TITOLO UBICAZIONE 4 Hero Two pages Reinterpretations MSS/CD FOU 4 Non Blondes <gruppo musicale>Bigger, better, faster, more! MSS/CD FOU 50 Cent Get Rich Or Die Tryin' MSS/CD FIF AA.VV. Musica coelestis MSS/CD MUS AA.VV. Rotterdam Hardcore MSS/CD ROT AA.VV. Rotterdam Hardcore MSS/CD ROT AA.VV. Febbraio 2001 MSS/CD FEB AA.VV. \Il \\mucchio selvaggio: agosto 2003 MSS/CD MUC AA.VV. \Il \\mucchio selvaggio: aprile 2004 MSS/CD MUC AA.VV. Tendenza Compilation MSS/CD TEN AA.VV. Mixage MSS/CD MIX AA.VV. Hits on five 3 MSS/CD HIT AA.VV. \Il \\mucchio selvaggio: ottobre 2003 MSS/CD MUC AA.VV. \The \\Brain storm selection MSS/CD BRA AA.VV. Solitaire gold MSS/CD SOL AA.VV. Casual love MSS/CD CAS AA.VV. Oh la la la MSS/CD OHL AA.VV. \The \\magic dance compilation MSS/CD MAG AA.VV. Balla la vita, baby vol. 2 MSS/CD BAL AA.VV. \Il \\mucchio selvaggio: dicembre 2003 MSS/CD MUC AA.VV. Harder they come. Soundtrack (The) MSS/CD HAR AA.VV. Cajun Dance Party MSS/CD CAJ AA.VV. \Les \\chansons de Paris MSS/CD CHA AA.VV. \The \\look of love : the Burt Bacharach collection MSS/CD LOO AA.VV. \Le \\canzoni del secolo : 7 MSS/CD CAN AA.VV. Burning heart CD1 MSS/CD BUR AA.VV. \The \\High spirits: spirituals dei neri d'America MSS/CD HIG AA.VV. Dark star rising MSS/CD DAR AA.VV. Merry Christmas from Motown MSS/CD MER AA.VV. -
("The 1994 Agreement") Which Agreement Was Hereinafter Referred to As "The Prior Agreement" Music Agreement&
IMPORTANT NOTICE TO THE SONGWRITER THIS DOCUMENT CONTAINS AN IMPORTANT AGREEMENT WHICH MAY AFFECT YOUR CAREER ON A LONG TERM BASIS lT IS VITAL THAT YOU UNDERSTAND ITS CONTENTS AND ITS POTENTlAL RAMIFICATIONS YOU MUST THEREFORE SEEK SPECIALIST ADVICE FROM A LAWYER WITH EXPERIENCE OF AGREEMENTS OF THIS KIND BEFORE THE AGREEMENT IS ENTERED INTO WE WILL REQUIRE EVIDENCE THAT YOU HAVE HAD THE BENEFIT OF SUCH ADVICE T HT S A G REEM ENT is made th~day of ~wo thousand and three BETWEEN CHRYSALIS MUSIC LIMITED ofThe Chrysalis Building Bramley Road London WlO 6SP (hereinafter called "the Publisher") ofthe one part and KRISTIAN WESTON (pka "THRASH'') care ofBaxter McKay LLP Solicitors 34 Great James Street London WClN 3HB (hereinafter called "the Writer") of the other part WHEREAS 1. The Writer together with Duncan Alexander Robert Paterson aod Adam Morris entered into an agreement with Publisher on I 7lh May 1994 ("the 1994 Agreement") which agreement was amended (inter a/ia) by way of a further agreement between the same parties on 29th August 1997 ("the 1997 Agreement") The 1994 Agreement (as the same has been varied and amended) is hereinafter referred to as "the Prior Agreement" 2. Pursuant to the Prior Agreement the Writer granted to the Publisher certain rights in relation to the Writers interest in the Big Life Music Works (as defined therein) Such rights included (without limitation) the right to receive royalties otherwise payable to the Writer by Big Life Music Limited ("Big Life") pursuant to the Writers prior agreement with Big Life Music Ltd ("the Big Life Music Agreement") ("the Big Life Royalties") 3. -
SEMANAL 1 Pag
RECICL EL A P D A O P 100% Periódico Independiente de la Montaña Del 11 al 17 de febrero de 2011 AÑO XVIII • Tercera Época Número 581 La libertad es tan solo el derecho que tienes de pensar. Anónimo 1,40 euros www.escaparatedigital.com Los concejales díscolos ponen en peligro la mayoría del PP en Ibi Felicidad Peñalver y Rafael Pastor rompen la disciplina de voto en el último Pleno y Antonio Granero excusa su ausencia PÁGINA 5 IBI TIBI ESPECIAL El PSOE incorpora en El PP vota en contra de La campaña ‘Un la lista a las la subvención juguete, una ilusión’ municipales un 60 por millonaria de la recauda más de 3’3 cien de caras nuevas Diputación al Teatro millones de euros 4 14 15 IBI COMARCA ONIL El desempleo baja en La Cruz de la Juventud El Ayuntamiento pide a 78 personas, el mayor recorrerá la Foia de la Diputación de descenso de la Castalla del 7 al 9 Alicante que arregle el comarca de marzo camino viejo de Sax 11 19 12 MUSEO BIODIVERSIDAD CASTALLA DEPORTES Exito de público en la Maite Candela Orts es El Onix CB sigue líder Jugueteros en Nuremberg. Un gran número de la dama de honor de invicto de su categoría empresas jugueteras y muñequeras de la comarca de la Foia de campaña provincial Castalla se dio cita en la LXII edición de la Feria Internacional ‘Te llevamos el museo los Moros Mudéjares tras vencer a un ‘Teixe’ del Juguete de Nuremberg, celebrada en esta ciudad alemana del al cole’ para las Fiestas 2011 que le plantó cara 3 al 8 de febrero, adonde acudieron, para ofrecer su respaldo a estos industriales, las alcaldesas de Ibi y Onil y el presidente de 9 18 22 la Generalitat Valenciana. -
Iiusicweek for Everyone in the Business of Music 16 SEPTEMBER
iiusicweek For Everyone in the Business of Music 16 SEPTEMBER 1995 £3.10 Simply Red the new single 'Fairground' Release date 18th September Formats: 2CDs, Cassette CD1 includes live tracks CD2 includes remixes w thusfcwe For Everyone in the Business of Music 16 SEPTEMBER 1995 THIS WEEK Black retumsto EMI as MD 4 Help wi He says his former colleague was the Warners and am now looking At 33, Black joins a growing list of agamsttjme Clive Black has finally been installed only"When candidate Manchester for his oldjob. United were -------theEMI. challenges Besides, ofJF- my put new r youthfu!industry, managingalongside directors MCA's in Nickthe lOBlur ingas managing weeks of spéculation. director of EMI UK, end- ers,champions, but you they don't tried change to change a winning play- Cecillon adds that I mldn't refuse." Phillips,RCA's Hugh 32, Goldsmith,_35,Epic's Rob Stringer, BMG misic _33, iWadsworth the company he left at the beginning of between' " ' us ays. "The ' ' îtry' Works inhis A&R new will job. be an"I aci division président Jeremy Marsh, 35, 12PRS:agm department,last year following most recently10 years inas itshead A&R of teamBlack again. wf ■ork alongside the tv UKandthekeytothfParlophone to be the signais s been WEA A&R Ton; il b managingand Roger directors Lewis, A&R drivenguy - probablyand becaus tl replacesdirector Jeanfor theFran | areporting daily basis. directly Cecillon to stresses him,"usiness he says.- tlu for Aftera manager two years at Intersong he moved Musicon to h I vacated the positioi will be given a free rein, "My mesf raftBlack of acts was to responsible the label in for his bringing last spell a movingWEA, to EMIwhose in 1984.managing di danceat EMI actUK, Markand at MorrisonWEA, he signedand teennew Moira BeUas says she wishes Black i group Optimystic. -
The Jams' and the KLF's Invocation of Mu
CHART MYTHOS The JAMs’ and The KLF’s Invocation of Mu [Received August 18th 2016; accepted September 22nd 2016 – DOI: 10.21463/shima.10.2.07] Jon Fitzgerald <[email protected]> Southern Cross UniversitY Philip Hayward <[email protected]> Kagoshima UniversitY Research Center for the Pacific Islands and UniversitY of TechnologY SYdneY ABSTRACT: The JAMs and The KLF, two overlapping popular music ensembles led by British multi-media performers JimmY CautY and Bill Drummond, were notable for both the success theY had with a batch of singles in the late 1980s and early 1990s and the complex mythologY theY constructed and celebrated in song lYrics, music videos, press releases and short films. KeY to their mYthological project was their association with the fictional lost island-continent of Mu (with the band name JAMs being an abbreviation for ‘Justified Ancients of Mu Mu’). The latter identitY was derived from Robert Shea and Robert Anton Wilson’s Illuminatus trilogY of novels in which the aforementioned “ancients” were a secret brotherhood involved in combatting the rival Illuminati, who originated in Atlantis. As the JAMS’ and KLF’s oeuvres progressed, aspects of Mu and Atlantis were synthesised by CautY and Drummond with elements of other actual and fictional islands. The article traces the initial imagination and representation of Mu in esoteric crYpto-historical literature, its rearticulation in Shea and Wilson’s counter-cultural novels and its invocation and function in CautY and Drummond’s work with The JAMs and The KLF. KEY -
Ambient Music the Complete Guide
Ambient music The Complete Guide PDF generated using the open source mwlib toolkit. See http://code.pediapress.com/ for more information. PDF generated at: Mon, 05 Dec 2011 00:43:32 UTC Contents Articles Ambient music 1 Stylistic origins 9 20th-century classical music 9 Electronic music 17 Minimal music 39 Psychedelic rock 48 Krautrock 59 Space rock 64 New Age music 67 Typical instruments 71 Electronic musical instrument 71 Electroacoustic music 84 Folk instrument 90 Derivative forms 93 Ambient house 93 Lounge music 96 Chill-out music 99 Downtempo 101 Subgenres 103 Dark ambient 103 Drone music 105 Lowercase 115 Detroit techno 116 Fusion genres 122 Illbient 122 Psybient 124 Space music 128 Related topics and lists 138 List of ambient artists 138 List of electronic music genres 147 Furniture music 153 References Article Sources and Contributors 156 Image Sources, Licenses and Contributors 160 Article Licenses License 162 Ambient music 1 Ambient music Ambient music Stylistic origins Electronic art music Minimalist music [1] Drone music Psychedelic rock Krautrock Space rock Frippertronics Cultural origins Early 1970s, United Kingdom Typical instruments Electronic musical instruments, electroacoustic music instruments, and any other instruments or sounds (including world instruments) with electronic processing Mainstream Low popularity Derivative forms Ambient house – Ambient techno – Chillout – Downtempo – Trance – Intelligent dance Subgenres [1] Dark ambient – Drone music – Lowercase – Black ambient – Detroit techno – Shoegaze Fusion genres Ambient dub – Illbient – Psybient – Ambient industrial – Ambient house – Space music – Post-rock Other topics Ambient music artists – List of electronic music genres – Furniture music Ambient music is a musical genre that focuses largely on the timbral characteristics of sounds, often organized or performed to evoke an "atmospheric",[2] "visual"[3] or "unobtrusive" quality. -
Orbital I the Orb Na Soundedit
Orbital i The Orb na Soundedit The Orb pojawi się w Łodzi podczas 10. edycji Festiwalu Soundedit. Zespół wystąpi w czwartek, 25 października 2018 r. w Klubie Wytwórnia (ul. Łąkowa 29). Natomiast 26 października (piątek) zagrają: zimnofalowa legenda The Opposition oraz kultowo-klubowa Morcheeba. 27 października (sobota) wystąpią: Mery Spolsky, Nosowska i Giorgio Moroder. Tego samego dnia odbędzie się uroczysta Gala wręczenia nagrody "Człowieka ze Złotym Uchem". The Orb założyli w 1988 r. Alex Paterson oraz Jimmy Cauty, którzy są absolutnymi pionierami ambient house. Ich pomysł na muzykę elektroniczną to spowolnione, bardziej uduchowione rytmy. The Orb wystąpi podczas 10. edycji Festiwalu Soundedit. Zagrają 25 października w łódzkim klubie Wytwórnia poprzedzając Orbital. Przez lata działalności członkowie tylko Alex Paterson przetrwał wszystkie zawirowania składu zespołu. Jego kariera muzyczna rozpoczęła się we wczesnych latach 80. Pracował wtedy jako techniczny formacji Killing Joke, gdzie na basie grał i gra nadal przyjaciel Alexa jeszcze z dzieciństwa - Martin "Youth" Glover (muzyk został nagrodzony statuetką "Człowieka ze Złotym Uchem" w 2012 r.). Po opuszczeniu Killing Joke w 1986 r., Paterson spotkał się Jimmy'ego Cauty, a duet zaczął występować razem jako The Orb w legendarnym londyńskim klubie The Land of Oz. Wspólne muzykowanie w naturalny sposób przerodziło się w nagrywanie płyt. Następnie Patterson i Youth założyli wytwórnię płytową WAU!/Mr. Modo Records. W 1990 r. wydali klasyczny już singiel "Little Fluffy Clouds", na którym wykorzystano fragmenty kompozycji "Electric Counterpoint" Steve'a Reicha. Utwór został odnotowany na 275 pozycji listy "New Musical Express" 500 najważniejszych utworów wszechczasów. W 1991 r. The Orb zarejestrowało swój pierwszy album "The Orb's Adventures Beyond The Ultraworld", na którym znalazł się również wspomniany singiel. -
KORTA-DISSERTATION-2015.Pdf (9.313Mb)
The Aesthetics of Discovery: Text, Image, and the Performance of Knowledge in the Early-Modern Book The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Korta, Jeremie Charles. 2015. The Aesthetics of Discovery: Text, Image, and the Performance of Knowledge in the Early-Modern Book. Doctoral dissertation, Harvard University, Graduate School of Arts & Sciences. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:17467521 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA The Aesthetics of Discovery: Text, Image, and the Performance of Knowledge in the Early-Modern Book A dissertation presented by Jeremie Charles Korta to The Romance Languages and Literatures Department in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of Romance Languages and Literatures Harvard University Cambridge, Massachusetts May 2015 © 2015 – Jeremie Charles Korta All rights reserved. Dissertation adviser: Professor Tom Conley Jeremie Charles Korta The Aesthetics of Discovery: Text, Image and the Performance of Knowledge in the Early-Modern Book Abstract How does the book-object in early modernity participate in the representation of scientific knowledge? How was the reader meant to approach the book and to comprehend its contents? This project starts from the contention that scientific knowledge is not a product simply to be deposited into unmarked containers and transmitted unproblematically. -
The Orb Cydonia Mp3, Flac, Wma
The Orb Cydonia mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic Album: Cydonia Country: UK Released: 2001 Style: Trip Hop, Experimental, Ambient MP3 version RAR size: 1594 mb FLAC version RAR size: 1127 mb WMA version RAR size: 1746 mb Rating: 4.3 Votes: 311 Other Formats: DXD MIDI AU WMA MMF AHX RA Tracklist Hide Credits Cydonia Once More Bass Guitar – Simon Phillips Lyrics By – Omori*, Paterson*Producer, Mixed By – 1-1 The OrbProducer, Mixed By, Engineer – Andy Hughes Vocals – Aki OmoriWritten- 4:18 By – Omori*, Paterson*, Hughes*, Fehlmann*Written-By [' Cung Dan Dat Nuoc' Sample] – Phan Kim Thanh Promis 1-2 Producer, Mixed By – The OrbProducer, Mixed By, Engineer – Andy Hughes 5:27 Written-By – Paterson*, Hughes* Ghostdancing Lyrics By – Paterson*, Walsh*Producer, Mixed By – The OrbProducer, Mixed By, 1-3 7:29 Engineer – Andy Hughes Vocals, Guitar – Nina WalshWritten-By – Paterson*, Hughes*, Walsh*, Fehlmann* Turn It Down Bass Guitar – Nick BurtonElectric Guitar – Bailey HarperProducer, Mixed By – 1-4 The OrbProducer, Mixed By, Engineer – Andy Hughes Written-By – Paterson*, 8:39 Hughes*, Phillips*Written-By [' Lives In Steel' Sample] – Brian Saunders, Sir Dai Davis* Egnable 1-5 Producer, Mixed By – The Orb Mk II*Written-By – Paterson*, Hughes*, Le 1:58 Gonidec*, Weston*, Fehlmann* Firestar 1-6 Producer – Alex PatersonProducer, Engineer – Simon Phillips Written-By – 0:46 Paterson*, Phillips* A Mile Long Lump Of Lard 1-7 Producer, Mixed By – The OrbProducer, Mixed By, Engineer – Andy Hughes 6:21 Written-By – Paterson*, Hughes*, -
EAJS2017 15Th International Conference of the European Association for Japanese Studies
EAJS2017 15th International Conference of the European Association for Japanese Studies Lisbon, August 30 - September 2, 2017 Faculdade de Ciências Sociais e Humanas – NOVA FCSH CHAM - Centre for the Humanities Conference timetable Wednesday 30 August Friday 01 September 12:30-15:30 Reception desk open 15:30-16:00 Welcoming remarks, 08:30-17:45 Reception desk open Cinema São Jorge 09:00-10:30 Panel session 5 16:00-18:00 Keynote lecture, 10:30-11:00 Refreshments Cinema São Jorge 11:00-12:30 Panel session 6 18:30-20:00 Opening reception, Museu Nacional de História 12:30-14:00 Lunch Natural e Ciência 13:00-14:00 Journal launch: Global perspectives on Japan, Bloco 1, Piso 1, Sala 1.11 Thursday 31 August 14:00-15:30 Panel session 7 15:30-16:00 Refreshments 08:30-17:45 Reception desk open 16:00-17:30 Panel session 8 09:00-10:30 Panel session 1 17:30-19:00 AJE assembly, 10:30-11:00 Refreshments Torre B, Piso 3, Auditório 2 11:00-12:30 Panel session 2 20:00-22:30 Gala dinner, Pátio da Galé 12:30-14:00 Lunch 14:00-15:30 Panel session 3 Saturday 02 September 15:30-16:00 Refreshments 08:30-17:45 Reception desk open 16:00-17:30 Panel session 4 09:00-10:30 Panel session 9 17:30-19:00 JAWS business meeting, Bloco 1, Piso 1, Sala 1.11 10:30-11:00 Refreshments 19:30-20:30 Classical concert, 11:00-12:30 Panel session 10 Church of São Roque 12:30-14:00 Lunch 13:00-14:00 Publishing in peer reviewed journals, Torre A, Piso -1, Auditório 002 14:00-15:30 Panel session 11 15:30-16:00 Refreshments 16:00-17:30 EAJS General meeting, Gulbenkian Foundation EAJS2017 -
The Nomadic Impermanence of Bill Drummond
This work has been submitted to NECTAR, the Northampton Electronic Collection of Theses and Research. Conference or Workshop Item Title: ‘You should try lying more’: the nomadic impermanence of Bill Drummond Creators: Wiseman-Trowse, N. J. B. Example citation: Wiseman-Trowse, N. J. B. (2012) ‘You should tRry lying more’: the nomadic impermanence of Bill Drummond. Invited Presentation presented to: Research Seminar Programme, University of Brighton iAn Hastings, 21 March 2012. Version: Presented version (text) T Official URL: http://www.brighton.Cac.uk/hastings/about-us/calendar/hastings- research-seminar/ NhttEp://nectar.northampton.ac.uk/5241/ ‘You Should Try Lying More’: The Nomadic Impermanence of Bill Drummond Nathan Wiseman-Trowse SLIDE ONE SLIDE TWO Imagine waking up tomorrow, all music has disappeared. All musical instruments, all forms of recorded music, gone. A world without music. What is more, you cannot even remember what music sounded like or how it was made. You can only remember that it had existed, that it had been important to you and your civilisation. And you long to hear it once more. Then imagine people coming together to make music with nothing but their voices, and with no knowledge of what music should sound like.1 In March of 2009 the writer, artist and musician Bill Drummond visited the University of Northampton to orchestrate a performance of his ad hoc choir project, The 17, with my students on the BA Popular Music course. Bill had attended the University in its 1 Bill Drummond, 17 (London, 2008), p. 1. 1 previous incarnation as an art college in the 1970s and was already due to orchestrate another 17 performance in conjunction with the town’s Fishmarket Gallery the following day, so he seemed happy enough to appear at the university and talk to the students about The 17 project, music, the arts and his work more widely.