DOCSLIB.ORG

Félix Guattari

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Félix Guattari Repositorium für die Medienwissenschaft Clemens Apprich, Josephine Berry Slater, Anthony Iles u.a. (Hg.) Provocative Alloys: A Post-Media Anthology 2013 https://doi.org/10.25969/mediarep/14021 Veröffentlichungsversion / published version Buch / book Empfohlene Zitierung / Suggested Citation: Apprich, Clemens; Slater, Josephine Berry; Iles, Anthony u.a. (Hg.): Provocative Alloys: A Post-Media Anthology. London: Mute 2013 (PML Books). DOI: https://doi.org/10.25969/mediarep/14021. Erstmalig hier erschienen / Initial publication here: https://www.metamute.org/sites/www.metamute.org/files/u1/a-post-media-anthology-mute-books-9781906496944- web-fullbook.pdf Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Deposit-Lizenz (Keine This document is made available under a Deposit License (No Weiterverbreitung - keine Bearbeitung) zur Verfügung gestellt. Redistribution - no modifications). We grant a non-exclusive, Gewährt wird ein nicht exklusives, nicht übertragbares, non-transferable, individual, and limited right for using this persönliches und beschränktes Recht auf Nutzung dieses document. This document is solely intended for your personal, Dokuments. Dieses Dokument ist ausschließlich für non-commercial use. All copies of this documents must retain den persönlichen, nicht-kommerziellen Gebrauch bestimmt. all copyright information and other information regarding legal Auf sämtlichen Kopien dieses Dokuments müssen alle protection. You are not allowed to alter this document in any Urheberrechtshinweise und sonstigen Hinweise auf gesetzlichen way, to copy it for public or commercial purposes, to exhibit the Schutz beibehalten werden. Sie dürfen dieses Dokument document in public, to perform, distribute, or otherwise use the nicht in irgendeiner Weise abändern, noch dürfen Sie document in public. dieses Dokument für öffentliche oder kommerzielle Zwecke By using this particular document, you accept the conditions of vervielfältigen, öffentlich ausstellen, aufführen, vertreiben oder use stated above. anderweitig nutzen. Mit der Verwendung dieses Dokuments erkennen Sie die Nutzungsbedingungen an. Provocative Alloys: A Post-Media Anthology A Post-Media Alloys: Provocative Provocative Alloys: A Post-Media Anthology Edited by Clemens Apprich, Josephine Berry Slater, Anthony Iles and Oliver Lerone Schultz Provocative Félix Guattari’s visionary term ‘post-media’, coined in 1990, heralded a break with mass media’s production of Alloys: conformity and the dawn of a new age of media from below. Understanding how digital convergence was remaking A Post-Media television, film, radio, print and telecommunications into new, hybrid forms, he advocated the production of ‘enunciative Anthology assemblages’ that break with the manufacture of normative subjectivities. In this anthology, historical texts are brought together with newly commissioned ones to explore the shifting ideas, speculative horizons and practices associated with post- media. In particular, the book seeks to explore what post- media practice might be in light of the commodification and homogenisation of digital networks in the age of Web 2.0, e-shopping and mass surveillance. With texts by: Adilkno, Clemens Apprich, Brian Holmes, Edited by Clemens Apprich, Alejo Duque, Felipe Fonseca, Gary Genosko, Michael Goddard, Josephine Berry Slater, Anthony Iles & Félix Guattari, Cadence Kinsey, Oliver Lerone Schultz, Oliver Lerone Schultz Howard Slater and Rasa Smite & Raitis Smits Part of the PML Books series. A collaboration between Mute & the Post-Media Lab Mute Books Cover image: Artie Vierkant, Price €14.99 £12.99 $19.99 Image Objects, 2011-present Provocative Alloys: A Post-Media Anthology Edited by Clemens Apprich, Josephine Berry Slater, Anthony Iles & Oliver Lerone Schultz Post-Media Lab & Mute Books Anti copyright © 2013 Mute Except for those images which originally appeared elsewhere and are republished here, all content is copyright Mute and the authors. However, Mute encourages the use of its content for purposes that are non-commercial, critical, or disruptive of capitalist property relations. Please make sure you credit the author and Mute as the original publishers. This legend is devised in the absence of a licence which adequately represents this contributors’ and publisher’s respective position on copyright, and to acknowledge but deny the copyrighting performed by default where copyright is waived. Please email [email protected] with any details of republication Co-published as a collaboration between Mute and the Post-Media Lab, Leuphana University. PML Books is a book series accompanying the work of the Post-Media Lab. http://postmedialab.org Print ISBN: 978-1-906496-94-4 Also available as eBook ISBN: 978-1-906496-95-1 Distribution Please contact [email protected] for trade and distribution enquiries Acknowledgements Series Editors Clemens Apprich, Josephine Berry Slater, Anthony Iles & Oliver Lerone Schultz Layout Raquel Perez de Eulate Design Template Based on a template by Atwork Cover Image Artie Vierkant, Image Objects, 2011-present PML Books The first books in this short series are: Felix Stalder, Digital Solidarity, (ISBN 978-1-906496-92-0) Claire Fontaine, Human Strike Has Already Begun & Other Writings, (ISBN 978-1-906496-88-3) The PML Book series is just one of several outlets for the Lab’s exploration of post-media strategies and conditions, which includes fellowships, a virtual lab structure, multiple collaborations, events, group readings and other documentation. For more information see: www.postmedialab.org/publications Mute Books The Post-Media Lab is part of the Lüneburg Innovation Incubator, a major EU project within Leuphana University of Lüneburg, financed by the European Regional Development Fund and co-funded by the German federal state of Lower Saxony. Contents Provocative Alloys: An Introduction Josephine Berry Slater & Anthony Iles .........................................................................6 The Promise of Post-Media Gary Genosko ......................................................................................................................14 Towards a Post-Media Era Félix Guattari ......................................................................................................................26 Post-Media Operators Sovereign and Vague Howard Slater .....................................................................................................................28 Félix and Alice in Wonderland: The Encounter Between Guattari and Berardi and the Post-Media Era Michael Goddard ...............................................................................................................44 Theory of the Sovereign Media Adilkno ..................................................................................................................................62 From Post-Media to Post-Medium: Re-thinking Ontology in Art and Technology Cadence Kinsey ..................................................................................................................68 South of Post-Media Alejo Duque, Felipe Fonseca & Oliver Lerone Schultz ..........................................84 Activism and Schizoanalysis: The Articulation of Political Speech Brian Holmes ................................................................................................................... 106 Remaking Media Practices: From Tactical Media to Post-Media Clemens Apprich ............................................................................................................. 122 Emerging Techno-Ecological Art Practices: Towards Renewable Futures Rasa Smite & Raitis Smits ............................................................................................142 Provocative Alloys: An Introduction Josephine Berry Slater & Anthony Iles The Post-Media Lab was established in September 2011 as a collaboration between Mute, a culture and politics magazine based in London, and the Centre for Digital Cultures (CDC) at the Leuphana University of Lüneburg. The project picked up the diverse threads of different formulations of the experimental laboratory in media and net cultures, running from MIT’s legendary Research Laboratory of Electronics (1946) to the small autonomous or semi-autonomous multimedia spaces which sprung up across Europe in the 1990s, like Vienna’s Public Netbase/t0, London’s Backspace, Riga’s E-Lab, Zagreb’s MaMa and Ljubljana’s Ljudmila. The Post- Media Lab aims to continue the experimental approaches of Mute and these labs, in their historically conscious and mongrelising use of media forms to upset uniform visions of the future. The Lab approaches the present conjunction of communications technology by looking both forwards and backwards, recognising the ways in which the past is not simply superceded but largely retained and reconfigured in the social and technological forms and relations of the present. This helps us begin to make sense of the fact that we live in a contradictory era of media monopolies and popular digital movements, Web 2.0 monocultures and cultural complexification, NSA and Anonymous. Following Félix Guattari, we call this struggle between molar and minor forms a ‘post-media era’. The Lab’s focus on the potential of ‘post-media’ practice draws upon Guattari’s concept of social and media assemblages which unleash new forms of collective expression and experience. It is centred around a supported programme of visiting fellows – artists, technologists, film-makers, curators, engineers, theorists
Load more

Recommended publications
  • Whither Tactical Media?
    Third Text, Vol. 22, Issue 5, September, 2008, 519–524 Introduction: Whither Tactical Media? Gene Ray and Gregory Sholette We began collaborating on this Special Issue in June of 2006. Our concern was to understand how tactical media (TM) had evolved in the decade since its emergence and to ask how far and in what ways this stream of critical cultural practices and approach to media activism remains viable today. The current global situation is characterised by two factors that were absent or still obscure in the mid-1990s: the renewal of radical and anti-capitalist imagination ignited by the 1994 Zapatista uprising in Chiapas and by movements, protests and struggles against neo-liberalism in Seoul, Seattle, Buenos Aires, Durban, Genoa, Quito and many other places; and the new politics of fear and perma- nent war that have been imposed globally since September 11, 2001. To these, we can add the undeniable indicators of global climate change, resource depletion and ecological degradation, and the openly fascistic tendencies generated by the politics of fear. In light of these shifts, we felt a reflective assessment of tactical media would be timely. Above all, we felt it had become necessary to revisit the question of strategy and the conditions for durable, organised struggle. Despite TM practitioners’ Downloaded By: [New York University] At: 15:28 12 February 2009 aversion to strategic thinking, institutionalisation, categorical hierarchies and grand narratives, it is apparent that a group of radicals with no such prejudices and inhibitions are busy imposing their ultra-conservative vision on the world. Is it still reasonable, then, to insist on the viability of ephemeral tactics that hold no ground of their own, that disappear once they are executed, and that represent no particular politics or vision of a desirable future? Thus, to a range of theorists and activists, we posed this question: ‘Whither tactical media?’ We hoped the results would at least contribute to recently renewed debates about the limits and possibilities of politically engaged art.
    [Show full text]
  • Hacking Global Justice Paper Prepared
    Hacking Global Justice Paper prepared for: Changing Politics through Digital Networks October 5-6, 2007 Universitá degli Studi di Firenze Florence, Italy Jeffrey S. Juris Assistant Professor of Anthropology Department of Social & Behavioral Sciences New College of Interdisciplinary Arts & Sciences Arizona State University [email protected] Hacking Global Justice On November 30, 1999, as tens of thousands of protesters blockaded the World Trade Organization (WTO) Summit in Seattle, the electrohippies organized a simultaneous collective action in cyberspace. The U.K.-based collective, composed of environmentalists and computer programmers, developed a special website allowing activists from around the world to take part in a “virtual sit-in.” Using Floodnet software developed by the Electronic Disturbance Theater (EDT) during previous actions supporting the Zapatistas, the electrohippies’ site automatically transferred visitors en masse to the official WTO domain as if thousands of surfers repeatedly clicked their browser reload buttons at the same time. The action was designed to overload the WTO web server by sending multiple requests over a period of several days. The electrohippies claimed more than 450,000 people ultimately swamped the WTO site from November 30 to December 5, while participants sent an additional 900 e-mails to the server per day. The group later explained their action in this way, "In conventional sit-ins people try to occupy gateways or buildings. In a virtual sit-in people from around the globe can occupy the gateway to the WTO’s web servers. In this way we hope to block the flow of information from the conference- which is significant because it will cement proposals to expand globalization in the 21st Century."1 The virtual sit-in against the WTO is an example of what activists call Electronic Civil Disobedience (ECD), an information-age tactic intricately tied to an emerging wave of resistance against corporate globalization (cf.
    [Show full text]
  • Primal Scream Juntam-Se Ao Cartaz Do Nos Alive'19
    COMUNICADO DE IMPRENSA 02 / 04 / 2019 NOS apresenta dia 12 de julho PRIMAL SCREAM JUNTAM-SE AO CARTAZ DO NOS ALIVE'19 Os escoceses Primal Scream são a mais recente confirmação do NOS Alive’19. A banda liderada por Bobby Gillespie, figura incontornável da música alternativa, sobe ao Palco NOS dia 12 de julho juntando-se assim aos já anunciados Vampire Weekend, Gossip e Izal no segundo dia do festival. Com mais de 30 anos de carreira, Primal Scream trazem até ao Passeio Marítimo de Algés o novo álbum com data de lançamento previsto a 24 de maio, “Maximum Rock N Roll: The Singles”, trabalho que reúne os singles da banda desde 1986 até 2016 em dois volumes. A compilação começa com “Velocity Girl”, passando por temas dos dois primeiros álbuns como são exemplo "Ivy Ivy Ivy" e "Loaded". A banda que tinha apresentado em outubro de 2018 a mais recente compilação de singles originais do quarto álbum de 1994 com “Give Out But Don’t Give Up: The Original Memphis Recordings”, juntando-se ao lendário produtor Tom Dowd, a David Hood (baixo) e Roger Hawkins (bateria) no Ardent Studios em Memphis, está de volta às gravações e revelam algo nunca antes ouvido e uma banda que continua a surpreender. Primal Scream foi uma parte fundamental da cena indie pop dos anos 80, depois do galardoado disco "Screamadelica" vencedor do Mercury Prize em 1991, considerado um dos maiores de todos os tempos, a banda seguiu por influências de garage rock e dance music até ao último trabalho discográfico “Chaosmosis” lançado em 2016.
    [Show full text]
  • Wiseman-Trowse20134950
    This work has been submitted to NECTAR, the Northampton Electronic Collection of Theses and Research. Book Section Title: The singer and the song: Nick Cave and the archetypal function of the cover version Creators: Wiseman-Trowse, N. J. B. R Example citation: Wiseman-Trowse, N. J. B. (2013) The singer and the song: Nick Cave and the archetypal function oAf the cover version. In: Baker, J. (ed.) The Art of Nick Cave: New Critical Essays. Bristol: Intellect. pp. 57-84. T Version: Final draft C NhttEp://nectar.northampton.ac.uk/4950/ The singer and the song: Nick Cave and the archetypal function of the cover version Nathan Wiseman-Trowse The University of Northampton A small proscenium arch of red light bulbs framing draped crimson curtains fills the screen. It is hard to tell whether the ramshackle stage is inside or outside but it appears to be set up against a wall made of corrugated metal. All else is black. The camera cuts to a close-up of the curtains, which are parted to reveal a pale young man with crow’s nest hair wearing a sequined tuxedo and a skewed bow tie. The man holds a lit cigarette and behind him, overseeing proceedings, is a large statue of the Virgin Mary. As the man with the crow’s nest hair walks fully through the arch he opens his mouth and sings the words ‘As the snow flies, on a cold and grey Chicago morn another little baby child is born…’. The song continues with the singer alternately shuffling as if embarrassed by the attention of the camera and then holding his arms aloft in declamation or fixing the viewer with a steely gaze.
    [Show full text]
  • Papers of Surrealism, Issue 8, Spring 2010 1
    © Lizzie Thynne, 2010 Indirect Action: Politics and the Subversion of Identity in Claude Cahun and Marcel Moore’s Resistance to the Occupation of Jersey Lizzie Thynne Abstract This article explores how Claude Cahun and Marcel Moore translated the strategies of their artistic practice and pre-war involvement with the Surrealists and revolutionary politics into an ingenious counter-propaganda campaign against the German Occupation. Unlike some of their contemporaries such as Tristan Tzara and Louis Aragon who embraced Communist orthodoxy, the women refused to relinquish the radical relativism of their approach to gender, meaning and identity in resisting totalitarianism. Their campaign built on Cahun’s theorization of the concept of ‘indirect action’ in her 1934 essay, Place your Bets (Les paris sont ouvert), which defended surrealism in opposition to both the instrumentalization of art and myths of transcendence. An examination of Cahun’s post-war letters and the extant leaflets the women distributed in Jersey reveal how they appropriated and inverted Nazi discourse to promote defeatism through carnivalesque montage, black humour and the ludic voice of their adopted persona, the ‘Soldier without a Name.’ It is far from my intention to reproach those who left France at the time of the Occupation. But one must point out that Surrealism was entirely absent from the preoccupations of those who remained because it was no help whatsoever on an emotional or practical level in their struggles against the Nazis.1 Former dadaist and surrealist and close collaborator of André Breton, Tristan Tzara thus dismisses the idea that surrealism had any value in opposing Nazi domination.
    [Show full text]
  • 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.
    [Show full text]
  • Portrait of the Activist As a Yes Man: Examining Culture Jamming and Its Actors Through the Circuit of Culture Derrick Shannon
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2011 A Portrait of the Activist as a Yes Man: Examining Culture Jamming and Its Actors Through the Circuit of Culture Derrick Shannon Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF COMMUNICATION AND INFORMATION A PORTRAIT OF THE ACTIVIST AS A YES MAN: EXAMINING CULTURE JAMMING AND ITS ACTORS THROUGH THE CIRCUIT OF CULTURE By DERRICK SHANNON A Thesis submitted to the School of Communication and Information in partial fulfillment of the requirements for the degree of Master of Science Degree Awarded: Spring Semester, 2011 The members of the Committee approve the thesis of Derrick Shannon on April 01, 2011. ______________________________ Andrew Opel Professor Directing Thesis ______________________________ Donna Marie Nudd Committee Member ______________________________ Jennifer Proffitt Committee Member Approved: _______________________________________ Steve McDowell, Chair, Department of Communication _______________________________________ Larry Dennis, Dean, College of Communication The Graduate School has verified and approved the above named committee members. ii For Dad iii ACKNOWLEDGEMENTS The author would like to primarily thank Dr. Andy Opel, Dr. Bill Lawson, and my father Sam Shannon for supporting me through this project, and for pushing me to finish. Without their encouragement and generosity I would not have been able to see this to an end. I would also like to thank Dr. Nudd and Dr. Proffitt for taking part in this and lending their time. Finally, I would like to thank my mother, Ginger Shannon, who is the kindest most inspiring person I know.
    [Show full text]
  • Contentious Politics, Culture Jamming, and Radical
    Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2009 Boxing with shadows: contentious politics, culture jamming, and radical creativity in tactical innovation David Matthew Iles, III Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Political Science Commons Recommended Citation Iles, III, David Matthew, "Boxing with shadows: contentious politics, culture jamming, and radical creativity in tactical innovation" (2009). LSU Master's Theses. 878. https://digitalcommons.lsu.edu/gradschool_theses/878 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. BOXING WITH SHADOWS: CONTENTIOUS POLITICS, CULTURE JAMMING, AND RADICAL CREATIVITY IN TACTICAL INNOVATION A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts in The Department of Political Science by David Matthew Iles, III B.A., Southeastern Louisiana University, 2006 May, 2009 ACKNOWLEDGEMENTS This thesis was completed with the approval and encouragement of my committee members: Dr. Xi Chen, Dr. William Clark, and Dr. Cecil Eubanks. Along with Dr. Wonik Kim, they provided me with valuable critical reflection whenever the benign clouds of exhaustion and confidence threatened. I would also like to thank my friends Nathan Price, Caroline Payne, Omar Khalid, Tao Dumas, Jeremiah Russell, Natasha Bingham, Shaun King, and Ellen Burke for both their professional and personal support, criticism, and impatience throughout this process.
    [Show full text]
  • Covert Plants
    COVERT PLANTS Before you start to read this book, take this moment to think about making a donation to punctum books, an independent non-profit press, @ https://punctumbooks.com/support/ If you’re reading the e-book, you can click on the image below to go directly to our donations site. Any amount, no matter the size, is appreciated and will help us to keep our ship of fools afloat. Contributions from dedicated readers will also help us to keep our commons open and to cultivate new work that can’t find a welcoming port elsewhere. Our adventure is not possible without your support. Vive la open-access. Fig. 1. Hieronymus Bosch, Ship of Fools (1490–1500) Covert Plants Vegetal Consciousness and Agency in an Anthropocentric World Edited by Prudence Gibson & Baylee Brits Brainstorm Books Santa Barbara, California covert plants: Vegetal Consciousness and Agency in an anthropocentric world. Copyright © 2018 by the editors and authors. This work carries a Creative Commons by-nc-sa 4.0 International license, which means that you are free to copy and redistribute the material in any medium or format, and you may also remix, transform, and build upon the material, as long as you clearly attribute the work to the authors and editors (but not in a way that suggests the authors or punctum books endorses you and your work), you do not use this work for commercial gain in any form whatsoever, and that for any remixing and transformation, you distribute your rebuild under the same license. http:// creativecommons.org/licenses/by-nc-sa/4.0/ First published in 2018 by Brainstorm Books A division of punctum books, Earth, Milky Way www.punctumbooks.com isbn-13: 978-1-947447-69-1 (print) isbn-13: 978-1-947447-70-7 (epdf) lccn: 2018948912 Library of Congress Cataloging Data is available from the Library of Congress Interior design: Vincent W.J.
    [Show full text]
  • Your Guide to Over 2500 Channels of Entertainment
    YOUR GUIDE TO OVER 2500 CHANNELS OF ENTERTAINMENT Voted World’s Best Infl ight Entertainment Digital Widescreen February 2017 for the 12th consecutive year! PLANET Explore the wonders ofEARTH II and more incredible entertainment NEW MOVIES | DOCUMENTARIES | SPORT | ARABIC MOVIES | COMEDY TV | KIDS | BOLLYWOOD | DRAMA | NEW MUSIC | BOX SETS | AND MORE ENTERTAINMENT An extraordinary experience... Wherever you’re going, whatever your mood, you’ll find over 2500 channels of the world’s best inflight entertainment to explore on today’s flight. 496 movies Information… Communication… Entertainment… THE LATEST MOVIES Track the progress of your Stay connected with in-seat* phone, Experience Emirates’ award- flight, keep up with news SMS and email, plus Wi-Fi and mobile winning selection of movies, you can’t miss and other useful features. roaming on select flights. TV, music and games. from page 16 STAY CONNECTED ...AT YOUR FINGERTIPS Connect to the OnAir Wi-Fi 4 103 network on all A380s and most Boeing 777s Move around 1 Choose a channel using the games Go straight to your chosen controller pad programme by typing the on your handset channel number into your and select using 2 3 handset, or use the onscreen the green game channel entry pad button 4 1 3 Swipe left and right like Search for movies, a tablet. Tap the arrows TV shows, music and ĒĬĩĦĦĭ onscreen to scroll system features ÊÉÏ 2 4 Create and access Tap Settings to Português, Español, Deutsch, 日本語, Français, ̷͚͑͘͘͏͐, Polski, 中文, your own playlist adjust volume and using Favourites brightness Many movies are available in up to eight languages.
    [Show full text]
  • America and the Musical Unconscious E Music a L Unconl S Cious
    G Other titles from Atropos Press Music occupies a peculiar role in the field of American Studies. It is undoubtedly (EDS.) “It is not as simple as saying that music REVE/P JULIUS GREVE & SASCHA PÖHLMANN Resonance: Philosophy for Sonic Art recognized as an important form of cultural production, yet the field continues does this or that; exploring the musical On Becoming-Music: to privilege textual and visual forms of art as its objects of examination. The es- unconscious means acknowledging the Between Boredom and Ecstasy says collected in this volume seek to adjust this imbalance by placing music cen- very fact that music always does more.” ter stage while still acknowledging its connections to the fields of literary and Philosophy of Media Sounds ÖHLMANN Hospitality in the Age of visual studies that engage with the specifically American cultural landscape. In Media Representation doing so, they proffer the concept of the ‘musical unconscious’ as an analytical tool of understanding the complexities of the musical production of meanings in various social, political, and technological contexts, in reference to country, www.atropospress.com queer punk, jazz, pop, black metal, film music, blues, carnival music, Muzak, hip-hop, experimental electronic music, protest and campaign songs, minimal ( E music, and of course the kazoo. DS. ) Contributions by Hanjo Berressem, Christian Broecking, Martin Butler, Christof Decker, Mario Dunkel, Benedikt Feiten, Paola Ferrero, Jürgen AMERIC Grandt, Julius Greve, Christian Hänggi, Jan Niklas Jansen, Thoren Opitz, Sascha Pöhlmann, Arthur Sabatini, Christian Schmidt, Björn Sonnenberg- Schrank, Gunter Süß, and Katharina Wiedlack. A A ND TH AMERICA AND THE MUSICAL UNCONSCIOUS E MUSIC A L UNCON S CIOUS ATROPOS PRESS new york • dresden 5 6 4 7 3 8 2 9 1 10 0 11 AMERICA AND THE MUSICAL UNCONSCIOUS JULIUS GREVE & SASCHA PÖHLMANN (EDS.) America and the Musical Unconscious Copyright © 2015 by Julius Greve and Sascha Pöhlmann (Eds.) The rights of the contributions remain with the respective authors.
    [Show full text]
  • RESEARCH ARTS: La Intersección Arte, Ciencia Y Tecnología Como Campo De Conocimiento Y De Acción
    RESEARCH ARTS: La intersección arte, ciencia y tecnología como campo de conocimiento y de acción Stella Veciana Schultheiss ADVERTIMENT. La consulta d’aquesta tesi queda condicionada a l’acceptació de les següents condicions d'ús: La difusió d’aquesta tesi per mitjà del servei TDX (www.tdx.cat) ha estat autoritzada pels titulars dels drets de propietat intel·lectual únicament per a usos privats emmarcats en activitats d’investigació i docència. No s’autoritza la seva reproducció amb finalitats de lucre ni la seva difusió i posada a disposició des d’un lloc aliè al servei TDX. No s’autoritza la presentació del seu contingut en una finestra o marc aliè a TDX (framing). Aquesta reserva de drets afecta tant al resum de presentació de la tesi com als seus continguts. En la utilització o cita de parts de la tesi és obligat indicar el nom de la persona autora. ADVERTENCIA. La consulta de esta tesis queda condicionada a la aceptación de las siguientes condiciones de uso: La difusión de esta tesis por medio del servicio TDR (www.tdx.cat) ha sido autorizada por los titulares de los derechos de propiedad intelectual únicamente para usos privados enmarcados en actividades de investigación y docencia. No se autoriza su reproducción con finalidades de lucro ni su difusión y puesta a disposición desde un sitio ajeno al servicio TDR. No se autoriza la presentación de su contenido en una ventana o marco ajeno a TDR (framing). Esta reserva de derechos afecta tanto al resumen de presentación de la tesis como a sus contenidos.
    [Show full text]