A Bootstrapped Approach for Abusive Intent Detection in Social Media Content
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The Genre Formerly Known As Punk: a Queer Person of Color's Perspective on the Scene Shane M
Claremont Colleges Scholarship @ Claremont Scripps Senior Theses Scripps Student Scholarship 2014 The Genre Formerly Known As Punk: A Queer Person of Color's Perspective on the Scene Shane M. Zackery Scripps College Recommended Citation Zackery, Shane M., "The Genre Formerly Known As Punk: A Queer Person of Color's Perspective on the Scene" (2014). Scripps Senior Theses. 334. http://scholarship.claremont.edu/scripps_theses/334 This Open Access Senior Thesis is brought to you for free and open access by the Scripps Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Scripps Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. THE GENRE FORMERLY KNOWN AS “PUNK”: A QPOC’S PERSPECTIVE ON THE SCENE Shane Zackery Scripps College Claremont CA, 91711 1 THE GENRE FORMERLY KNOWN AS “PUNK”: A QPOC’S PERSPECTIVE ON THE SCENE Abstract This video is a visual representation of the frustrations that I suffered from when I, a queer, gender non-conforming, person of color, went to “pasty normals” (a term defined by Jose Esteban Munoz to describe normative, non-exotic individuals) to get a definition of what Punk meant and where I fit into it. In this video, I personify the Punk music movement. Through my actions, I depart from the grainy, low-quality, amateur aesthetics of the Punk film and music genres and create a new world where the Queer Person of Color defines Punk. In the piece, Punk definitively says, “Don’t try to define me. Shut up and leave me to rest.” 2 1 Conceptualization My project will be an experimental performance video that incorporates monologues, performances, visual sound elements, and still and moving images. -
Events – All Events Take Place at Avenue 50 Studio Unless Specifically Noted
Animating the Archives: the Woman’s Building, A Metabolic Studio Special Project in Archiving Events – all events take place at Avenue 50 Studio unless specifically noted Date Description of Event Artists Sunday, One Woman Shows is a play on words against the singularity Cindy Rehm (see Bio in Artists and Project April 30, 2017 of the solo exhibition to a model of multiplicity as a group of Descriptions). 2-5pm women witness and perform acts of self-naming. Seating is Pieter Performance limited; please email [email protected] for reservations. Art Space 420 West Avenue 33 Unit #10 Los Angeles, CA 90031 Saturday, Opening Reception for Animating the Archives: the Johanna Breiding, CamLab, Teresa Flores with May 13, 2017 Woman’s Building exhibition. Maryam Hosseinzadeh, Raquel Gutierrez, Hackers 7-10 p.m. of Resistance, Onya Hogan-Finlay in collaboration with Phranc, Carolina Ibarra-Mendoza, Marissa Magdalena, J. Alex Mathews, Felicia ‘Fe’ Montes, Cindy Rehm, Gladys Rodriguez, Hana Ward, Lisa Diane Wedgeworth, Diana Wyenn (see Bios in Artists and Project Descriptions). Saturday, Reguarding Room: Miniatures Workshops – The artists will CamLab (see Bio in Artists and Project May 20, 2017 host two Miniatures Workshops for the community, in which Descriptions). 1-4 p.m. participants remake, in miniature, artworks with themes of rape and sexual assault. The miniatures created will be exhibited. The public is welcome to attend. Saturday, Feminist Friday (on Saturday night) is a casual but directed Micol Hebron is an associate professor of art at May 20, 2017 conversation about contemporary issues related to feminism. Chapman University. She is also the creator of the 7-10 p.m. -
Swissted 4/3/13 11:41 PM
swissted 4/3/13 11:41 PM swissted swissted is an ongoing project by graphic designer mike joyce, owner of stereotype design in new york city. drawing from his love of punk rock and swiss modernism, two movements that have (almost) nothing to do with one another, mike has redesigned vintage punk, hardcore, new wave, and indie rock show flyers into international typographic style posters. each design is set in lowercase berthold akzidenz-grotesk medium (not helvetica). every single one of these shows actually happened.the swissted book is finally out from quirk books—get it here! http://www.swissted.com/ Page 1 of 135 swissted 4/3/13 11:41 PM http://www.swissted.com/ Page 2 of 135 swissted 4/3/13 11:41 PM ramones at the palladium, 1978 http://www.swissted.com/ Page 3 of 135 swissted 4/3/13 11:41 PM descendents at fender’s, 1987 agent orange at goodies, 1987 http://www.swissted.com/ Page 4 of 135 swissted 4/3/13 11:41 PM jawbreaker at irving plaza, 1995 patti smith at max’s kansas city, 1974 http://www.swissted.com/ Page 5 of 135 swissted 4/3/13 11:41 PM refused at the p.w.a.c., 1996 t.s.o.l. and others at fender’s, 1986 http://www.swissted.com/ Page 6 of 135 swissted 4/3/13 11:41 PM misfits at gildersleeves, 1983 lush at the fillmore, 1994 http://www.swissted.com/ Page 7 of 135 swissted 4/3/13 11:41 PM yo la tengo at cbgb, 1993 rollins band at the outhouse, 1990 http://www.swissted.com/ Page 8 of 135 swissted 4/3/13 11:41 PM david bowie at cleveland music hall, 1972 meat puppets at the roxy theatre, 1986 http://www.swissted.com/ Page 9 of 135 swissted 4/3/13 11:41 PM built to spill at fox theatre, 1997 modest mouse at speak in tongues, 1996 http://www.swissted.com/ Page 10 of 135 swissted 4/3/13 11:41 PM nick cave & the bad seeds at fillmore / 1989 the velvet underground at max’s k.c. -
Introduction
Are We Not New Wave?: Modern Pop at the Turn of the 1980s Theo Cateforis The University of Michigan Press, 2011 http://press.umich.edu/titleDetailDesc.do?id=152565 Introduction Like many historical narratives, the story of rock music is one organized around a succession of cycles. The music’s production, reception, and mythology are typically situated as part of a constantly renewing periodic phenomenon, intimately tied to the ebb and ›ow of adolescent or youth generations. This periodization ‹nds its most conspicuous form in the shape of rock “invasions” and “explosions.” Such events are characterized by a ›urry of musical activity, as a number of related new artists and bands coalesce and the recording and media industries recognize a new popular music movement. We tend to associate these cycles with the spectacle sur- rounding a signi‹cant iconic performer or group: Elvis Presley serves as a lightning rod for the emergence of rock and roll in the 1950s; the Beatles head a British Invasion in the mid-1960s; a decade later the Sex Pistols and punk rock shock mainstream society; in the early 1990s Nirvana articulates a grunge style that solidi‹es alternative rock’s popularity. In the most basic sense, any of these four dynamic outbursts might rightfully be considered a new wave of popular music. It is mostly a matter of historical circumstance that the actual label of new wave should be associated with the third of the aforementioned movements: the mid-1970s punk explosion. In the 1970s critics credited punk bands like the Sex Pistols and the Clash with startling the rock industry out of its moribund complacency. -
The Experimental Impulse
November 18, 2011–January 15, 2012 The Experimental Impulse November 18, 2011–January 15, 2012 Opening reception: Saturday, November 19, 6-9pm Co-organized by Thomas Lawson and Aram Moshayedi and participants in “The Experimental Impulse” seminars at CalArts Exhibition design: Contributions: Research: Jessica Fleischmann Fiona Connor Orlando Tirado Amador Martin Kersels Benjamin Tong Krista Buecking Thomas Lawson Andrew Cameron Amy Howden-Chapman Larissa Brantner James Yogi Proctor Ariane Roesch In conjunction with The Experimental Impulse at REDCAT, East of Borneo hosts Lenders to the exhibition: a selection of commissioned essays, documentation, interviews and research Jacki Apple, Skip Arnold, John Baldessari, Linda Burnham, California Institute of the Arts, materials that explores the pivotal role of experimentation in Los Angeles in the Robert Covington, Dorit Cypis, Charles Gaines, Raul Guerrero, Mary Kelly, Marc Kreisel, Chip Lord, years immediately following the city’s emergence as a vital artistic center. Edited Los Angeles Contemporary Exhibitions, Los Angeles Free Music Society, Paul McCarthy, by Stacey Allan, this archival component to the exhibition offers an alternative, Stephen Nowlin, Jack and Joan Quinn, Allen Ruppersberg, Timothy Silverlake, Rena Small, immaterial approach to the role of the exhibition catalogue, as a site where Robert Smith, Stuart and Judy Spence, James Welling, Robert Wilhite, and Diana Zlotnick. the ideas initiated by the exhibition can continue to develop and be explored. Available at http://www.eastofborneo.org/topics/the-experimental-impulse -
Paper Tulips Manage to End the Jawbone Festival with a Rousting Set to Those Who Would Not Drop
THE SUPER COOLS, MIND OVER METAL THIS IS EDWIN, THE HUMPERS August 30th at Jabberjaw by Sammy Davis III September 6th at the New Hillside, Long Beach by Martin McMartin M IND OVE R METAL, who possess one of the dumbest band names that A great local spot to spend a Sunday night pounding a few and checking I've ever heard, claim to be one of the first family punk rock trios. out local talent for a mere three bucks . Booker Randy and righteous Whether or not they are the first, they are otherwise undistinguished, manager/bar-owner Everett seem to be giving a wide variety of actsthe generic punk revivalists of the San Fernando vailysqueaky clean tare opportunity to play in a real do it yourself atmosphere . THIS IS EDWIN Bear Punk' school typified by the ELECTRIC FERRETS. Guitarist IAN are a spectacle fronted by Edwin of Stubo comic fame, and you might WAGNER and drummer RUDY WAGNER used to be in the KINGS OF remember him from the band Moist and Meaty. My thesaurus is of no OBLIVION; the utterly banal tribe that Mind Over Metal purveys help trying to find the right words to describe what a warped front-man suggests how much they needed the guidance of Mike Snider to set Edwin is. Maybe a costumed mental patient with a fistful of whatever them stright and add a little of tha razzle-dazzle thrashrock mania, be cause M .O.M.'s material and presenta tion were bland, bland, bland. Yawn The SUPER KOOLS, on the other hand know how to do the garage punk thing so it still sounds fresh and vital. -
Ladyslipper Catalog • and Resource Guide • 1988
Ladyslipper Catalog • and Resource Guide • 1988 Records • Tapes Compact Discs Videos V\M Women Mf\A About Ladyslipper Ladyslipper is a North Carolina non-profit, tax- 1982 brought the first release on the Ladys exempt organization which has been involved lipper label Marie Rhines/Tartans & Sagebrush, in many facets of women's music since 1976. originally released on the Biscuit City label. In Our basic purpose has consistently been to 1984 we produced our first album, Kay Gard heighten public awareness of the achievements ner/A Rainbow Path. In 1985 we released the of women artists and musicians and to expand first new wave/techno-pop women's music al the scope and availability of musical and liter bum, Sue Fink/Big Promise; put the new age ary recordings by women. album Beth York/Transformations onto vinyl; and released another new age instrumental al One of the unique aspects of our work has bum, Debbie Fier/Firelight. Our purpose as a been the annual publication of the world's most label is to further new musical and artistic direc comprehensive Catalog and Resource Guide of tions for women artists. Records and Tapes by Women—the one you now hold in your hands. This grows yearly as Our name comes from an exquisite flower the number of recordings by women continues which is one of the few wild orchids native to to develop in geometric proportions. This anno North America and is currently an endangered tated catalog has given thousands of people in species. formation about and access to recordings by an expansive variety of female musicians, writers, Donations are tax-deductible, and we do need comics, and composers. -
Celebrating 25 Years
Celebrating 25 Years Artist Lab Residencies & Exhibitions 18th Street1 Arts Center A 21st Century Odyssey took its inspiration from the Homerian epic Barbara T. Smith with Electronic Café International in which Odysseus wanders the territories of colonial Greece in search of home, encountering Otherness at every turn. Smith’s A 21st Century performance was instigated by a typical, traditionally gendered scenario: her male partner, valued for his scientific and logical expertise, allowed demand for his professional skills to dictate the Odyssey terms of their relationship and agreed to a scenario that would keep by Anuradha Vikram the couple separated for two full years. Rather than accept the traditional female role and wait patiently, maintaining the home (in the tradition of Odysseus’ wife Penelope), Smith turned the tables. She cast Walford as Penelope, rooted in one spot, while she herself took the Odysseus role of the global wanderer. As Walford and his cohort investigated technologies that could potentially keep humans alive under hostile interstellar conditions, Smith explored this planet. Along the way she pursued a universal spiritual quest for transcendence, which has fueled the evolution of both scientific and metaphysical doctrines in the modern era. Today, we take global communication for granted. In an instant, many of us can pull out a supercomputer (in 1990 terms) kept in a pocket, send a text halfway around the globe, and get a near- instantaneous reply. The capacity for a transmission to cross a distance of more than 8,500 miles without noticeable delay or decay enables a sense of relational intimacy with loved ones from afar—a genuine, but also deceptive, feeling. -
Cultural Politics and Chianano Movement Legacies in the Work Of
“We ARE America!” Cultural Politics and Chicano Movement Legacies in the Work of Los Tigres del Norte and El Vez Mariana Rodríguez Institute for International Studies, University of Technology Sydney Thesis submitted for the Masters Degree in International Studies, 2007. CERTIFICATE OF AUTHORSHIP/ORIGINALITY I certify that the work in this thesis has not previously been submitted for a degree nor has it been submitted as part of requirements for a degree except as fully acknowledged within the text. I also certify that the thesis has been written by me. Any help that I have received in my research work and the preparation of the thesis itself has been acknowledged. In addition, I certify that all information sources and literature used are indicated in the thesis. Signature of Student ii Acknowledgements I would like to thank my main supervisor Dr. Paul Allatson for his support, inputs, encouragement and patience, as well as my co-supervisors Dr. Ilaria Vanni and Dr. Jeff Browitt for their contributions. I also want to thank my family and friends in Mexico and those en el otro México and Austlán who have been of great assistance in finding materials and for their support. To all of those who have been around me during these years of academic struggle, thank you. To the staff at the Institute of International Studies at the University of Technology Sydney thank you very much for your help. I would like to thank Dr. Susan Larson for kindly sending me her interview with El Vez, and Denise Thompson for her editing assistance.