What Is Cyberpunk Music ?
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1 the Versions Project: Exploring
THE VERSIONS PROJECT: EXPLORING MASHUP CULTURE By FRANCESCA LYN SUPERVISORY COMMITTEE: Benjamin DeVane, CHAIR Melinda McAdams, MEMBER James Oliverio, MEMBER A PROJECT IN LIEU OF THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF 1 MASTER OF ARTS UNIVERSITY OF FLORIDA 2011 2 ©2011 Francesca Lyn To everyone who has encouraged me to never give up, this would have never happened without all of you. 3 ACKNOWLEDGMENTS It is a pleasure to thank the many people who made this thesis possible. Thank you to my thesis chair Professor Ben DeVane and to my committee. I know that I was lucky enough to be guided by experts in their fields and I am extremely grateful for all of the assistance. I am grateful for every mashup artist that filled out a survey or simply retweeted a link. Special thanks goes to Kris Davis, the architect of idealMashup who encouraged me to become more of an activist with my work. And thank you to my parents and all of my friends. 4 TABLE OF CONTENTS page ACKNOWLEDGEMENTS……………………………………………………………………….4 ABSTRACT……..………………………………………………………………………………...6 INTRODUCTION..……………………………………………………………………………….7 Remix Culture and Broader Forms………………………………………………………………..9 EARLY ANTECEDENTS………………………………………………………………………10 Hip-hop…………………………………………………………………………………………..11 THE MODERN MASHUP ERA………………………………………………………………..13 NEW MEDIA ARTIFACTS…………………………………………………………………….14 The Hyperreal……………………………………………………………………………………15 Properties of New Media………………………………………………………………………...17 Community……………………………………………………………………………...…18 -
Negatief04.Pdf
2 2 seien es die Clubs oder Szenevertreter. Darü- EDITORIAL ber hinaus hat sich auch viel auf unserer In- INHALT ternetseite getan. Es gibt viele Videostreams Zu allererst möchten wir uns ganz herzlich von Interviews, die wir mit unseren Partnern für die vielen positiven Zuschri� en von euch Schwarze Seiten und Scha� en TV im Rahmen 35 6 <omm bedanken, denn das NEGAtief ist auf euer des letzten M’era Luna Festivals geführt ha- Feedback maßgeblich angewiesen. Natür- ben. Neu ist auch die Rubrik „Extended“, in 38 Caleidolex lich bedanken wir uns auch ganz herzlich welcher wir zusätzliche und erweiterte Inter- 36 Cynicism bei unseren vielen treuen Verteilerstationen, viewfragen zu aktuellen NEGAtief-Beiträgen au� ereitet haben. Darüber hinaus gibt es ab 32 Dawn of Ashes jetzt auch das NEGAtief Special „Web EP“ mit ausgewählten Künstlern. Die Web EP 13 Diva Destruction ist eine Gratisdownload-Aktion, die euch ei- 26 Eisbrecher nen Künstler oder eine Band näher bringen soll. Wir drucken das Cover der Webveröf- 19 Harmonia Mundi 2 fentlichung im Innenteil des NEGAtief zum Ausschneiden ab und ihr könnt dann nach 37 Heavy Current dem Download der Web EP eure eigene CD 10 IAMX basteln. Da es sich bei den Titeln der Web EP um exklusives Material handelt, hoff en wir 12 Monica Richards auf eure faire Honorierung den Künstlern gegenüber. Sollte euch die Web EP gefallen, 34 NVMPH so kau� doch auch den einen oder anderen 40 Polarlicht im Handel erhältlichen Tonträger des Künst- Seabound - Double-Crosser lers. Diesmal werden wir auf der Web EP eine 15 Seabound EMPFEHLUNG DER REDAKTION EMPFEHLUNG VÖ: 27.10.06 Band aus der Schweiz vorstellen, die zuletzt mit ihrem Au� ri� auf dem WGT 2006 für Fu- 9 Snakeskin rore gesorgt hat: Die Metallspürhunde stellen 33 Steril auf der Web EP Unplugged-Versionen ihrer Songs vor, welche einige von euch bestimmt 30 The Crüxshadows im Rahmen der diesjährigen NEGAtief Open Art Days 2006 während des WGT bereits 31 The Eternal Affl ict hören konnten. -
Plunderphonics – Plagiarismus in Der Musik
Plagiat und Fälschung in der Kunst 1 PLUNDERPHONICS – PLAGIARISMUS IN DER MUSIK PLUNDERPHONICS – PLAGIARISMUS IN DER MUSIK Durch die Erfindung der Notenschrift wurde Musik versprachlicht und damit deren Beschreibung mittelbar. Tonträger erlaubten es, Interpretationen, also Deutungen dieser sprachlichen Beschreibung festzuhalten und zu reproduzieren. Mit der zunehmenden Digitalisierung der Informationen und somit der Musik eröffneten sich im 20. Jahrhundert neue Möglichkeiten sowohl der Schaffung als auch des Konsums der Musik. Eine Ausprägung dieses neuen Schaffens bildet Plunderphonics, ein Genre das von der Reproduktion etablierter Musikstücke lebt. Diese Arbeit soll einen groben Überblick über das Genre, deren Ursprünge und Entwicklung sowie einigen Werken und thematisch angrenzenden Musik‐ und Kunstformen bieten. Es werden rechtliche Aspekte angeschnitten und der Versuch einer kulturphilosophischen Deutung unternommen. 1.) Plunderphonics und Soundcollage – Begriffe und Entstehung Der Begriff Plunderphonics wurde vom kanadischen Medienkünstler und Komponisten John Oswald geprägt und 1985 in einem bei der Wired Society Electro‐Acoustic Conference in Toronto vorgetragenen Essay zuerst verwendet [1]. Aus musikalischer Sicht stellt Plunderphonics hierbei eine aus Fragmenten von Werken anderer Künstler erstellte Soundcollage dar. Die Fragmente werden verfälscht, beispielsweise in veränderter Geschwindigkeit abgespielt und neu arrangiert. Hierbei entsteht ein Musikstück, deren Bausteine zwar Rückschlüsse auf das „Ursprungswerk“ erlauben, dessen Aussage aber dem „Original“ zuwiderläuft. Die Verwendung musikalischer Fragmente ist keine Errungenschaft Oswalds. Viele Musikstile bedienen sich der Wiederaufnahme bestehender Werke: Samples in populär‐ und elektronischer Musik, Riddims im Reggae, Mash‐Ups und Turntablism in der Hip‐Hop‐Kultur. Soundcollagen, also Musikstücke, die vermehrt Fragmente verwenden, waren mit dem Fortschritt in der Tontechnik möglich geworden und hielten Einzug in den Mainstream [HB2]. -
Nibbler by Ken Urban
NIBBLER BY KEN URBAN DRAMATISTS PLAY SERVICE INC. NIBBLER Copyright © 2017, Ken Urban All Rights Reserved CAUTION: Professionals and amateurs are hereby warned that performance of NIB- BLER is subject to payment of a royalty. It is fully protected under the copyright laws of the United States of America, and of all countries covered by the International Copyright Union (including the Dominion of Canada and the rest of the British Commonwealth), and of all countries covered by the Pan-American Copyright Convention, the Universal Copyright Convention, the Berne Convention, and of all countries with which the United States has reciprocal copyright relations. All rights, including without limitation profes- sional/amateur stage rights, motion picture, recitation, lecturing, public reading, radio broadcasting, television, video or sound recording, all other forms of mechanical, elec- tronic and digital reproduction, transmission and distribution, such as CD, DVD, the Internet, private and file-sharing networks, information storage and retrieval systems, photocopying, and the rights of translation into foreign languages are strictly reserved. Particular emphasis is placed upon the matter of readings, permission for which must be secured from the Author’s agent in writing. The English language stock and amateur stage performance rights in the United States, its territories, possessions and Canada for NIBBLER are controlled exclusively by Dra- matists Play Service, Inc., 440 Park Avenue South, New York, NY 10016. No profes- sional or nonprofessional performance of the Play may be given without obtaining in advance the written permission of Dramatists Play Service, Inc., and paying the requi- site fee. Inquiries concerning all other rights should be addressed to Abrams Artists Agency, 275 Seventh Avenue, 26th Floor, New York, NY 10001. -
KREVISS Cargo Records Thanks WW DISCORDER and All Our Retail Accounts Across the Greater Vancouver Area
FLAMING LIPS DOWN BY LWN GIRL TROUBLE BOMB ATOMIC 61 KREVISS Cargo Records thanks WW DISCORDER and all our retail accounts across the greater Vancouver area. 1992 was a good year but you wouldn't dare start 1993 without having heard: JESUS LIZARD g| SEBADOH Liar Smash Your Head IJESUS LIZARD CS/CD On The Punk Rock CS/CD On Sebadoh's songwriter Lou Barlow:"... (his) songwriting sticks to your gullet like Delve into some raw cookie dough, uncharted musical and if he ever territory. overcomes his fascination with the The holiday season sound of his own being the perfect nonsense, his time for this baby Sebadoh could be from Jesus Lizard! the next greatest band on this Hallelujah! planet". -- Spin ROCKET FROM THE CRYPT Circa: Now! CS/CD/LP San Diego's saviour of Rock'n'Roll. Forthe ones who Riff-driven monster prefer the Grinch tunes that are to Santa Claus. catchier than the common cold and The most brutal, loud enough to turn unsympathetic and your speakers into a sickeningly repulsive smoldering heap of band ever. wood and wires. A must! Wl Other titles from these fine labels fjWMMgtlllli (roue/a-GO/ are available through JANUARY 1993 "I have a responsibility to young people. They're OFFICE USE ONLY the ones who helped me get where I am today!" ISSUE #120 - Erik Estrada, former CHiPs star, now celebrity monster truck commentator and Anthony Robbins supporter. IRREGULARS REGULARS A RETROSPECT ON 1992 AIRHEAD 4 BOMB vs. THE FLAMING LIPS COWSHEAD 5 SHINDIG 9 GIRL TROUBLE SUBTEXT 11 You Don't Go To Hilltop, You VIDEOPHILTER 21 7" T\ REAL LIVE ACTION 25 MOFO'S PSYCHOSONIC PIX 26 UNDER REVIEW 26 SPINLIST. -
Helter Skelter” and Sixties Revisionism “Helter Skelter” Et L'héritage Polémique Des Années 1960
Volume ! La revue des musiques populaires 9 : 2 | 2012 Contre-cultures n°2 “Helter Skelter” and Sixties Revisionism “Helter Skelter” et l'héritage polémique des années 1960 Gerald Carlin and Mark Jones Electronic version URL: http://journals.openedition.org/volume/3407 DOI: 10.4000/volume.3407 ISSN: 1950-568X Printed version Date of publication: 15 December 2012 Number of pages: 34-49 ISBN: 978-2-913169-33-3 ISSN: 1634-5495 Electronic reference Gerald Carlin and Mark Jones, « “Helter Skelter” and Sixties Revisionism », Volume ! [Online], 9 : 2 | 2012, Online since 15 June 2014, connection on 10 December 2020. URL : http:// journals.openedition.org/volume/3407 ; DOI : https://doi.org/10.4000/volume.3407 This text was automatically generated on 10 December 2020. L'auteur & les Éd. Mélanie Seteun “Helter Skelter” and Sixties Revisionism 1 “Helter Skelter” and Sixties Revisionism “Helter Skelter” et l'héritage polémique des années 1960 Gerald Carlin and Mark Jones EDITOR'S NOTE This text was published in Countercultures & Popular Music (Farnham, Ashgate, 2014), while its French translation appeared in this issue of Volume! in 2012. “Helter Skelter” and the End of the Sixties Volume !, 9 : 2 | 2012 “Helter Skelter” and Sixties Revisionism 2 1 In late August 1968, within a few days of each other, new singles were released by the Beatles and the Rolling Stones. The unusual proximity of release dates by the world’s two most significant rock bands was echoed by the congruity of the songs’ themes: the Stones’ “Street Fighting Man” and the Beatles’ “Revolution” were both responses to the political unrest and protest which characterised the spring and summer of 1968. -
Radiophonic Spaces Radiophonic Radiophonic Spaces Spaces
radiophonic spaces Radiophonic Radiophonic Spaces Spaces Ein Hör-Parcours durch die A sonic journey through radio art Radiokunst Radiophonic Spaces ist ein begehbarer Radiophonic Spaces is at the same time Radioraum und zugleich experimentelles a walk-in radio space and an experimen- Archiv – eine Symbiose aus künstleri- tal archive – a symbiosis of an artistic scher Auseinandersetzung mit Radio- exploration of radio art and radiophony kunst und Radiophonie und einem and an academic research project headed wissenschaftlichen Forschungsprojekt by the Chair of Experimental Radio at unter Federführung des Experimentel- the Bauhaus-Universität Weimar. Under len Radios an der Bauhaus-Universität the artistic direction of Nathalie Singer, Weimar. Ein Team von Radiokünst- a team of radio artists and researchers ler*innen und -forscher*innen hat unter conceived this experimental archive, Leitung von Nathalie Singer diesen which was designed by the artist, archi- Hör-Raum der Radiokunst konzipiert, tect and musician Cevdet Erek. der von dem Künstler, Architekten und Musiker Cevdet Erek gestaltet wurde. The works made accessible in Radio- phonic Spaces range from early radio Die in Radiophonic Spaces zugänglich experiments to contemporary produc- gemachten Arbeiten reichen von Experi- tions. Radio researchers, musicologists, menten aus der Frühzeit des Radios editors, critics and artists from the bis zu zeitgenössischen Produktionen. most varied of contexts and disciplines Radioforscher*innen, Musikwissen- selected over 200 works from 100 years schaftler*innen, Redakteur*innen, Kri- of international radio art for Radio- tiker*innen und Künstler*innen aus den phonic Spaces and arranged them in 13 verschiedensten Kontexten und Diszi- ‘narratives’. The result is a kaleidoscopic plinen haben für Radiophonic Spaces overview of the development of radio über 200 Arbeiten aus 100 Jahren inter- art as well as of recurring themes, motifs nationaler Radiokunst ausgewählt und and procedures. -
DEAD CHANNEL SURFING: Cyberpunk and Industrial Music
DEAD CHANNEL SURFING: Cyberpunk and industrial music In the early 1980s from out of Vancouver, home of cyberpunk writer William Gibson and science fiction film-maker David Cronenberg, came a series of pioneering bands with a similar style and outlook. The popular synth-pop band Images in Vogue, after touring with Duran Duran and Roxy Music, split into several influential factions. Don Gordon went on to found Numb, Kevin Crompton to found Skinny Puppy, and Ric Arboit to form Nettwerk Records, which would later release Skinny Puppy, Severed Heads, Moev, Delerium and more. Controversial band Numb ended up receiving less attention than the seminal Skinny Puppy. Kevin Crompton (now called Cevin Key) joined forces with Kevin Ogilvie (Nivek Ogre) and began their career by playing in art galleries. After their friend Bill Leeb quit citing ‘creative freedom’ disputes, they embarked on a new style along with the help of newly recruited Dwayne Goettel. Leeb would go on to found Front Line Assembly with Rhys Fulber in 1986. The style of music created by these bands, as well as many similar others, has since been dubbed ‘cyberpunk’ by some journalists. Cyberpunk represents an interesting coupling of concepts. It can be dissected, as Istvan Csiscery-Ronay has shown, into its two distinct parts, ‘cyber’ and ‘punk’. Cyber refers to cybernet- ics, the study of information and control in man and machine, which was created by U.S. American mathematician Norbert Wiener fifty years ago. Wiener fabricated the word from the Greek kyber- netes, meaning ‘governor’, ‘steersman’ or ‘pilot’ (Leary, 1994: 66). The second concept, punk, in the sense commonly used since 1976, is a style of music incorporating do-it-yourself (d.i.y) techniques, centred on independence and touting anarchist attitudes. -
3300 ICP Technician's Handbook
MITEL 3300 IP Communications Platform Technician’s Handbook Mitel Communications Director Release 5.0 NOTICE The information contained in this document is believed to be accurate in all respects but is not warranted by Mitel Networks™ Corporation (MITEL®). The information is subject to change without notice and should not be construed in any way as a commitment by Mitel or any of its affiliates or subsidiaries. Mitel and its affiliates and subsidiaries assume no responsibility for any errors or omissions in this document. Revisions of this document or new editions of it may be issued to incorporate such changes. No part of this document can be reproduced or transmitted in any form or by any means - electronic or mechanical - for any purpose without written permission from Mitel Networks Corporation. Trademarks Mitel, SX-2000, SUPERCONSOLE 1000, and SUPERSET are trademarks of Mitel Networks Corporation. Windows is a trademark of Microsoft Corporation. Cisco is a trademark of Cisco Systems, Inc. VT100 is a trademark of Digital Equipment Corporation. Java is a trademark of Sun Microsystems Incorporated. Other product names mentioned in this document may be trademarks of their respective companies and are hereby acknowledged. 3300 IP Communications Platform Technician’s Handbook Mitel Communications Director (MCD) Release 5.0 57011493, Rev A 2011 Trademark of Mitel Networks Corporation ©Copyright 2011, Mitel Networks Corporation All rights reserved Table of Contents Chapter 1 : Getting Started Purpose of This Handbook ....................................................................................................3 -
Recordings by Artist
Recordings by Artist Recording Artist Recording Title Format Released 10,000 Maniacs MTV Unplugged CD 1993 3Ds The Venus Trail CD 1993 Hellzapoppin CD 1992 808 State 808 Utd. State 90 CD 1989 Adamson, Barry Soul Murder CD 1997 Oedipus Schmoedipus CD 1996 Moss Side Story CD 1988 Afghan Whigs 1965 CD 1998 Honky's Ladder CD 1996 Black Love CD 1996 What Jail Is Like CD 1994 Gentlemen CD 1993 Congregation CD 1992 Air Talkie Walkie CD 2004 Amos, Tori From The Choirgirl Hotel CD 1998 Little Earthquakes CD 1991 Apoptygma Berzerk Harmonizer CD 2002 Welcome To Earth CD 2000 7 CD 1998 Armstrong, Louis Greatest Hits CD 1996 Ash Tuesday, January 23, 2007 Page 1 of 40 Recording Artist Recording Title Format Released 1977 CD 1996 Assemblage 23 Failure CD 2001 Atari Teenage Riot 60 Second Wipe Out CD 1999 Burn, Berlin, Burn! CD 1997 Delete Yourself CD 1995 Ataris, The So Long, Astoria CD 2003 Atomsplit Atonsplit CD 2004 Autolux Future Perfect CD 2004 Avalanches, The Since I left You CD 2001 Babylon Zoo Spaceman CD 1996 Badu, Erykah Mama's Gun CD 2000 Baduizm CD 1997 Bailterspace Solar 3 CD 1998 Capsul CD 1997 Splat CD 1995 Vortura CD 1994 Robot World CD 1993 Bangles, The Greatest Hits CD 1990 Barenaked Ladies Disc One 1991-2001 CD 2001 Maroon CD 2000 Bauhaus The Sky's Gone Out CD 1988 Tuesday, January 23, 2007 Page 2 of 40 Recording Artist Recording Title Format Released 1979-1983: Volume One CD 1986 In The Flat Field CD 1980 Beastie Boys Ill Communication CD 1994 Check Your Head CD 1992 Paul's Boutique CD 1989 Licensed To Ill CD 1986 Beatles, The Sgt -
Culture Jamming: Ads Under Attack by Naomi Klein Bill Gates And
Culture Jamming: Ads Under Attack By Naomi Klein Bill Gates and Microsoft aren't the only corporate giants suffering a backlash against their superbrands. Last month, computer hackers invaded Nike's Web site in the latest protest against the company's alleged sweatshop practices, redirecting visitors to a site concerned with "the growth of corporate power and the direction of globalization." Similar rants have been directed at McDonald's--from the student who waved a sign with the arch logo at the World Trade Organization protest in Seattle to the axe-wielding vandal--now a cultural hero--who tried to thwart the opening of a McDonald's in the tiny town of Millau, France. For their brilliance at building their brands, the marketers behind the likes of Nike, McDonald's, Wal-Mart and Starbucks now find themselves at the center of journalist Naomi Klein's avowed "next big political movement" in No Logo: Taking Aim at the Brand Bullies from Picador/St. Martin's Press. Reporting everywhere from university campuses to garment factories in Third World countries, Klein depicts the encroachment of big-name brands on our daily lives, and the array of in- your-face counter-measures this has provoked among consumer advocates. One such measure is discussed in the chapter partially excerpted here: "culture jamming," the practice of parodying ads and hijacking billboards to drastically alter their messages. "Something not far from the surface of the public psyche is delighted to see the icons of corporate power subverted and mocked," Klein writes, offering up memorable examples of "adbusting" done to Absolut, Levi's, Ford, Exxon, Apple and others. -
Uzine Contents from 9901 to 0602
----------------- [UZINE] CONTENTS up until [uzine 06.02] ----------------- [uzine] Ultra WWW Magazine Belgium (Europe) ISSN 13773828 [uzine] ran as an e-zine between 1999 and 2006. The number of zines differs from year to year ... i.e. went up to issues number 9907, 0009, 0124, 0228, 0323, 0412, 0504 or 0602. Due to the demise of dma.be the e-zines (ànd the webzine) are no longer archived online "issue per issue". Check http://uzine.posterous.com/ for the complete [uzine] back catalogue in a zip. For reviews from the time before we 'became' an e- zine, contact us [mailto:[email protected]]. Below, you get an alphabetical list by artist. However, v/a compilations are not filed under 'v/a' or 'various (artists)' but by title. "U" stands for [uzine] in the abbreviations, e.g. U0602 = [uzine 06.02] = the second issue of the year 2006. If there are more entries for an item, we may either be referring to different albums by the same artist or in the same compilation series, or to a review and addenda or errata to it. In some cases, an item has been added to the list because it is being referred to in a review or interview with a different topic. Use the 'find word in page' function to find your lemma. 1999 favelists U9907 2000 favelists U0010 2001 favelists U0109+U0201 2002 favelists U0228 2003 favelists U0321+U0322+U0401 2004 favelists U0412+U0501 recommended reading/sites eàch+U0009+U0104+U0107+U0112+U0117+U0122 +U0203+U0206+U0212+U0214+U0216+U0220+U0223+U0228 +U0302+U0304+U0306+U0308+U0315+U0323+U0401+U0403+U0406+U0410+U0503+U0504+U0601 .