NQPSMTR Techno Collection %Oard 3DWFK /LVWLQJ
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French Underground Raves of the Nineties. Aesthetic Politics of Affect and Autonomy Jean-Christophe Sevin
French underground raves of the nineties. Aesthetic politics of affect and autonomy Jean-Christophe Sevin To cite this version: Jean-Christophe Sevin. French underground raves of the nineties. Aesthetic politics of affect and autonomy. Political Aesthetics: Culture, Critique and the Everyday, Arundhati Virmani, pp.71-86, 2016, 978-0-415-72884-3. halshs-01954321 HAL Id: halshs-01954321 https://halshs.archives-ouvertes.fr/halshs-01954321 Submitted on 13 Dec 2018 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. French underground raves of the 1990s. Aesthetic politics of affect and autonomy Jean-Christophe Sevin FRENCH UNDERGROUND RAVES OF THE 1990S. AESTHETIC POLITICS OF AFFECT AND AUTONOMY In Arundhati Virmani (ed.), Political Aesthetics: Culture, Critique and the Everyday, London, Routledge, 2016, p.71-86. The emergence of techno music – commonly used in France as electronic dance music – in the early 1990s is inseparable from rave parties as a form of spatiotemporal deployment. It signifies that the live diffusion via a sound system powerful enough to diffuse not only its volume but also its sound frequencies spectrum, including infrabass, is an integral part of the techno experience. In other words listening on domestic equipment is not a sufficient condition to experience this music. -
EDM (Dance Music): Disco, Techno, House, Raves… ANTHRO 106 2018
EDM (Dance Music): Disco, Techno, House, Raves… ANTHRO 106 2018 Rebellion, genre, drugs, freedom, unity, sex, technology, place, community …………………. Disco • Disco marked the dawn of dance-based popular music. • Growing out of the increasingly groove-oriented sound of early '70s and funk, disco emphasized the beat above anything else, even the singer and the song. • Disco was named after discotheques, clubs that played nothing but music for dancing. • Most of the discotheques were gay clubs in New York • The seventies witnessed the flowering of gay clubbing, especially in New York. For the gay community in this decade, clubbing became 'a religion, a release, a way of life'. The camp, glam impulses behind the upsurge in gay clubbing influenced the image of disco in the mid-Seventies so much that it was often perceived as the preserve of three constituencies - blacks, gays and working-class women - all of whom were even less well represented in the upper echelons of rock criticism than they were in society at large. • Before the word disco existed, the phrase discotheque records was used to denote music played in New York private rent or after hours parties like the Loft and Better Days. The records played there were a mixture of funk, soul and European imports. These "proto disco" records are the same kind of records that were played by Kool Herc on the early hip hop scene. - STARS and CLUBS • Larry Levan was the first DJ-star and stands at the crossroads of disco, house and garage. He was the legendary DJ who for more than 10 years held court at the New York night club Paradise Garage. -
Chiptuning Intellectual Property: Digital Culture Between Creative Commons and Moral Economy
Chiptuning Intellectual Property: Digital Culture Between Creative Commons and Moral Economy Martin J. Zeilinger York University, Canada [email protected] Abstract This essay considers how chipmusic, a fairly recent form of alternative electronic music, deals with the impact of contemporary intellectual property regimes on creative practices. I survey chipmusicians’ reusing of technology and content invoking the era of 8-bit video games, and highlight points of contention between critical perspectives embodied in this art form and intellectual property policy. Exploring current chipmusic dissemination strategies, I contrast the art form’s links to appropriation-based creative techniques and the ‘demoscene’ amateur hacking culture of the 1980s with the chiptune community’s currently prevailing reliance on Creative Commons licenses for regulating access. Questioning whether consideration of this alternative licensing scheme can adequately describe shared cultural norms and values that motivate chiptune practices, I conclude by offering the concept of a moral economy of appropriation-based creative techniques as a new framework for understanding digital creative practices that resist conventional intellectual property policy both in form and in content. Keywords: Chipmusic, Creative Commons, Moral Economy, Intellectual Property, Demoscene Introduction The chipmusic community, like many other born-digital creative communities, has a rich tradition of embracing and encouraged open access, collaboration, and sharing. It does not like to operate according to the logic of informational capital and the restrictive enclosure movements this logic engenders. The creation of chipmusic, a form of electronic music based on the repurposing of outdated sound chip technology found in video gaming devices and old home computers, centrally involves the reworking of proprietary cultural materials. -
Course Syllabus Live-Performance Disc Jockey Techniques 3 Credits
Course Syllabus Live-Performance Disc Jockey Techniques 3 Credits MUC135, Section 33575 Scottsdale Community College, Department of Music Fall 2015 (September 1 to December 18, 2015) Tuesday Evenings 6:30 PM - 9:10 PM (Room MB-136) Instructor: Rob Wegner, B.S., M.A. ([email protected] or [email protected]); Cell: 480-695-6270 Office Hours: Monday’s 6:00 - 7:30PM (Room MB-139) Recommended Text: How to DJ Right: The Art and Science of Playing Records by Bill Brewster and Frank Broughton (Grove Press, 2003). ISBN: 0-8021- 3995-7 Groove Music: The Art and Culture of the Hip-Hop DJ by Mark Katz (Oxford University Press, 2012). ISBN-10: 0195331125 Recommended DVD: Scratch: A Film by Doug Prey by Doug Prey (Palm Pictures, 2001). Required Gear: Headphones (for labs) Additional Suggested Reading: Off the Record by Doug Shannon (1982), Pacesetter Publishing House. Last Night A DJ Saved My Life, The History of the Disc Jockey by Bill Brewster & Frank Broughton (2000), Grove Press. On The Record: The Scratch DJ Academy Guide by Phil White & Luke Crisell (2009), St. Martin’s Griffin. Looking for the Perfect Beat by Kurt B. Reighley (2000), Pocket Books. How to Be a DJ by Chuck Fresh (2001), Brevard Marketing. DJ Culture by Ulf Poschardt (1995), Quartet Books Limited. The Mobile DJ Handbook, 2nd Edition by Stacy Zemon (2003), Focal Press. Turntable Basics by Stephen Webber (2000), Berklee Press. Course Objectives Upon successful completion of this course, you should be able to: explain the historical innovations that led to the evolution of -
Videogame Music: Chiptunes Byte Back?
Videogame Music: chiptunes byte back? Grethe Mitchell Andrew Clarke University of East London Unaffiliated Researcher and Institute of Education 78 West Kensington Court, University of East London, Docklands Campus Edith Villas, 4-6 University Way, London E16 2RD London W14 9AB [email protected] [email protected] ABSTRACT Musicians and sonic artists who use videogames as their This paper will explore the sonic subcultures of videogame medium or raw material have, however, received art and videogame-related fan art. It will look at the work of comparatively little interest. This mirrors the situation in art videogame musicians – not those producing the music for as a whole where sonic artists are similarly neglected and commercial games – but artists and hobbyists who produce the emphasis is likewise on the visual art/artists.1 music by hacking and reprogramming videogame hardware, or by sampling in-game sound effects and music for use in It was curious to us that most (if not all) of the writing their own compositions. It will discuss the motivations and about videogame art had ignored videogame music - methodologies behind some of this work. It will explore the especially given the overlap between the two communities tools that are used and the communities that have grown up of artists and the parallels between them. For example, two around these tools. It will also examine differences between of the major videogame artists – Tobias Bernstrup and Cory the videogame music community and those which exist Archangel – have both produced music in addition to their around other videogame-related practices such as modding gallery-oriented work, but this area of their activity has or machinima. -
Techno-Economic Modeling Tribal Energy Webinar Series
Techno-Economic Modeling Tribal Energy Webinar Series Tony Jimenez, Senior Engineer NREL Jun 24, 2020 Presentation Overview Techno-Economic Modeling (TEM) Overview (For renewable energy [RE] projects in particular) Models and Data Resources: • Models • Resource Data • Cost Data Example Analysis Using System Advisor Model (SAM) NREL Image Library # 08058 Library Image NREL NREL | 2 Techno-Economic Modeling (TEM) Overview Models and Sources of Information Example Analysis NREL | 3 Techno-Economic Modeling: What is it and Why do it? What is it? Process to estimating the technical and economic performance of a proposed (or envisioned) energy project. • What is the performance? TEM mostly focuses on the • What are the economics? first two items • What are the practical considerations relevant to executing the project? Why do it? Inform decision making NREL | 4 Techno-Economic Modeling: Simple Example (1 of 2) Scenario: You are considering a PV project for your store, Woodlands Market, located north of Redding, CA. • Location: Lat: N 40.79, Long: W122.32 • Average Monthly Consumption: 80,000 kWh • Roof Area (flat roof): 12,000 sq. ft. Questions • What size PV system do is needed so that annual production roughly matches annual consumption? • What size system will fit on the roof? • What is the estimated capital cost? NREL | 5 Techno-Economic Modeling: Simple Example (2 of 2) Consumption • 80,000 kWh/mo = 960,000 kWh/year = 2,630 kWh/day = 110 kW Solar resource: • 4.75-5.00 kWh/m2/day (On a horizontal surface) (Source: Solar Atlas) • Assume 4.8 kWh/m2/day PV Production (per kWdc of PV capacity) (Average) • Average daily production (ignoring tilt & losses): 4.8 kWh/day/kWdc Capacity needed for production to (roughly) equal consumption • 2,630 kWh/day divided by 4.8 kWh/day/kWdc 550 kWdc Space Analysis • Rule of thumb: 10 wattsdc (0.01 kWdc) per square foot of roof space • Rule of thumb: can use 2/3 of roof area • Capacity that roof can accommodate: 12,000 sq. -
Club Cultures Music, Media and Subcultural Capital SARAH THORNTON Polity
Club Cultures Music, Media and Subcultural Capital SARAH THORNTON Polity 2 Copyright © Sarah Thornton 1995 The right of Sarah Thornton to be identified as author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988. First published in 1995 by Polity Press in association with Blackwell Publishers Ltd. Reprinted 1996, 1997, 2001 Transferred to digital print 2003 Editorial office: Polity Press 65 Bridge Street Cambridge CB2 1UR, UK Marketing and production: Blackwell Publishers Ltd 108 Cowley Road Oxford OX4 1JF, UK All rights reserved. Except for the quotation of short passages for the purposes of criticism and review, no part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publisher. Except in the United States of America, this book is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, re-sold, hired out, or otherwise circulated without the publisher’s prior consent in any 3 form of binding or cover other than that in which it is published and without a similar condition including this condition being imposed on the subsequent purchaser. ISBN: 978-0-7456-6880-2 (Multi-user ebook) A CIP catalogue record for this book is available from the British Library. Typeset in 10.5 on 12.5 pt Palatino by Best-set Typesetter Ltd, Hong Kong Printed and bound in Great Britain by Marston Lindsay Ross International -
The Aesthetics of Acid
The Aesthetics Of Acid by Rick Bull Since the technological paranoia of the cold-war era, and the ensuing political and social consequences of the military technological boom, the development of electronic musics and proliferation of technologies through the 1970’s to the 90’s has seen the amalgamation of a multitude of cultural music ‘systems’- the formation of a universal and hybridised(ing) ‘pop aesthetic’1. In the West at least, the employment of electronic music technology has largely been used to reinforce the ‘classificatory arrangements’2 of the anglo-saxon listening ear - those classical tonal / structural orders criticised by the likes of Webern, Schoenberg and Boulez3......Towards the end of the 1980’s however, the popular appropriation of available technologies was challenged greatly by groups of experimentalists from Detroit, Chicago and Frankfurt - leaders of the ‘acid house’ explosion of the late 80’s, whose musics’ roots greatly shaped the aesthetic of today’s diversified ‘techno’ music genre. Much could be discussed in regards to history and subsequent sterilisation / diversification of such music, yet this essay seeks to focus primarily upon the change in cultural ‘hearing’ that could be suggested has occurred in the late 20th century; reflected and catalysed by the appropriators of frequently ‘obsolete’ musical technologies. I suggest, that through the popularised use of sampling and analogue tone production, and overall shift in the electro- pop listening aesthetic can be observed; ie. that from high to frequently ‘low’ tone fidelity - from a transparent to ‘opaque’ technological ethic, from a melodic / harmonic to largely modal and heavily rhythm based ideal. -
Euro Dance Track Sheet
Euro Dance Tempo: Medium Alternate Tracks: 1 Electronic Dudes Jam 3:02 Instruments Affiliation: BeJoodle Music BMI 60 second Style: Electronic Dance Composer: Nick Tidy 30 second synth ProColorRed Description: A serious dance groove with intense synth mechanical sounds. Underscore Tempo: Medium Fast Alternate Tracks: 2 Beginning of Life 2:50 Instruments Affiliation: BeJoodle Music BMI 60 second Style: Electronic Dance Composer: Nick Tidy 30 second drums, synth ProColorRed Description: An epic sounding electronic dance groove - fast and ethereal all at the same time. Underscore Tempo: Medium Alternate Tracks: 3 Lets All House 2:49 Instruments Affiliation: BeJoodle Music BMI 60 second Style: Techno Dance Composer: Nick Tidy 30 second synth ProColorRed Description: Dance style House music and Electronic techno fuse together for a kickin' dance track. Underscore Tempo: Medium Fast Alternate Tracks: 4 Dark Day 2:29 Instruments Affiliation: BeJoodle Music BMI 60 second Style: Electronic Dance Composer: Nick Tidy 30 second synth, drums ProColorRed Description: A heavy-metal sounding electronica dance groove with some serious cool voice samples Underscore thrown in. Tempo: Medium Alternate Tracks: 5 I Celebrate Every Day 2:45 Instruments Affiliation: BeJoodle Music BMI 60 second Style: Techno Dance Composer: Nick Tidy 30 second synth, drums ProColorRed Description: A dark and moody mid-tempo celebration is what this track conveys. Underscore Tempo: Medium Slow Alternate Tracks: 6 Tripp and Edit Me 2:24 Instruments Affiliation: BeJoodle Music BMI 60 second Style: Techno Composer: Nick Tidy 30 second synth ProColorRed Description: A slow dark groove with odd samples and lots of phasy textures. Underscore Tempo: Medium Fast Alternate Tracks: 7 Electronic Mayhem 2:12 Instruments Affiliation: BeJoodle Music BMI 60 second Style: Techno Dance Composer: Nick Tidy 30 second synth ProColorRed Description: Mayhem and speed dancing is the flavor offered up in this track. -
House-Constructor
1,3 GB Plug-ins & MIDI auf der Heft-DVD Beat Producer-Tricks: House-Constructor House ist eine der ältesten Konstanten elektronischer Musik und existiert mittlerweile in zahlreichen Facetten, von Progres- sive- über Deep- bis hin zum modernen Tech-House. Was prägt den Sound des Originals und wie wird er produziert? In dieser Folge der Constructor-Serie bauen Sie einen kompletten House-Track von der Pike auf. von Marco Scherer Anspiel-Tipps: ie Wurzeln von House reichen nach wie vor aktiv, aber auch Nachfolger wie chen Varianten vor. Teils in Form von Adlibs, zurück bis zu den Anfängen des Armand van Helden, Basement Jaxx, Eric einzelnen Worten oder – wie auch gern in DTechno, mancherorts werden sie Pryzd oder Afrojack tragen das Erbe erfolg- Minimal und Glitch verwendet – kurzen sogar als der Ursprung selbst genannt. Alles reich weiter. Phrasen, die nacheinander abgefeuert wer- beginnt mit dem „Warehouse“, einem Club den. Ebenso zeichnen sich viele House-Tracks in Chicago: Frankie Knuckles experimentiert Was ist House? durch Gesang mit Strophen und Refrains mit den „Extended Versions“ seiner Disco- House-Tracks zeichnen sich vor allem durch aus, wie man es von Pop-Songs her kennt. Vinyls, die sich durch lange und auf den Beat zwei Dinge aus: Vier-Viertel-Rhythmus und reduzierte Passagen auszeichnen. Sein Publi- Vocals. Die Beats folgen sehr einfachen und Die Werkzeuge kum dankt es ihm mit frenetischen Tanzein- eingängigen Mustern, die schon nach weni- Aktuelle House Produktionen lassen sich in lagen und weitere DJs springen auf den los- gen Sekunden klar erfasst sind. Die Sounds jeder DAW realisieren, je nach Genre auch Mr. -
[2FY3]⋙ Generation Ecstasy: Into the World of Techno and Rave Culture by Simon Reynolds #MCXU81FLSGA #Free Read Online
Generation Ecstasy: Into the World of Techno and Rave Culture Simon Reynolds Click here if your download doesn"t start automatically Generation Ecstasy: Into the World of Techno and Rave Culture Simon Reynolds Generation Ecstasy: Into the World of Techno and Rave Culture Simon Reynolds In Generation Ecstasy, Simon Reynolds takes the reader on a guided tour of this end-of-the-millenium phenomenon, telling the story of rave culture and techno music as an insider who has dosed up and blissed out. A celebration of rave's quest for the perfect beat definitive chronicle of rave culture and electronic dance music. Download Generation Ecstasy: Into the World of Techno and R ...pdf Read Online Generation Ecstasy: Into the World of Techno and ...pdf Download and Read Free Online Generation Ecstasy: Into the World of Techno and Rave Culture Simon Reynolds From reader reviews: Linda Callaway: Now a day individuals who Living in the era everywhere everything reachable by connect to the internet and the resources within it can be true or not call for people to be aware of each data they get. How a lot more to be smart in having any information nowadays? Of course the solution is reading a book. Reading a book can help folks out of this uncertainty Information especially this Generation Ecstasy: Into the World of Techno and Rave Culture book because book offers you rich data and knowledge. Of course the knowledge in this book hundred % guarantees there is no doubt in it you probably know this. Steven Richardson: Information is provisions for anyone to get better life, information currently can get by anyone with everywhere. -
CGC Upper-Intermediate W36V1 Except for : Besides : Apart From
Except for / Besides / Apart from / But for Communicative Grammar Course Upper-Intermediate Week 36 Video 1 - Introduction Don’t Panic English What are you going to learn about this week? How to express exception and addition with except (for), besides, apart from and but for. Practice Exercises VIP members: Communicative Grammar Task Test Read the sentence and answer the questions. 1. I don't enjoy listening to any music except for techno. 2. Besides techno, I enjoy listening to house music and synth pop. Read the sentence and answer the questions. 1. I don't enjoy listening to any music except for techno. 2. Besides techno, I enjoy listening to house music and synth pop. Which sentence indicates that I only listen to one type of music? Read the sentence and answer the questions. 1. I don't enjoy listening to any music except for techno. 2. Besides techno, I enjoy listening to house music and synth pop. Which sentence indicates that I only listen to one type of music? 1. Read the sentence and answer the questions. 1. I don't enjoy listening to any music except for techno. 2. Besides techno, I enjoy listening to house music and synth pop. According to the second sentence, how many different types of music do I listen to? Read the sentence and answer the questions. 1. I don't enjoy listening to any music except for techno. 2. Besides techno, I enjoy listening to house music and synth pop. According to the second sentence, how many different types of music do I listen to? Read the sentence and answer the questions.