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Journal articles on the topic 'Fixed-media music'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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1

Artman, Nicholas, Zack Stiegler, Brandon Szuminsky, and Matthew Albright. "Mass media in the mobile village." Explorations in Media Ecology 19, no. 2 (2020): 139–50. http://dx.doi.org/10.1386/eme_00031_1.

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As a constantly connected environment via the Internet and mobile technology, the mobile village reconstructed the means by which content reaches a mass audience. To successfully navigate this environment, audiences must adjust to the new dynamics imposed by mobile technologies. This article examines mass media technologies and practices in an attempt to assess the practical impact of the mobile village within the production, distribution and consumption of media and information. Journalism is now judged less by the news it provides than by the process by which it is produced. Many proclaim th
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Sigman, Alexander, and Nicolas Misdariis. "alarm/will/sound: Sound design, modelling, perception and composition cross-currents." Organised Sound 24, no. 1 (2019): 54–70. http://dx.doi.org/10.1017/s1355771819000062.

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An ongoing international arts-research-industry collaborative project focusing on the design and implementation of innovative car alarm systems, alarm/will/sound has a firm theoretical basis in theories of sound perception and classification of Pierre Schaeffer and the acousmatic tradition. In turn, the timbre perception, modelling and design components of this project have had a significant influence on a range of fixed media, electroacoustic and media installation works realised in parallel to the experimental research. An examination of the multiple points of contact and cross-influence bet
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Woloshyn, Alexa. "ELECTROACOUSTIC VOICES: SOUNDS QUEER, AND WHY IT MATTERS." Tempo 71, no. 280 (2017): 68–79. http://dx.doi.org/10.1017/s0040298217000092.

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AbstractQueer processes abound in fixed media electroacoustic music with voice, in both the composition and listening processes. ‘Queer’ means transgressive, unstable, and disruptive, and queer processes break down restrictive traditional binaries. In this article, I name the queer where some may have thought it does not or could not exist, in well-known works by Berio, Stockhausen and Lucier, as well as lesser-known works by Truax, Normandeau and Westerkamp. Any claim to the queer in these electroacoustic works is inherently political because the core of the term's meaning is to disrupt and p
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Fiebig, Gerald. "The Sonic Witness: On the Political Potential of Field Recordings in Acoustic Art." Leonardo Music Journal 25 (December 2015): 14–16. http://dx.doi.org/10.1162/lmj_a_00926.

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Contemporary sonic artworks often use field recordings from places of historic or social significance to address political issues. This article discusses relevant works for radio and fixed media by Peter Cusack, Jacob Kirkegaard, Eliška Cílková, Anna Friz and Public Studio, Stéphane Garin and Sylvestre Gobart, Ultra-red, and Matthew Herbert and outlines how they use both audio and visual/textual information to create awareness of the issues inscribed in these places, from current environmental concerns to the memory of genocide and displacement.
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Redhead, Lauren. "'Entoptic landscape' and 'ijereja': Music as an iterative process." New Sound, no. 49 (2017): 97–113. http://dx.doi.org/10.5937/newso1749097r.

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Entoptic landscape and ijereja are both works that can be considered as expanding collections of materials. They explore the spaces between composition, notation, performance and improvisation by considering all of these activities as equally 'performative'. Each work comprises a set of materials that includes scores, fixed media audio and video, recorded live performances, studio-edited performances, and performance strategies. In the case of each piece, materials created in and by previous performances go on to inform future performances of the music. As such, there can be no 'definitive' pe
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AUNER, JOSEPH. "Reich on Tape: The Performance ofViolin Phase." Twentieth-Century Music 14, no. 1 (2017): 77–92. http://dx.doi.org/10.1017/s147857221700007x.

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ABSTRACTThe score of Steve Reich'sViolin Phasespecifies that the performer is to recapitulate aspects of the composer's creative process in the studio. Working with a four-channel tape recorder, the violinist and a sound engineer are given detailed directions for creating the basic tape loop that generates the performance tape used in live performance. And yet – no doubt due to the scarcity of appropriate tape recorders – most present-day performers ofViolin Phaseuse looping hardware or software that make it possible to dispense with many of the instructions in the score, including the necessi
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Rennie, Tullis. "Socio-Sonic: An ethnographic methodology for electroacoustic composition." Organised Sound 19, no. 2 (2014): 117–24. http://dx.doi.org/10.1017/s1355771814000053.

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This paper outlines a way forward for an anthropologically inclined electroacoustic music. Considering the similarities in methodological approaches between the fields of ethnography and soundscape composition, this paper proposes to further the use of contextual information when making compositional decisions with sound materials derived from field recordings: a socio-sonic methodology. To begin the discussion, theoretical readings of sound in context are presented. Parallels are highlighted between the practices of ethnographic study and soundscape composition, illustrated with the work of S
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HOOKER, LYNN. "Controlling the Liminal Power of Performance: Hungarian Scholars and Romani Musicians in the Hungarian Folk Revival." Twentieth-Century Music 3, no. 1 (2007): 51–72. http://dx.doi.org/10.1017/s1478572207000321.

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AbstractIn the Hungarian folk revival, Hungarian Roma (Gypsies) serve as both privileged informants and exotic Others. The musicians of the revival known as the táncház (dance-house) movement rely heavily on rural Rom musicians, especially those from Transylvania, as authentic sources of traditional Hungarian repertoire and style. Táncház rhetoric centres on the trope of localized authenticity; but the authority wielded by rural Rom musicians, who carry music both between villages and around the world, complicates the fixed boundaries that various powerful stakeholders would place on the tradi
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Sibirnaya, Maria. "Влияние масс-медиа на сознание человека в пьесах Александра Марданя". Kultury Wschodniosłowiańskie - Oblicza i Dialog, № 7 (31 липня 2018): 153–64. http://dx.doi.org/10.14746/kw.2017.7.12.

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Nowadays the influence comprehension of the mass media as one of the most significant factors affecting contemporary culture, acquires the special significance. All kinds of new information receiving by media channels obtain the stereotyped, frequently repeatedly cultural and axiological orientations, which become fixed in people's consciousness. Skillful manipulation of information makes the power of suggestion from mass media practically unlimited. Therefore, the public opinion is created by the mass media. Being so closely intertwined with the mass media, the modern mass culture is coming t
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10

Lindstrom, Nicole. "YUGONOSTALGIA: RESTORATIVE AND REFLECTIVE NOSTALGIA IN FORMER YUGOSLAVIA." East Central Europe 32, no. 1-2 (2005): 227–37. http://dx.doi.org/10.1163/18763308-90001039.

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Drawing on Svetlana Boym's distinction between "restorative" and "reflective" nostalgia, the essay maps two broad, and often overlapping, ideal types of Yugonostalgia expressed in and through contemporary former Yugoslav film, popular music, and multi-media. The first expresses reeonstructive longing for an essential Yugoslav past; the second offers self-consciously ambivalent and critical frames in indulging fantasies of this past. What different forms of Yugonostalgia share in common is challenging symbolic geographies of disunity that have dominated political discourse in former Yugoslavia
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LINDSTROM, NICOLE. "YUGONOSTALGIA: RESTORATIVE AND REFLECTIVE NOSTALGIA IN FORMER YUGOSLAVIA." East Central Europe 32, no. 1 (2005): 227–37. http://dx.doi.org/10.1163/1876330805x00108.

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Abstract: Drawing on Svetlana Boym's distinction between "restorative" and "reflective" nostalgia, the essay maps two broad, and often overlapping, ideal types of Yugonostalgia expressed in and through contemporary former Yugoslav film, popular music, and multi-media. The first expresses reconstructive longing for an essential Yugoslav past; the second offers self-consciously ambivalent and critical frames in indulging fantasies of this past. What different forms of Yugonostalgia share in common is challenging symbolic geographies of disunity that have dominated political discourse in former Y
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Mellish, Liz, and Nick Green. "Saints’ Day Celebrations (Ruga) in Banat – Community Participation, Dance, Music, and Good Times." Acta Ethnographica Hungarica 65, no. 1 (2020): 65–80. http://dx.doi.org/10.1556/022.2020.00005.

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The celebration of the day of patron saint of the local church is a custom that is widespread among Christians in various parts of the world. In the plain and mountain areas of the Romanian Banat region, this day is referred to as ruga (pl. ruge), which literally means “pray.” These customary events are local community participatory festivals in the sense that they include both active and passive participants, the former joining in the dancing, the latter sitting and watching whilst socialising with relatives and friends. Although these events are primarily held on fixed calendrical days accor
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Gayou, Évelyne. "The GRM: landmarks on a historic route." Organised Sound 12, no. 3 (2007): 203–11. http://dx.doi.org/10.1017/s1355771807001938.

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AbstractThe year 1958 witnessed the birth of the institution GRM, nurtured by the French Radio and Television service (RTF). However, the fifty years of the GRM cannot be dissociated from the preceding period, datable from 1942, when Pierre Schaeffer began experiments with radiophonic sound which led him to musique concrète while bringing into existence the institutional infrastructure of the group. We can therefore see the Studio d'Essai (1942–46), the Club d'Essai (1946–60) with its Groupe de Recherche de Musique Concrète (GRMC, 1951–58) as forebears of the GRM. The fundamental principle, wh
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Popova, Milena, and Bethan Jones. "Sex and Sexualities in Popular Culture: A Networking Knowledge Special Issue." Networking Knowledge: Journal of the MeCCSA Postgraduate Network 10, no. 3 (2017): 1–5. http://dx.doi.org/10.31165/nk.2017.103.513.

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In November 2015, we held a symposium on the theme of Sex & Sexualities in Popular Culture at the Watershed, Bristol. Having met at a conference on popular music fandom and the public sphere, earlier that year, the symposium was a result of our shared interest in, and work on, sex and sexualities in popular culture. Bethan has worked extensively on antifandom of Fifty Shades of Grey and the moral panics surrounding the ‘irrational’ behavior of One Direction and Twilight fans. Milena’s research focuses on sexual consent in erotic fan fiction, and they have a keen interest in how media and c
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15

Smart, P. "Copyright." Annals of The Royal College of Surgeons of England 98, no. 03 (2016): 162–64. http://dx.doi.org/10.1308/rcsann.2016.0096.

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‘Talent is always conscious of its own abundance, and does not object to sharing.’ Aleksandr Solzhenitsyn, The First Circle When authors submit an article for publication, most publishers will ask for a signature from the author on a copyright form. The relationship between an author and the publisher is then a partnership but one that many authors are reluctant to enter into. After all, why should a publisher take copyright from an author of an article when the author had the idea and has done all the hard work for the content of the article? In response to this question, publishers will gene
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16

Hope, Cat. "Electronic Scores for Music: The Possibilities of Animated Notation." Computer Music Journal 41, no. 3 (2017): 21–35. http://dx.doi.org/10.1162/comj_a_00427.

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This article argues that animated notations are the most exciting new direction for music notation since the conception of the real-time score. The real-time score revolutionized performance practices in new music, with the composer Gerhard E. Winkler calling it a “third way” between improvisation and fixed scores. Developing upon the idea of dynamic notation epitomized by the real-time score, animated notation features movement as its foundation, and may be presented as an interactive program, video, or application environment generated in real time or preset. It extends the possibilities pre
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Chordia, Parag, and Sertan Şentürk. "Joint Recognition of Raag and Tonic in North Indian Music." Computer Music Journal 37, no. 3 (2013): 82–98. http://dx.doi.org/10.1162/comj_a_00194.

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In many non-Western musical traditions, such as North Indian classical music (NICM), melodies do not conform to the major and minor modes, and they commonly use tunings that have no fixed reference (e.g., A = 440 Hz). We present a novel method for joint tonic and raag recognition in NICM from audio, based on pitch distributions. We systematically compare the accuracy of several methods using these tonal features when combined with instance-based (nearest-neighbor) and Bayesian classifiers. We find that, when compared with a standard twelve-dimensional pitch class distribution that estimates th
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Townsend, Anthony. "Locative-Media Artists in the Contested-Aware City." Leonardo 39, no. 4 (2006): 345–47. http://dx.doi.org/10.1162/leon.2006.39.4.345.

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The adoption of mobile devices as the computers of the 21st century marks a shift away from the fixed terminals that dominated the first 50 years of computing. Associated with this shift will be a new emphasis on context-aware computing. This article examines design approaches to context-aware computing and argues that the evolution of this technology will be characterized by an interplay between top-down systems for command and control and bottom-up systems for collective action. This process will lead to the emergence of “contested-aware cities,” in which power struggles are waged in public
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Robertson, Andrew, and Mark D. Plumbley. "Synchronizing Sequencing Software to a Live Drummer." Computer Music Journal 37, no. 2 (2013): 46–60. http://dx.doi.org/10.1162/comj_a_00178.

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This article presents a method of adjusting the tempo of a music software sequencer so that it remains synchronized with a drummer's musical pulse. This allows music sequencer technology to be integrated into a band scenario without the compromise of using click tracks or triggering loops with a fixed tempo. Our design implements real-time mechanisms for both underlying tempo and phase adjustment using adaptable parameters that control its behavior. The aim is to create a system that responds to timing variations in the drummer's playing but is also stable during passages of syncopation and fi
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Zeilinger, Martin. "Live Coding the Law: Improvisation, Code, and Copyright." Computer Music Journal 38, no. 1 (2014): 77–89. http://dx.doi.org/10.1162/comj_a_00231.

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This article concerns the emerging creative practice of live coding (i.e., the real-time programming of electronic music in text-based programming environments), and explores how this practice can be deployed as a tactic of resistance against the overreach of restrictive intellectual property policy. I begin by surveying definitions of copyright and patent law, and related issues, to situate live coding in the field of existing perspectives on cultural ownership. Drawing on legal theory and critical discourse on improvised music in other genres, I then argue that the dynamic, palimpsestic, and
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Capra, Olivier, Florent Berthaut, and Laurent Grisoni. "Levels of Detail in Visual Augmentation for Novice and Expert Audiences." Computer Music Journal 44, no. 2-3 (2020): 92–107. http://dx.doi.org/10.1162/comj_a_00568.

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Abstract Digital musical instruments offer countless opportunities for musical expression by allowing artists to produce sound without the physical constraints of analog instruments. By breaking the intuitive link between gestures and sound they may hinder the audience experience, however, making the musician's contribution and expressiveness difficult to discern. To cope with this issue without altering the instruments, researchers and artists have designed techniques to augment their performances with additional information, through audio, haptic, or visual modalities. These techniques have,
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Barrett, Natasha. "A Musical Journey towards Permanent High-Density Loudspeaker Arrays." Computer Music Journal 40, no. 4 (2016): 35–46. http://dx.doi.org/10.1162/comj_a_00381.

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Historically, most acousmatic works were composed in stereo and performed, or “diffused”, over loudspeaker orchestras. These systems furnished performers and composers with a wealth of opportunities to enhance the spatial contrast, motion, and musical articulations latent in the music. Although loudspeaker orchestras, stereo diffusion, and—more recently—hybrid performance techniques remain alive, especially in Europe, there is a trend towards fixed installation, high-density loudspeaker arrays (HDLAs), which I will call permanent HDLAs to differentiate them from loudspeaker-orchestra HDLAs. Pe
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Barrett, Natasha. "Interactive Spatial Sonification of Multidimensional Data for Composition and Auditory Display." Computer Music Journal 40, no. 2 (2016): 47–69. http://dx.doi.org/10.1162/comj_a_00358.

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This article presents a new approach to interactive spatial sonification of multidimensional data as a tool for spatial sound synthesis, for composing temporal–spatial musical materials, and as an auditory display for scientists to analyze multidimensional data sets in time and space. The approach applies parameter-mapping sonification and is currently implemented in an application called Cheddar, which was programmed in Max/MSP. Cheddar sonifies data in real time, where the user can modify a wide variety of temporal, spatial, and sonic parameters during the listening process, and thus more ea
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Sekulić, Aleksandra. "The Imaginary and the Dead Media in the Works of the Kosmoplovci Collective." AM Journal of Art and Media Studies, no. 15 (April 15, 2018). http://dx.doi.org/10.25038/am.v0i15.233.

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Drawing from a movement which aimed to re-activate the practices of the emancipation of cultural production established in Yugoslav cine-amateurism: Low-Fi Video (1997–2003), the Kosmoplovci Collective, established in 2001, developed various interdisciplinary experiments, contesting the elements of the media framework of production. In a specific osmosis of practices stemming from the computer demo scene, video, alternative comics, electronic music and design, Kosmoplovci contributed to the contemporary explorations of the media-archaeological art, which uses archival work and historical mater
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Ferguson, John R., and Peter Bussigel. "TRaNsMOG-RiFiER: Fictional Narratives as Catalyst for Experimental Instrument Building and Musical/Artistic Collaboration." Leonardo, September 3, 2020, 1–11. http://dx.doi.org/10.1162/leon_a_01961.

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The authors report on their artistic research project TRaNsMOGRiFiER and highlight musician-specific approaches to creating with technology that privilege the sharing of tools and practical knowledge. The use of fictional narratives as a catalyst for instrument building and art making is at the foreground of the discussion. By rethinking DIY/Maker culture with an emphasis on collaboration and collective creativity, the authors highlight the tension between the production of fixed media output and practices that resist encapsulation. TRaNsMOGRiFiER underscores the benefits of hands-on learning
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Hainge, Greg. "Platonic Relations." M/C Journal 5, no. 4 (2002). http://dx.doi.org/10.5204/mcj.1974.

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The loop is one of the primary means of structuration for electronic music from mainstream to avant-garde styles. Indeed, during forums at the recent 2002 AD Analogue 2 Digital event, organised as part of the Adelaide Fringe Festival, many practitioners of electronic music gathered together and, often, quizzed each other about the loop: why does everybody seem to be using it and just how useful is it? With very few exceptions, the loop was considered to be an important if not essential tool for electronic music, and it is perhaps easy to understand why if one considers the "one-man band" natur
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Coulthard, Karl. "Looking for the Band: Walter Benjamin and the Mechanical Reproduction of Jazz." Critical Studies in Improvisation / Études critiques en improvisation 3, no. 1 (2007). http://dx.doi.org/10.21083/csieci.v3i1.82.

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Using Walter Benjamin’s essay “The Work of Art in the Age of Mechanical Reproduction” as a template, this paper examines the impact of recording technology and the recording industry on the development and dissemination of jazz and on past and present popular perceptions of this musical form. For an unwritten and improvisatory art form such as jazz, the implications of the mass distribution of recordings become particularly significant, as one cannot, as with sculptures or paintings, compare the reproductions with the original work. This condition raises significant questions concerning the co
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Jamieson, Daryl. "Icelandic Kami." Nordlit, no. 46 (December 10, 2020). http://dx.doi.org/10.7557/13.5473.

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Utamakura is a traditional Japanese technique of recognizing, interpreting, and utilizing the web of intertextual meanings which have accrued around particular place names over centuries of poetic practice. In general, these utamakura places were originally (in the 7th-9th centuries) associated with Shintō gods (kami), though in later periods the web of meanings in most cases came to include (and often became dominated by) secular rather than spiritual associations. Japanese poet Takahashi Mutsuo, who has published both poetic and theoretical works on the subject of utamakura, seeks to recove
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Collins, Steve. "Amen to That." M/C Journal 10, no. 2 (2007). http://dx.doi.org/10.5204/mcj.2638.

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 In 1956, John Cage predicted that “in the future, records will be made from records” (Duffel, 202). Certainly, musical creativity has always involved a certain amount of appropriation and adaptation of previous works. For example, Vivaldi appropriated and adapted the “Cum sancto spiritu” fugue of Ruggieri’s Gloria (Burnett, 4; Forbes, 261). If stuck for a guitar solo on stage, Keith Richards admits that he’ll adapt Buddy Holly for his own purposes (Street, 135). Similarly, Nirvana adapted the opening riff from Killing Jokes’ “Eighties” for their song “Come as You Are”. Mus
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Potts, Jason. "The Alchian-Allen Theorem and the Economics of Internet Animals." M/C Journal 17, no. 2 (2014). http://dx.doi.org/10.5204/mcj.779.

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Economics of Cute There are many ways to study cute: for example, neuro-biology (cute as adaptation); anthropology (cute in culture); political economy (cute industries, how cute exploits consumers); cultural studies (social construction of cute); media theory and politics (representation and identity of cute), and so on. What about economics? At first sight, this might point to a money-capitalism nexus (“the cute economy”), but I want to argue here that the economics of cute actually works through choice interacting with fixed costs and what economists call ”the substitution effect”. Cute, in
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Ballico, Christina, and Allan Watson. "Place." M/C Journal 19, no. 3 (2016). http://dx.doi.org/10.5204/mcj.1114.

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The ways in which artists, musicians, filmmakers and other creative practitioners perceive, navigate and represent 'place' in their work is complex and multifaceted. Further, place-based conditions also influence the ways in which creative activity occurs in particular locales. This raises questions regarding the role of history, economics, attitudes towards and perceptions of particular forms of arts and culture, shared social and creative contexts, and the geographical location of places, in shaping and fostering creativity. While the relationship between place and creative practice is now w
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Kustritz, Anne. "Transmedia Serial Narration: Crossroads of Media, Story, and Time." M/C Journal 21, no. 1 (2018). http://dx.doi.org/10.5204/mcj.1388.

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The concept of transmedia storyworlds unfolding across complex serial narrative structures has become increasingly important to the study of modern media industries and audience communities. Yet, the precise connections between transmedia networks, serial structures, and narrative processes often remain underdeveloped. The dispersion of potential story elements across a diverse collection of media platforms and technologies prompts questions concerning the function of seriality in the absence of fixed instalments, the meaning of narrative when plot is largely a personal construction of each au
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Driver, Susan. "Pornographic Pedagogies?: The Risks of Teaching ‘Dirrty’ Popular Cultures." M/C Journal 7, no. 4 (2004). http://dx.doi.org/10.5204/mcj.2383.

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Uhh, dirrty Filthy Nasty (too dirrty to clean my act up If you ain’t dirrty .. you ain’t here to party)—Christina Aguilera “DIRRTY” The teacher engaged in a pedagogy which requires some articulation of knowledge forms and pleasures integral to students’ daily life is walking a dangerous road.—Henry Giroux and Roger Simon, “Schooling, Popular Culture and a Pedagogy of Possibility” Pornography and pedagogy have been positioned as mutually exclusive domains within educational discourses that seek to regulate the borders between rational knowledge and sexually lewd commercial imagery. Yet these re
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Stauff, Markus. "Non-Fiction Transmedia: Seriality and Forensics in Media Sport." M/C Journal 21, no. 1 (2018). http://dx.doi.org/10.5204/mcj.1372.

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At last year’s Tour de France—the three-week cycling race—the winner of one stage was disqualified for allegedly obstructing a competitor. In newspapers and on social media, cycling fans immediately started a heated debate about the decision and about the actual course of events. They uploaded photographs and videos, which they had often edited and augmented with graphics to support their interpretation of the situation or to direct attention to some neglected detail (Simpson; "Tour de France").Due to their competitive character and their audience’s partisanship, modern media sports continuous
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Ryan, Robin, and Uncle Ossie Cruse. "Welcome to the Peoples of the Mountains and the Sea: Evaluating an Inaugural Indigenous Cultural Festival." M/C Journal 22, no. 3 (2019). http://dx.doi.org/10.5204/mcj.1535.

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IntroductionFestivals, according to Chris Gibson and John Connell, are like “glue”, temporarily sticking together various stakeholders, economic transactions, and networks (9). Australia’s First Nations peoples see festivals as an opportunity to display cultural vitality (Henry 586), and to challenge a history which has rendered them absent (587). The 2017 Australia Council for the Arts Showcasing Creativity report indicates that performing arts by First Nations peoples are under-represented in Australia’s mainstream venues and festivals (1). Large Aboriginal cultural festivals have long thriv
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Chateau, Lucie. "“Damn I Didn’t Know Y’all Was Sad? I Thought It Was Just Memes”: Irony, Memes and Risk in Internet Depression Culture." M/C Journal 23, no. 3 (2020). http://dx.doi.org/10.5204/mcj.1654.

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Depression memes are a widespread phenomenon across all social media platforms. To get your hit of depression memes, you can go to any number of pages on Facebook, the subreddit “2me4meirl”, where the posts that are “too real” for more mainstream subreddits go, but nevertheless counting over one million subscribers or, on Instagram, and find innumerable accounts dedicated to “sad memes”, many with tens to hundreds of thousands of followers. In a recent study, depression memes were found to be responsible for 35 per cent of the content researchers analysed in the “#depressed” hashtag on Instagr
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Phillipov, Michelle. "“Just Emotional People”? Emo Culture and the Anxieties of Disclosure." M/C Journal 12, no. 5 (2009). http://dx.doi.org/10.5204/mcj.181.

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In an article in the Sunday Tasmanian shortly after the deaths of Melbourne teenagers Jodie Gater and Stephanie Gestier in 2007, Tasmanian Catholic Schools Parents and Friends Federation president Bill Button claimed: “Parents are concerned because all of a sudden their child, if they have access to a computer, can turn into an Emo” (qtd. in Vowles 1).For a few months in 2007, the dangers of emo and computer use were significant themes in Australian newspaper coverage. Emo, an abbreviation of the terms “emocore” or “emotional hardcore”, is a melodic subgenre of punk rock music, characterised b
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Haupt, Adam. "Mix En Meng It Op: Emile YX?'s Alternative Race and Language Politics in South African Hip-Hop." M/C Journal 20, no. 1 (2017). http://dx.doi.org/10.5204/mcj.1202.

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This paper explores South African hip-hop activist Emile YX?'s work to suggest that he presents an alternative take on mainstream US and South African hip-hop. While it is arguable that a great deal of mainstream hip-hop is commercially co-opted, it is clear that a significant amount of US hip-hop (by Angel Haze or Talib Kweli, for example) and hip-hop beyond the US (by Positive Black Soul, Godessa, Black Noise or Prophets of da City, for example) present alternatives to its co-option. Emile YX? pushes for an alternative to mainstream hip-hop's aesthetics and politics. Foregoing what Prophets
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Arnold, Bruce, and Margalit Levin. "Ambient Anomie in the Virtualised Landscape? Autonomy, Surveillance and Flows in the 2020 Streetscape." M/C Journal 13, no. 2 (2010). http://dx.doi.org/10.5204/mcj.221.

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Our thesis is that the city’s ambience is now an unstable dialectic in which we are watchers and watched, mirrored and refracted in a landscape of iPhone auteurs, eTags, CCTV and sousveillance. Embrace ambience! Invoking Benjamin’s spirit, this article does not seek to limit understanding through restriction to a particular theme or theoretical construct (Buck-Morss 253). Instead, it offers snapshots of interactions at the dawn of the postmodern city. That bricolage also engages how people appropriate, manipulate, disrupt and divert urban spaces and strategies of power in their everyday life.
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Loess, Nicholas. "Augmentation and Improvisation." M/C Journal 16, no. 6 (2013). http://dx.doi.org/10.5204/mcj.739.

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Preamble: Medium/Format/Marker Medium/Format/Marker (M/F/M) was a visual-aural improvisational performance involving myself, and musicians Joe Sorbara, and Ben Grossman. It was formed through my work as a PhD candidate at the Improvisation, Community, and Social Practice research initiative at the University of Guelph. This performance was conceived as an attempted intervention against the propensity to reify the “new.” It also sought to address the proliferation of the screen and question how the increased presence of screens in everyday life has augmented the way in which an audience is conc
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Rogers, Ian Keith. "Without a True North: Tactical Approaches to Self-Published Fiction." M/C Journal 20, no. 6 (2017). http://dx.doi.org/10.5204/mcj.1320.

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IntroductionOver three days in November 2017, 400 people gathered for a conference at the Sam’s Town Hotel and Gambling Hall in Las Vegas, Nevada. The majority of attendees were fiction authors but the conference program looked like no ordinary writer’s festival; there were no in-conversation interviews with celebrity authors, no panels on the politics of the book industry and no books launched or promoted. Instead, this was a gathering called 20Books2017, a self-publishing conference about the business of fiction ebooks and there was expertise in the room.Among those attending, 50 reportedly
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Hutcheon, Linda. "In Defence of Literary Adaptation as Cultural Production." M/C Journal 10, no. 2 (2007). http://dx.doi.org/10.5204/mcj.2620.

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 Biology teaches us that organisms adapt—or don’t; sociology claims that people adapt—or don’t. We know that ideas can adapt; sometimes even institutions can adapt. Or not. Various papers in this issue attest in exciting ways to precisely such adaptations and maladaptations. (See, for example, the articles in this issue by Lelia Green, Leesa Bonniface, and Tami McMahon, by Lexey A. Bartlett, and by Debra Ferreday.) Adaptation is a part of nature and culture, but it’s the latter alone that interests me here. (However, see the article by Hutcheon and Bortolotti for a discussi
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Bruns, Axel. "The Fiction of Copyright." M/C Journal 2, no. 1 (1999). http://dx.doi.org/10.5204/mcj.1737.

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It is the same spectacle all over the Western world: whenever delegates gather to discuss the development and consequences of new media technologies, a handful of people among them will stand out from the crowd, and somehow seem not quite to fit in with the remaining assortment of techno-evangelists, Internet ethnographers, multimedia project leaders, and online culture critics. At some point in the proceedings, they'll get to the podium and hold a talk on their ideas for the future of copyright protection and intellectual property (IP) rights in the information age; when they are finished, th
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Gorman-Murray, Andrew, and Robyn Dowling. "Home." M/C Journal 10, no. 4 (2007). http://dx.doi.org/10.5204/mcj.2679.

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 Previously limited and somewhat neglected as a focus of academic scrutiny, interest in home and domesticity is now growing apace across the humanities and social sciences (Mallett; Blunt, “Cultural Geographies of Home”; Blunt and Dowling). This is evidenced in the recent publication of a range of books on home from various disciplines (Chapman and Hockey; Cieraad; Miller; Chapman; Pink; Blunt and Dowling), the advent in 2004 of a new journal, Home Cultures, focused specifically on the subject of home and domesticity, as well as similar recent special issues in several othe
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Darrell, Aaron. "Whose History?" M/C Journal 5, no. 2 (2002). http://dx.doi.org/10.5204/mcj.1954.

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The continual (re)development associated with urban spaces results in the demand that heritage spaces be preserved. This raises a number of questions to be considered such as: which spaces will be preserved, what stories will be associated with these, and how will the embodied experience of these spaces be mediated? Since Foucault, it has been accepted that knowledge, power and truth are inextricably interwoven. There are no golden sands of freedom, there is no transcendent truth free from composing discourses. The construction of truth and history as discursive practice has a strong spatial c
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Pavlidis, Adele, and David Rowe. "The Sporting Bubble as Gilded Cage." M/C Journal 24, no. 1 (2021). http://dx.doi.org/10.5204/mcj.2736.

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Introduction: Bubbles and Sport The ephemeral materiality of bubbles – beautiful, spectacular, and distracting but ultimately fragile – when applied to protect or conserve in the interests of sport-media profit, creates conditions that exacerbate existing inequalities in sport and society. Bubbles are usually something to watch, admire, and chase after in their brief yet shiny lives. There is supposed to be, technically, nothing inside them other than one or more gasses, and yet we constantly refer to people and objects being inside bubbles. The metaphor of the bubble has been used to describe
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Walker, Ruth. "Double Quote Unquote: Scholarly Attribution as (a) Speculative Play in the Remix Academy." M/C Journal 16, no. 4 (2013). http://dx.doi.org/10.5204/mcj.689.

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Many years ago, while studying in Paris as a novice postgraduate, I was invited to accompany a friend to a seminar with Jacques Derrida. I leapt at the chance even though I was only just learning French. Although I tried hard to follow the discussion, the extent of my participation was probably signing the attendance sheet. Afterwards, caught up on the edges of a small crowd of acolytes in the foyer as we waited out a sudden rainstorm, Derrida turned to me and charmingly complimented me on my forethought in predicting rain, pointing to my umbrella. Flustered, I garbled something in broken Fren
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Heckman, Davin. "Being in the Shadow of Hollywood." M/C Journal 7, no. 5 (2004). http://dx.doi.org/10.5204/mcj.2436.

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Landing in the Midwest after a lifetime in Los Angeles, I was shocked to learn how “famous” that great city really is. It used to seem perfectly reasonable that the freeways on CHiPs looked just like the ones I rode to school. When I was five, I remember being secretly bummed that my mom never took us to the disco-classical mural from Xanadu, which I was convinced had to be hidden somewhere in Venice Beach. In high school, it never seemed strange that the Peach Pit on Beverly Hills 90210 was the same as the Rose City Diner. From the L.A. River to the Griffith Park Observatory, from the Hollywo
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Phillips, Dougal, and Oliver Watts. "Copyright, Print and Authorship in the Culture Industry." M/C Journal 8, no. 2 (2005). http://dx.doi.org/10.5204/mcj.2340.

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 Historically the impact of the printing press on Western culture is a truism. Print gave rise to the mass reproduction and circulation of information with wide reaching consequences in all fields: political, social, and economic. An aspect that this paper wishes to focus on is that this moment also saw the birth (and necessity) of copyright legislation, to administer and protect this new found ability to package and disseminate text. The term copyright itself, used freely in debates surrounding contemporary topics such as iTunes, DVD piracy, and file-sharing, is not only s
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Laba, Martin. "Culture as Action." M/C Journal 3, no. 2 (2000). http://dx.doi.org/10.5204/mcj.1837.

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Culture is a mercurial concept -- volatile, contested, and somehow, less than the sum of its parts. Its anthropology, it can be argued, was rooted in an exoticising scholarship typical of the late 19th-century colonialist ruminations on all things "other"; in contemporary terms of course, this exoticising tendency would be termed, as it should, "Orientalist". Still, there is something more than merely residual in the persistence of a notion of culture as a summary, as a package of knowledge and practice, as a name for identity, or even politics, all of which draw clearly from the well of Edwar
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