Somnambulist Press Release
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Physicality of the Analogue by Duncan Robinson BFA(Hons)
Physicality of the Analogue by Duncan Robinson BFA(Hons) Submitted in the fulfilment of the requirements for the degree of Master of Fine Arts. 2 Signed statement of originality This Thesis contains no material which has been accepted for a degree or diploma by the University or any other institution. To the best of my knowledge and belief, it incorporates no material previously published or written by another person except where due acknowledgment is made in the text. Duncan Robinson 3 Signed statement of authority of access to copying This Thesis may be made available for loan and limited copying in accordance with the Copyright Act 1968. Duncan Robinson 4 Abstract: Inside the video player, spools spin, sensors read and heads rotate, generating an analogue signal from the videotape running through the system to the monitor. Within this electro mechanical space there is opportunity for intervention. Its accessibility allows direct manipulation to take place, creating imagery on the tape as pre-recorded signal of black burst1 without sound rolls through its mechanisms. The actual physical contact, manipulation of the tape, the moving mechanisms and the resulting images are the essence of the variable electrical space within which the analogue video signal is generated. In a way similar to the methods of the Musique Concrete pioneers, or EISENSTEIN's refinement of montage, I have explored the physical possibilities of machine intervention. I am working with what could be considered the last traces of analogue - audiotape was superseded by the compact disc and the videotape shall eventually be replaced by 2 digital video • For me, analogue is the space inside the video player. -
Media Release: Vivid Live Sydney Opera House 2015
VIVID LIVE 2015 AN EVENING WITH MORRISSEY | SUFJAN STEVENS | DANIEL JOHNS | FCX – 10 YEARS OF FUTURE CLASSIC FEAT. FLUME, FLIGHT FACILITIES, SEEKAE, HAYDEN JAMES, TOUCH SENSITIVE, GEORGE MAPLE & MORE | TV ON THE RADIO | BILL CALLAHAN | SQUAREPUSHER | THE DRONES – WAIT LONG BY THE RIVER… 10TH ANNIVERSARY + EXCLUSIVE ALBUM PREVIEW | THE PREATURES | REPRESSED RECORDS PRESENTS ROYAL HEADACHE & MORE | MELBOURNE SKA ORCHESTRA | DRESS UP ATTACK! | LIGHTING THE SAILS – UNIVERSAL EVERYTHING | RED BULL MUSIC ACADEMY STUDIO PARTIES: RBMA FREE OPENING NIGHT FEAT. ONRA (LIVE) / DREEMS (LIVE) / THE GOODS (LIVE) / SUI ET SUI (SUI ZHEN LIVE BAND) / PHYSIQUE l MAD RACKET FEAT. MATTHEW HERBERT (LIVE) / ZOOTIE / JIMMI JAMES / KEN CLOUD / SIMON CALDWELL | GOODGOD MINCETERIA! FEAT. HOUSE OF LADOSHA / ZANZIBAR CHANEL / VICTORIA KIM /SLÉ FEAT. BHENJI RĀ| ASTRAL PEOPLE FEAT. ROBERT OWENS / AMIR ALEXANDER / BEN FESTER/ PREACHA & MORE | ELEFANT TRAKS FEAT. JOYRIDE (LIVE) / JAYTEEHAZARD / DJ MK-1 / ADIT / DGGZ & MORE Tickets on sale to the general public at 9am, Friday 27 March 2015. The Sydney Opera House today announced the full line-up of artists joining British iconoclast Morrissey at the seventh annual Vivid LIVE program of contemporary music - part of Vivid Sydney, the Southern Hemisphere’s largest festival of light, music and ideas. Vivid LIVE programming will run for the duration of Vivid Sydney between 22 May and 8 June, which includes more than 30 international and Australian artists across every stage of the Opera House. Vivid’s centrepiece, Lighting the Sails, will this year be created by British multi-disciplinary design collective Universal Everything, known for their boldly coloured anthropomorphic designs for Radiohead’s PolyFauna and work with Warp Records and the 2012 London Olympics. -
Visual Metaphors on Album Covers: an Analysis Into Graphic Design's
Visual Metaphors on Album Covers: An Analysis into Graphic Design’s Effectiveness at Conveying Music Genres by Vivian Le A THESIS submitted to Oregon State University Honors College in partial fulfillment of the requirements for the degree of Honors Baccalaureate of Science in Accounting and Business Information Systems (Honors Scholar) Presented May 29, 2020 Commencement June 2020 AN ABSTRACT OF THE THESIS OF Vivian Le for the degree of Honors Baccalaureate of Science in Accounting and Business Information Systems presented on May 29, 2020. Title: Visual Metaphors on Album Covers: An Analysis into Graphic Design’s Effectiveness at Conveying Music Genres. Abstract approved:_____________________________________________________ Ryann Reynolds-McIlnay The rise of digital streaming has largely impacted the way the average listener consumes music. Consequentially, while the role of album art has evolved to meet the changes in music technology, it is hard to measure the effect of digital streaming on modern album art. This research seeks to determine whether or not graphic design still plays a role in marketing information about the music, such as its genre, to the consumer. It does so through two studies: 1. A computer visual analysis that measures color dominance of an image, and 2. A mixed-design lab experiment with volunteer participants who attempt to assess the genre of a given album. Findings from the first study show that color scheme models created from album samples cannot be used to predict the genre of an album. Further findings from the second theory show that consumers pay a significant amount of attention to album covers, enough to be able to correctly assess the genre of an album most of the time. -
Lucid Dream-Pop
MUSIC TRACK IT DOWN The only tunes you need this March p.130 HOCUS OPUS The month’s most spellbinding albums p.152 COMPETITIVE COMPILATIONS Key comps and mixes reviewed p.156 LU C I D DREAM-POP Kelly Lee Owens breaks the mould with her stunning, self-titled debut album... p.152 djmag.com 129 HOUSE BEN ARNOLD James Hadfield and Danny Linton. With its tribal howls, Soak skirts the right side of QUICKIES 'world music' without being Phil Weeks wanky — always a perilous Raw Instrumental Vol. 2 [email protected] tightrope act. Instead, it's PW/Robsoul Recordings wonky and wonderful. Man 8.0 Power himself drops in a moody, Phil Weeks is clearly never visited with writer's acidic re-rub, while Axel Boman block. This eight-track EP being rather sturdy wallops yet another remix out evidence of this, a collection of weaponised into the bleachers, dropping house music to damage dancefloors. Bravo. the four-four in favour of a new genre, Balearic garage (which Justin Cudmore has just been coined here, this Forget It EP very moment). The Bunker New York 8.5 Oh yes. This blisteringly acidic four-tracker for MICHAEL ZAHNSCHIRM & THERESA LIPP ZAHNSCHIRM MICHAEL Jamie Lidell/Matthew The Bunker New York had us at hello. 'New Jack Pic: Herbert MONEY Lidell/Herbert The House' is a deeply classy slab, while 'Forget Moony Me SHOT! Accidental Jnr It' is machine music par excellence. Contemplatin' EP 9.0 Klamauk Lidell and Herbert have been 9.5 muckers for donkey's years, MIA LUCCI KINDISCH Thoroughly arresting house but this bootleg of the former's music here from German/ track 'When I Come Back Venezuelan/Austrian, Around' from his majestic 2005 Eduardo A. -
Connecting Time and Timbre Computational Methods for Generative Rhythmic Loops Insymbolic and Signal Domainspdfauthor
Connecting Time and Timbre: Computational Methods for Generative Rhythmic Loops in Symbolic and Signal Domains Cárthach Ó Nuanáin TESI DOCTORAL UPF / 2017 Thesis Director: Dr. Sergi Jordà Music Technology Group Dept. of Information and Communication Technologies Universitat Pompeu Fabra, Barcelona, Spain Dissertation submitted to the Department of Information and Communication Tech- nologies of Universitat Pompeu Fabra in partial fulfillment of the requirements for the degree of DOCTOR PER LA UNIVERSITAT POMPEU FABRA Copyright c 2017 by Cárthach Ó Nuanáin Licensed under Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 Music Technology Group (http://mtg.upf.edu), Department of Information and Communication Tech- nologies (http://www.upf.edu/dtic), Universitat Pompeu Fabra (http://www.upf.edu), Barcelona, Spain. III Do mo mháthair, Marian. V This thesis was conducted carried out at the Music Technology Group (MTG) of Universitat Pompeu Fabra in Barcelona, Spain, from Oct. 2013 to Nov. 2017. It was supervised by Dr. Sergi Jordà and Mr. Perfecto Herrera. Work in several parts of this thesis was carried out in collaboration with the GiantSteps team at the Music Technology Group in UPF as well as other members of the project consortium. Our work has been gratefully supported by the Department of Information and Com- munication Technologies (DTIC) PhD fellowship (2013-17), Universitat Pompeu Fabra, and the European Research Council under the European Union’s Seventh Framework Program, as part of the GiantSteps project ((FP7-ICT-2013-10 Grant agreement no. 610591). Acknowledgments First and foremost I wish to thank my advisors and mentors Sergi Jordà and Perfecto Herrera. Thanks to Sergi for meeting me in Belfast many moons ago and bringing me to Barcelona. -
Buffy & Angel Watching Order
Start with: End with: BtVS 11 Welcome to the Hellmouth Angel 41 Deep Down BtVS 11 The Harvest Angel 41 Ground State BtVS 11 Witch Angel 41 The House Always Wins BtVS 11 Teacher's Pet Angel 41 Slouching Toward Bethlehem BtVS 12 Never Kill a Boy on the First Date Angel 42 Supersymmetry BtVS 12 The Pack Angel 42 Spin the Bottle BtVS 12 Angel Angel 42 Apocalypse, Nowish BtVS 12 I, Robot... You, Jane Angel 42 Habeas Corpses BtVS 13 The Puppet Show Angel 43 Long Day's Journey BtVS 13 Nightmares Angel 43 Awakening BtVS 13 Out of Mind, Out of Sight Angel 43 Soulless BtVS 13 Prophecy Girl Angel 44 Calvary Angel 44 Salvage BtVS 21 When She Was Bad Angel 44 Release BtVS 21 Some Assembly Required Angel 44 Orpheus BtVS 21 School Hard Angel 45 Players BtVS 21 Inca Mummy Girl Angel 45 Inside Out BtVS 22 Reptile Boy Angel 45 Shiny Happy People BtVS 22 Halloween Angel 45 The Magic Bullet BtVS 22 Lie to Me Angel 46 Sacrifice BtVS 22 The Dark Age Angel 46 Peace Out BtVS 23 What's My Line, Part One Angel 46 Home BtVS 23 What's My Line, Part Two BtVS 23 Ted BtVS 71 Lessons BtVS 23 Bad Eggs BtVS 71 Beneath You BtVS 24 Surprise BtVS 71 Same Time, Same Place BtVS 24 Innocence BtVS 71 Help BtVS 24 Phases BtVS 72 Selfless BtVS 24 Bewitched, Bothered and Bewildered BtVS 72 Him BtVS 25 Passion BtVS 72 Conversations with Dead People BtVS 25 Killed by Death BtVS 72 Sleeper BtVS 25 I Only Have Eyes for You BtVS 73 Never Leave Me BtVS 25 Go Fish BtVS 73 Bring on the Night BtVS 26 Becoming, Part One BtVS 73 Showtime BtVS 26 Becoming, Part Two BtVS 74 Potential BtVS 74 -
The Scheduling and Reception of Buffy the Vampire Slayer and Angel in the UK
Vampire Hunters: the Scheduling and Reception of Buffy the Vampire Slayer and Angel in the UK Annette Hill and Ian Calcutt Introduction In a viewers’ feedback programme on TV, a senior executive responded to public criticism of UK television’s scheduling and censorship of imported cult TV. Key examples included Buffy the Vampire Slayer and its spin off series Angel. The executive stated: ‘The problem is, with some of the series we acquire from the States, in the States they go out at eight o’clock or nine o’clock. We don’t have that option here because we want to be showing history documentaries or some other more serious programming at eight or nine o’clock’ [1]. TV channels in the UK do not perceive programmes like Buffy and Angel, which have garnered critical and ratings success in the USA, appropriate for a similarly prominent timeslot. Although peak time programmes can include entertainment shows, these are generally UK productions, such as lifestyle or drama. This article analyses the circumstances within which British viewers are able to see Buffy and Angel, and the implications of those circumstances for their experiences as audience members and fans. The article is in two sections. The first section outlines the British TV system in general, and the different missions and purposes of relevant TV channels. It also addresses the specifics of scheduling Buffy and Angel, including the role of censorship and editing of episodes. We highlight how the scheduling has been erratic, which both interrupts complex story arcs and frustrates fans expecting to see their favourite show at a regular time. -
Twilight States: Sleepwalking, Liminal Consciousness, and Sensational Selfhood in Victorian Literature and Culture
TWILIGHT STATES: SLEEPWALKING, LIMINAL CONSCIOUSNESS, AND SENSATIONAL SELFHOOD IN VICTORIAN LITERATURE AND CULTURE by Rebecca Wigginton B. A. in English, University of Kentucky, 2005 Submitted to the Graduate Faculty of the Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2014 UNIVERSITY OF PITTSBURGH DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Rebecca Wigginton It was defended on September 29, 2014 and approved by Philip E. Smith, PhD, Associate Professor, English Jonathan Arac, PhD, Andrew W. Mellon Professor, English Marah Gubar, PhD, Associate Professor, English John Twyning, PhD, Associate Professor, English Christopher Drew Armstrong, PhD, History of Art & Architecture Dissertation Advisor: Philip E. Smith, PhD, Associate Professor, English ii Copyright © by Rebecca Wigginton 2014 iii TWILIGHT STATES: SLEEPWALKING, LIMINAL CONSCIOUSNESS, AND SENSATIONAL SELFHOOD IN VICTORIAN LITERATURE AND CULTURE Rebecca Wigginton, PhD University of Pittsburgh, 2014 Twilight States: Sleepwalking, Liminal Consciousness, and Sensational Selfhood in Victorian Literature and Culture argues that sleepwalking was everywhere in nineteenth-century culture, both as a topic for scientific, legal, and public debate, but also as a potent symbol in the Victorian imagination that informed literature and art. Furthermore, the nineteenth-century interest in the somnambulist was provoked by what the figure represented and revealed to the Victorians: namely, themselves. The sleepwalker represented the hidden potential within the self for either greatness or deviance, or, more mundanely, simply a fuller existence than consciousness has an awareness of. Sleepwalking writ large the multi-layered self at a time when the self—by psychiatry and society at large—was being accepted as increasingly multivalent. -
Slayage, Number 9: Abbott
Stacey Abbott Walking the Fine Line Between Angel and Angelus [1] Much of the discussion and analysis of the television series Buffy the Vampire Slayer has focused upon the show’s moral complexity in its representation of good and evil. Joss Whedon’s world is a world of grays rather than crisp black and white oppositions. The character Angel, the vampire with a soul, was one of the earliest introductions of this ambiguity into the series. The slayer and her friends were forced to accept that a vampire could be good. Difficult to accept but not as difficult as a loving boyfriend who can turn evil over night . again embodied in Angel. He offered the young Slayer, her friends and the audience a lot to think about in those first two seasons. While initially morally complex, as the series has developed and explored the far reaches of moral ambiguity through the actions of all of the Scooby Gang, Angel’s representation seems too neatly split across polar oppositions: the good Angel versus the evil Angelus. These two sides of Angel have been described by Beth Braun as “tortured soul” and “soulless demon” (90) and by Mary Alice Money as “soulful vampire extraordinaire” and “evil über-vampire” (98-99). [2] Rhonda V. Wilcox suggests, in “Every Night I Save You: Buffy, Spike, Sex and Redemption,” “[that] since Angel is good because he possesses a soul, he still represents an essentialist definition of good.” This is in contrast to the vampire Spike, who, she argues, “owns no human soul, yet repeatedly does good; if he can be seen as capable of change, capable of good, capable of love, then he can represent an existentialist definition of good” (paragraph 15). -
Fragile Spectres: How Women of Victorian Britain Used the Occult
FRAGILE SPECTRES: HOW WOMEN OF VICTORIAN BRITAIN USED THE OCCULT AND SPIRITUALIST MOVEMENT TO CREATE AUTONOMY A Thesis Presented to The Faculty of the College of Arts and Sciences Florida Gulf Coast University In Partial Fulfillment of the Requirement for the Degree of Master of Arts By Danielle Jean Drew 2017 APPROVAL SHEET This thesis is submitted in partial fulfillment of the requirements for the degree of Master of Arts Danielle Jean Drew Approved: April 19, 2017 Committee Chair / Advisor Committee Member 1 Committee Member 2 Committee Member 3 The final copy of this thesis has been examined by the signatories, and we find that both the content and the form meet acceptable presentation standards of scholarly work in the above mentioned discipline. 1 Table of Contents Acknowledgements 3 Introduction 4 Chapter 1 11 The Spiritualist Movement in London Chapter 2 24 The Lady and the Medium: Spiritualism and Women in the Nineteenth Century Chapter 3 37 Middle Class Mediums: A New Vocation for Victorian Women Chapter 4 50 Finding New Life in Art: Medium and Artist Georgiana Houghton Chapter 5 66 Medium, Editor, and Inspiration: Emma Hardinge Britten and the Spiritualist Movement Chapter 6 83 Rosa Campbell Praed: Theosophy, Feminism, Authorship, and Autonomy at the Turn of the Century Conclusion 98 Bibliography 102 2 Acknowledgements There are many people that I am grateful to and would like to acknowledge in the completion of this Master’s thesis. The first thank you belongs to my mother, who has supported me emotionally and mentally through these past two years, providing me with words of wisdom and encouragement when I wanted to give up. -
Pink Floyd - Dark Side of the Moon Speak to Me Breathe on the Run Time the Great Gig in the Sky Money Us and Them Any Colour You Like Brain Damage Eclipse
Pink Floyd - Dark Side of the Moon Speak to Me Breathe On the Run Time The Great Gig in the Sky Money Us and Them Any Colour You Like Brain Damage Eclipse Pink Floyd – The Wall In the Flesh The Thin Ice Another Brick in the Wall (Part 1) The Happiest Days of our Lives Another Brick in the Wall (Part 2) Mother Goodbye Blue Sky Empty Spaces Young Lust Another Brick in the Wall (Part 3) Hey You Comfortably Numb Stop The Trial Run Like Hell Laser Queen Bicycle Race Don't Stop Me Now Another One Bites The Dust I Want To Break Free Under Pressure Killer Queen Bohemian Rhapsody Radio Gaga Princes Of The Universe The Show Must Go On 1 Laser Rush 2112 I. Overture II. The Temples of Syrinx III. Discovery IV. Presentation V. Oracle: The Dream VI. Soliloquy VII. Grand Finale A Passage to Bangkok The Twilight Zone Lessons Tears Something for Nothing Laser Radiohead Airbag The Bends You – DG High and Dry Packt like Sardine in a Crushd Tin Box Pyramid song Karma Police The National Anthem Paranoid Android Idioteque Laser Genesis Turn It On Again Invisible Touch Sledgehammer Tonight, Tonight, Tonight Land Of Confusion Mama Sussudio Follow You, Follow Me In The Air Tonight Abacab 2 Laser Zeppelin Song Remains the Same Over the Hills, and Far Away Good Times, Bad Times Immigrant Song No Quarter Black Dog Livin’, Lovin’ Maid Kashmir Stairway to Heaven Whole Lotta Love Rock - n - Roll Laser Green Day Welcome to Paradise She Longview Good Riddance Brainstew Jaded Minority Holiday BLVD of Broken Dreams American Idiot Laser U2 Where the Streets Have No Name I Will Follow Beautiful Day Sunday, Bloody Sunday October The Fly Mysterious Ways Pride (In the Name of Love) Zoo Station With or Without You Desire New Year’s Day 3 Laser Metallica For Whom the Bell Tolls Ain’t My Bitch One Fuel Nothing Else Matters Master of Puppets Unforgiven II Sad But True Enter Sandman Laser Beatles Magical Mystery Tour I Wanna Hold Your Hand Twist and Shout A Hard Day’s Night Nowhere Man Help! Yesterday Octopus’ Garden Revolution Sgt. -
As Electronica Booms, Djs Seek Voice Beyond Machines
lifestyle SUNDAY, APRIL 26, 2015 The British musician Squarepusher performs a custom six-string electric bass behind a screen of projected images at a British-born Canadian DJ Richie Hawtin (right), a pioneer of techno music, delivers a lecture to students at the New release party for his latest album in New York. — AFP photos School in New York. As electronica booms, DJs seek voice beyond machines lectronic music has enjoyed soaring growth in recent sage was different-it is most critical to discover a voice in the students it was a mistake to think that expensive equipment Squarepusher, whose given name is Tom Jenkinson, had years, but to detractors the genre consists of little studio. “Our instrument keeps changing and evolving and was key to success. The French-born DJ, a longtime staple of been working for years to create the system and also per- Ebeyond crowd-pleasing DJs clicking play on their com- there always seems to be someone-a friend or a manufactur- the New York club scene under the stage name Francois K, forms a customized six-string electric bass. Reflecting on his puters. But several leading artists are seeking to combat per- er-trying to entice you that there is something new that you saw the need for the human element first-hand when he music’s sonic jungle, Squarepusher designed a visual live ceptions with a renewed effort to emphasize the human ele- have to get to sound great,” he said. “But you can spend all mixed Depeche Mode’s blockbuster 1990 album “Violator.” show in which he wears a mask with flashing LED, although ment behind the music.