eat farm machinery

in meath on the navan-nobber road, at a place called kilberry.


'google zeitgeist 2007'

according to google, social networking sites make up 70% of search engine queries, it says here. it also says that facebook has 55 million members and 'a theoretical value of 15 billion dollars'. according to this the iphone was the most popular search of the year. the search term mp3 just made the top ten 'fastest falling'. google puts (actually precious little of) this stuff here. they don't seem to have, for instance, a search option with which to trawl their data.


3 tracks

i had to post.
the bug feat. killa p & flow dan: skeng
from hyperdub 006 (2007). the bug on myspace. some dancehall/dubstep bashment. the bug doesn't often grab me but flow dan and killa p just deliver incredible soundboy burial material in an original style. also, bass.
flesh consumed: fermented slaughter
from fermented slaughter/inhuman butchery (2007). brilliant grind, like the music played by mutant monkeys from another planet before they go into battle. brutal. there's something slightly tribal about some grind bands, its as if they speak a secret musical language. it sounds like a tribe that's moving the wrong way through time, that's why we don't understand it yet. the drums and vocals on this track are awesome. flesh consumed (homepage, or myspace).
techno-b: casterated lion
on the sick compilation put out by acidsamovar records (2007), from russia. i've never heard of this guy before, but apparently he lives in boston. just hard raggacore/breakcore.
i should really just string some of this stuff into a mix.

other news? misrepresentative article about academic work on social network sites here at the washinton post results in ruffled feathers.



disconformity just sound so great. there's more audio at their myspace. here's a video of theirs:


nfos & books

mad archive of oldskool .nfos here - going back to 1989. i have a chapter talking a bit about .nfo files which is why i'm still looking them up, i want to develop it into something.

as it happens, i've been in contact with publishers about my thesis. so far i have a firm 'maybe' and two 'no's. but you have to try and publish it for academic employment. there are a couple of complicated and tedious reasons why it might be difficult to publish as a book, but several chapters could be published right now as journal or anthology articles. a book is better though. but even more than the cv-boost of getting it published, seeing something you wrote in print is obviously pretty exciting and validating. plus, i have to believe, having given over 4 years of my life to it, that it's good, including good enough to publish. and without wanting to blow my own trumpet too much, it might actually be useful to someone - at least, i hope so (you can probably judge that for yourself). the print run is really an elitist academic form of social closure, but it does get stuff to its audience - some people will only read things if they've been peer-reviewed. so the system is good and bad, it allegedly weeds out dross, but it does so in a rather outdated and time-consuming way (the lag between completion and publication becomes even more glaring when the work is about online environments, which don't wait around for publishers. this is evident in a number of fields).



old abelcain from 2001, on a dark industrial tip:

canto iv

abelcain is 'properly darkside', in a kind of gothic, grand guignol way.



this links to an unedited transcript of the fascinating wire interview with burial:
'properly darkside like finding a body in a lift shaft'
i've heard a couple of tracks off the new album but i'm still not too sure about it. i guess i should wait til i hear archangel, which is the track everyone is banging on about. there are two tunes on the first album i really like. he's supposed to have done it all in soundforge, which is pretty impressive. the interview is great, the article, in the magazine, not so great. sometimes i'm a little sceptical of all the hype around dubstep, and its relationship to rave, with words like 'neostalgia' and 'hauntology' being thrown around the place. there's something gripping about the rhetoric for some people, myself included, but occasionally i doubt that the tunes are really living up to that hype.


chip tune becomes 'mainstream'. evidently it is listened to by
'twenty- and thirty-somethings, many shaggy-haired and wearing T-shirts and glasses.'



nice! took me a while to figure out how to post one though. for the time being i just go here.


horror ads

this is the audio from an original ad for a double-bill:
shivers and night of the living dead
and this is an audio capture from the 'spoof' ads in the tarantino/rodriguez grindhouse movie:
maybe i'm being nostalgic, but i have a feeling the first one is superior to the second in every way. it's not just that grindhouse was supposed to be 'ironic' either. whatever it is the first ad has, the second one just doesn't get anywhere near it.



swarrm: blame
swarrrm are grind from kobe. i must remember to post some disconformity.
while i'm at it, and for no particular reason, weekend nachos:
weekend nachos: dog torture





mediadefender-defenders x

the leaked emails cost mediadefender $85000 so far, mostly on client retention. evidently the parent company, artistdirect, are used to losing money on a grand scale.


swearing makes you more believable

it's true! everyone knows that though.

The authors called the distinction "significant", saying: "Testimonies containing swearwords were perceived as more credible than swearword-free testimonies. Hence it is concluded that swearing increases believability of statements."
They added: "One likely reason is that swearing can be construed as a sign of emotional involvement and thus as a sign of sincerity.
"If one wants to appear credible, it is recommendable to utter an occasional swearword. Although this seemed to be true for statements of suspects and victims, it is not necessarily true for all statements. For example, it seems unlikely that a swearing member of parliament is perceived as credible."

for fucks sake.
they don't tell us anything about the gender of the swearers, or of the swearees. that might be interesting.


new epsilon

from here. actually i don't know how 'new' it is, i just know i never heard it before.
epsilon: the cruel no answer
epsilon: love is in arrears

i like the first one best.

i hate breakcore

i stumbled across 'i hate breakcore' the other day and promptly got myself an account. among other interesting things, they have a searchable archive of slsk breakcore room quotes. it has the following drawbacks: it's impossible to tell how big the archive is or view it in its entirety (searches apparently trawl 'last 500 quotes'). quotes are brief, specific, and decontextualised. and entries are dated by when they were posted, as opposed to when they occurred. nonetheless, it does seem, as it says on the tin, to be the 'largest online repository for breakcore quotes'. hopefully it'll keep growing. i'm interested in the ethical status of such repositories for research purposes, for probably obvious reasons. same with this one of noise room interactions, or even the mediadefender corpus (let alone the actual noise room or the actual breakcore room). are these things in the public domain or not? what counts ethically as legitimate material for research/analysis?


france to cut pirates off


Thanks to a ground-breaking industry agreement backed by French President Nicolas Sarkozy, internet users in France that download unauthorized music and movies could find their internet access cut off by the government.
according to the times:
The proposals, which would put France at the vanguard of the global fight against digital bootlegging, follow a policy review by Denis Olivennes, the chairman of Fnac, the retail chain.
Illegal internet downloads have caused a plunge in Fnac's music sales in recent years. It has been estimated that a billion media files were downloaded in France last year.

the bbc says:
French President Nicolas Sarkozy said the deal was a "decisive moment for the future of a civilised internet".
Net firms will monitor what their customers are doing and pass on information about persistent pirates to the new independent body. Those identified will get a warning and then be threatened with either being cut off or suspended if they do not stop illegal file-sharing.
The agreement between net firms, record companies, film-makers and government was drawn up by a special committee created to look at the problem of the net and cultural protection.
Denis Olivennes, head of the French chain store FNAC, who chaired the committee said current penalties for piracy - large fines and years in jail - were "totally disproportionate" for those young people who do file-share illegally.
In return for agreeing to monitor net use, film-makers agreed to speed up the transfer of movies to DVD and music firms pledged to support DRM-free tracks on music stores.
The deal was hailed by the International Federation of the Phonographic Industry (IFPI), which represents the global interests of the music business.
"This is the single most important initiative to help win the war on online piracy that we have seen so far," it said in a statement.



tunefreak ep, przyczepili dinozaura do plota, on illphabetik here. the only tunefreak stuff i've come across that isn't on compilations. i really like illphabetik, they're the people who put out (among a great many other cool releases) the amenathon.


terror in the crypt

aka crypt of the vampire. 1963. christopher lee. based on le fanu's carmilla. scary.


a review

on this rather attractive blog - which happens to be run by lfo demon. the original page in its entirety:

Ich hatte völlig vergessen, das hier zu bloggen: Andrew Whelan, Betreiber dieses Blogs, hat an der Universität Dublin eine Dissertation über die Interaktion im Breakcore-Raum des Filesharing-Netzwerks Soulseek geschrieben. Der Ansatz läuft unter "ethnographischer Milieuforschung" und als eher empirische geschulter Mensch habe ich doch so meine Zweifel am Sinn dieser Arbeit. Da könnte man ja auch Arbeiten über Kneipengespräche schreiben. Kann man ja auch gerne, nur was soll da der Erkenntnisgewinn sein? Ähnlich sinnentleert geht es dann auch in Teilen der Arbeit zu, wo aus Chat-Gesprächen auf teils untergalaktischem Niveau Standpunkte (etwa Fragen zur Ästhetik von Samples) eruiert werden. Möglicherweise bin ich aber auch nur angepisst, da ich selbst solche Unterhaltungen miterleben durfte und sie in nicht gerade guter Erinnerung habe.
Als problematisch sehe ich an diesem Ansatz ist, dass den Unterhaltungen nachträglich Sinn verliehen wird - fast möchte ich sagen: Sinn hineininterpretiert wird, wo ursprünglich keiner ist. Wenn ich etwas über Ästhetik wissen will, dann erscheinen mir im Zweifelsfall Gedanken von Adorno doch relevanter als die eines betrunker Vollhorstes in einem Chatraum.
Neben den Chatgesprächen wurden in der Arbeit auch Texte über Breakcore verarbeitet, etwa von DJ/RUPTURE oder LFO DEMON (ehe man sich versieht ist man selbst das Objekt wissenschaftlicher Forschung).
Trotz dieser Skepsis gegenüber der verwendeten Methodik ist die Arbeit ein erfrischend anderer Zugang auf den Topos. Im Vergleich zu der Wüste, die im deutschsprachigen Raum zu Cultural Studies herrscht, werden hier Phänomene auf der Höhe der Zeit verhandelt.

Coprolalia and Shibboleths als pdf
Eine Auflistung aller Kapitel einzeln

2 Responses to “PhD Thesis on Breakcore”

  1. henning Says:

    über die kneipe wurde schon viel geschrieben (z.B.: http://www.amazon.de/Die-Kneipe-Franz-Dröge/dp/3518113801/ref=sr_1_1/303-2539281-6632212?ie=UTF8&s=books&qid=1193929907&sr=8-1 )…
    warum soll das denn kein erkenntnisgewinn bringen?!

  2. Kneipen und die darin stattfindenden Gespräche können natürlich Objekt wissenschaftlicher Forschung sein und untersucht werden - mir kam es in der obigen Arbeit aber so vor, als würden dort Positionen aus dem BlaBla abgeleitet, die so nicht gefallen sind. Die Frage ist eher, was das Forschungsinteresse ist. Aber vielleicht kann ich zu dem Thema gar nichts sagen, da ich voreingenommen bin und selbst in der Arbeit auftauche. Besser andere Milieus untersuchen und nicht die, in denen man sich selbst befindet.

i can't read german, but i know how comically mangling babelfish can be, and it doesn't disappoint in this instance:

I had completely forgotten to bloggen here: Andrew Whelan, operator of this Blogs, wrote a thesis at the University of Dublin over the interaction in the BREAK core area of the file sharing network Soulseek. The beginning runs under "ethnographischer environment research" and as rather empirical trained humans has I nevertheless so my doubts about the sense of this work. There one could write also work over tavern discussions. Can one also gladly, only which there the realization gain should be? Similarly sense-emptied it happens then also in parts of the work, where from Chat discussions on partly under-galactic level points of view (for instance questions to the aesthetics of Samples) are eruiert. Possibly I am only angepisst in addition, since I was allowed to see such maintenances and her into not straight of good memory have.
As problematic I see at this beginning am that sense is later lent to the maintenances - nearly I would like to say: Sense is in-interpreted, where none is original. If I want to know something about aesthetics, then in the case of doubt thoughts of Adorno appear to me nevertheless more relevantly than betrunker full refuge in a Chatraum.
Beside the Chatgespraechen in the work also texts over BREAK core were processed, approximately of DJ/RUPTURE or LFO DEMON (before one provides oneself is one the object of scientific research).
Despite this skepticism in relation to used methodology the work is recreating other entrance on the Topos. Compared with the desert, which prevails in the German-speaking countries to Cultural Studies, phenomena on the height of the time are negotiated here.

Coprolalia and Shibboleths as pdf
A listing of all chapters individually

2 Responses tons of “PhD Thesis on Breakcore”

  1. henning Says:

    over the tavern one wrote already much (e.g.: http://www.amazon.de/Die tavern Franz Droege/dp/3518113801/ref=sr_1_1/303-2539281-6632212?ie=UTF8&s=books&qid=1193929907&sr=8-1)…
    why no realization gain is to bring?!

  2. unkultur Says:

    Taverns and the discussions taking place therein can be and examine naturally object of scientific research - it seemed to me however in such a way in the above work, as if positions were derived there from the BlaBla, which is so not fallen. The question is rather, which the interest of research is. But perhaps I cannot say nothing at all to the topic, since I am partial and emerge even in the work. Better different environments examine and not those, in which one is.

as it happens, i like the analogy to 'tavern speech'. this is the indispensable lfo demon article discussed in the thesis, it has since been expanded.


mc chris

mc chris: peer gint.
mc chris can be found here (including acapellas and a tune called 'harry potter').




“As a living, socio-ideological concrete thing, as heteroglot opinion, language, for the individual consciousness, lies on the borderline between oneself and the other. The word in language is half someone else’s. It becomes “one’s own” only when the speaker populates it with his own intention, his own accent, when he appropriates the word, adapting it to his own semantic and expressive intention. Prior to this moment of appropriation, the word does not exist in a neutral and impersonal language … rather it exists in other people’s mouths, in other people’s contexts … Language is not a neutral medium that passes freely and easily into the private property of the speaker’s intentions; it is populated – overpopulated – with the intentions of others”.

Bakhtin, Mikhail. 1981. The Dialogic Imagination, edited by Michael Holquist (trans. Caryl Emerson and Michael Holquist). London: University of Texas Press: pp. 293-294.

rabelais, carnival (bakhtin) etc.:

didn't really work, but i've wanted to do a carnival loltheorist for ages. maybe i'll have another go.

habermas. somehow it seemed suitable with emo kids, not sure why.

hebdige, birmingham school etc.:

as you can tell, i am photoshop n00b.


best grind vocalist

of the last 25 minutes:
cemetery rapist: my cock engulfed in carnage

yes, that's the name of the band, and yes, that's the name of the tune. you probably don't wanna know what the album is called.



1000 times

the following occurred on the 29th of last month:

[Luminette] and also in the breakcore folder, Shitmat --> full english breakfast
[Mmm] haha
[Mmm] good breakcore
[Luminette] this motherfucker didn't even do it
[Luminette] swear
[Luminette] none of the shitheads who come in here trying to sample stuff
[Luminette] even follow through with things
[Luminette] if you try to help them experience some breakcore
[Luminette] it's any room, any music
[Luminette] raw shit
[Luminette] and stuff
[Bob@Work] Coprolalia and Shibboleths: musical and textual interaction in the Breakcore room
[Bob@Work] Coprolalia and Shibboleths: musical and textual interaction in the Breakcore room
[Bob@Work] http://www.archive.org/details/coprolalia_and_shibboleths
[Bob@Work] wtf
[Luminette] watz
[Luminette] just looked
[Luminette] dunno
[Bob@Work] http://ia340928.us.archive.org/1/items/coprolalia_and_shibboleths/A_Whelan_Vita_07.pdf
[Luminette] probably some niggas tryin to get more people to come see me here bc i'm really cool
[Bob@Work] http://231074.blogspot.com
[Sherpah] lol
[Bob@Work] i feel like a guinea pig
[Bob@Work] http://ia340929.us.archive.org/1/items/coprolalia_and_shibboleths/13-bibliography.pdf
[Bob@Work] Bibliography
[Luminette] i should be in charge of DJing ALL music
[Luminette] if only I had like 10 other me's
[Luminette] to stay in charge of hunting and supplying me with the premium material i need
[Bob@Work] i probably shouldn't be in charge of anything
[Gestalt] big dj's offen have assistants that prelisten to records for them
[Gestalt] but that would never be anyone here
[Luminette] well
[Luminette] i'm that big of a deal
[Luminette] but i don't approve of other peoples tastes
[Luminette] people just suck at music
[Luminette] all of you included, i'm sure
[Luminette] no offense but you hear good things and think they're shit, and often hear shitty things and think they're good
[Luminette] so i can pretty solidly say as much
[Gestalt] whatever wanker
[Luminette] i need me clones
[Luminette] to do the hunting for me
[Luminette] hey- it's not my fault you suck at music
[Bob@Work] i hope so
[Gestalt] what have you done that doesn't suck
[Sherpah] lol
[Sherpah] kids.. ;)
[Sherpah] u wanna hear music that didnt suck ? u should have gone to the ELEVATE FESTIVAL last WE
[Luminette] what haev i done that doesn't suck
[Luminette] what DON'T i do that doesn't suck
[Luminette] i exhude a visible aura of greatness, man
[Luminette] unless i keep it hidden
[Luminette] which i do almost always
[Luminette] so as not to draw unwanted attention
[analblast] you exude an unpleasant odor of shit
[Kaszi46] good morning to all:P
[analblast] morning
[Bob@Work] hi there
[Sherpah] lol Lumi :)
[Gestalt] I see nothing
[Gestalt] except shit talking
[Bob@Work] it's not shit talking, it's coprolalia
[Gestalt] corprolalia = shit talking
[Bob@Work] shhh
[Gestalt] that's the whole premise of that thesis and why it would never be accepted by any legitimate academic institution
[Luminette] is it progression if a cannibal uses a fork?
[Gestalt] no he's still a cannibal
[Gestalt] and most canibal's use forks
[Luminette] it was a point of vegan/vegetarian propaganda
[Luminette] :)
[Bob@Work] vegans really do have a healthy diet
[Bob@Work] which is why i only eat vegans
[Luminette] whoa!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
* Disconnected
* Entered room Breakcore
* Disconnected
* Entered room Breakcore
* Disconnected
* Entered room Breakcore

it's like a reflexive loop. thesis has hit 1000 downloads! as shown here. for some reason i was looking forward to this milestone. i don't really have a way of telling, but hopefully it hasn't just been one guy downloading an index over and over again or something.

oink r.i.p.

as shown on mtv! at the beeb. also see slyck here, indicating that media defender were monitoring the site. oink, invite only, is/was more 1337 and further up the p2p foodchain from me; i actually only heard about this story from someone on slsk. ars technica on the stampede for the new oink. these ppl are, apparently, affiliated with oink and reporting on what's happening from inside. the pirate bay evidently intend to step into the breach with a replacement site here, 'boink'. shockingly, demonoid is also down at the moment, and seemingly for the forseeable future. hurrah for big content.


oh dear

as of yet the variety of artists available on the tooth tunes toothbrush is not as wide as one might hope.


the noise wiki.
some great stuff here too (it actually seems to be avant gardening's site).


nothing here but dialogue from the slsk noise room.



migrant ict use

we had a project researching migrant use of the internet for civic and political purposes. here's some of the reading that was relevant to it:

Ackah, William and James Newman. 2003. “Ghanaian Seventh Day Adventists on and offline: problematising the virtual communities discourse.” Pp. 203-214 in The Media of Diaspora, edited by Karim H. Karim. London: Routledge.

Adeniyi, Abiodun Gabriel. 2007. Nigerian diaspora and the virtual construction of identity. Text of paper prepared for the Institute of Communications Studies (ICS) post-graduate conference holding 18.05.2007. Institute of Communications Studies, University of Leeds (http://www.personal.leeds.ac.uk/~icsfsp/papers_files/files/Abiodun_Adeniyi_paper.doc).

Androutsopoulos, Jannis. 2006. “Multilingualism, diaspora, and the Internet: Codes and identities on German-based diaspora websites.” Journal of Sociolinguistics vol. 10, no. 4, pp. 520-547.

Antonova, Slavka. 2000. Women Immigrants in Montreal and Internet. Studio XX (http://projets.studioxx.org/projets/TaT/english/analysis.pdf).

Belausteguigotia, M.. 2003. "The Zapatista Rebellion and the Use of Technology: Indian women online?". Indigenous Affairs 10 (2): 18-25.

Bernal, Victoria. 2006. “Diaspora, cyberspace and political imagination: the Eritrean diaspora online.” Global Networks vol. 6, no. 2: 161-179.

Bonini, Tiziano (2011) "Media as home making tools: life story of a Filipino migrant in Milan",Media, Culture and Society, 33(6), 869-883.

Chan, Brenda. 2006. “Virtual Communities and Chinese National Identity.”Journal of Chinese Overseas vol. 2, no. 1: 1-32.

Cotter, Gertrude. 2004. A Guide to Published Research on Refugees, Asylum-Seekers and Immigrants in Ireland. Integrating Ireland (http://www.integratingireland.ie/pdfs/13_Guide%20to%20Published%20Research%20on%20Refugees,%20Asylum%20Seekers%20and%20Immigrants%20in%20Ireland.pdf).

Cullen, Paul. 2002. Refugees and Asylum-Seekers in Ireland. Cork University Press.

Danet, Brenda and Susan Herring (eds.). 2007. The Multilingual Internet: Language, Culture, and Communication Online. Oxford: Oxford University Press.

Dent, A. S. (2012). Piracy, circulatory legitimacy, and neoliberal subjectivity in Brazil. Cultural Anthropology, 27(1), 28-49.

Diehl, C. , and M. Blohm. 2001. "Apathy, adaptation or ethnic mobilization? On the attitudes of a politically excluded group". Journal of Ethnic and Migration Studies, 27(3): 401-420.

Ejorh, Theophilus. N.d.. Immigration and Citizenship: African Immigrants in Ireland. UCD Migration and Citizenship Research Initiative (http://www.ucd.ie/mcri/immigration_and_citizenship.pdf).

Forte, Maximilian. 2002. “‘We are not Extinct’: The Revival of Carib and Taino Identities, the Internet, and the Transformation of Offline Indigenes into Online ‘N-digenes’.” Sincronía: An Electronic Journal of Cultural Studies. Spring. http://sincronia.cucsh.udg.mx/CyberIndigen.htm

Forte, Maximilian. 2003. “Caribbean Aboriginals Online: Digitized Culture, Networked Representation.” Indigenous Affairs: Special Issue on Indigenous Peoples and Information Technology. No. 2: 32-37.

Forte, Maximilian. 2006. “Amerindian@Caribbean: The Modes and Meanings of 'Electronic Solidarity' in the Revival of Carib and Taino Identities.” In Kyra Marie Landzelius, ed., Native on the Net: Indigenous and Diasporic Peoples in the Virtual Age, pp. 132-151. London: Routledge.

Fung, Anthony. 2002. “Identity politics, resistance and new media technologies: a Foucauldian approach to the study of the HKnet.” New Media & Society vol. 4, no. 2: 185-204.

Georgiou, Myria. 2003. Diasporic Communities On-Line: A Bottom-Up Experience of Transnationalism. Paper presented at the annual meeting of the International Communication Association, Marriott Hotel, San Diego, CA, May 27, 2003 (http://www.allacademic.com/meta/p111957_index.html)

Georgiou, Myria. 2003. Mapping Diasporic Media across the EU: Addressing Cultural Exclusion. London School of Economics and Political Science (http://www.lse.ac.uk/collections/EMTEL/reports/georgiou_2003_emtel.pdf).

Hinrichs, Lars. 2006. Codeswitching on the Web: English and Jamaican Creole in E-mail Communication. Amsterdam: Benjamins

Ho, Chheng-Hong. 2007. "Negotiating Motherhood Using ICTs in Taiwan-US Transnational Households". Internet Research Annual, Volume 4, 2007, Peter Lang Publishing; edited Mia Consalvo and Caroline Haythornthwaite.

Hughes, Gerard, and Emma Quinn. 2004. The Impact of Immigration on Europe’s Societies: Ireland. European Migration Network (http://www.esri.ie/pdf/BKMNEXT057_Impact%20of%20Immigration.pdf).

Kanat, Kilic. 2005. “Ethnic Media and politics: The case of the use of the internet by Uyghur diaspora.” First Monday vol. 10, no. 7 (http://www.uic.edu/htbin/cgiwrap/bin/ojs/index.php/fm/article/view/1259/1179).

King, Tony. 2003. “Rhodesians in hyperspace: the maintenance of a national and cultural identity.” Pp. 177-188 in The Media of Diaspora, edited by Karim H. Karim. London: Routledge.

Kuntsman, Adi. 2009. Figurations of Violence and Belonging: Queerness, Migranthood and Nationalism in Cyberspace and Beyond. Oxford: Peter Lang.

Leung, Linda. 2005. Virtual Ethnicity: Race, Resistance and the World Wide Web. London: Ashgate.

Leurs, K. & Ponzanesi, S. (2013). Intersectionality, digital identities and migrant youths. In C. Carter, L. Steiner & L. McLaughlin (Eds.), Routledge Companion to Media and Gender. London: Routledge.

Leurs, K. & Ponzanesi, S. (2013). Bits of homeland. In C. Ponte & M. Georgiou (Eds.) Special issue on Media, technology and the migrant family. Observatorio (OBS*), 7 (1).

Leurs, K., Midden, E. & Ponzanesi, S. (2012). Digital multiculturalism in the Netherlands: Religious, ethnic, and gender positioning by Moroccan-Dutch youth. Religion and Gender, 2 (1), 150-175.

Leurs, K. & Ponzanesi, S. (2011). Mediated crossroads: Youthful digital diasporas. M/C Journal, 14(2), http://journal.media-culture.org.au/

Leurs, K. & Ponzanesi, S. (2011). Communicative spaces of their own. Migrant girls performing selves using Instant Messaging software. Feminist Review, 99, 55-78.

Lien, Pei-te. 2006. “Transnational Homeland Concerns and Participation in US Politics: A Comparison among Immigrants from China, Taiwan, and Hong Kong.” Journal of Chinese Overseas vol. 2, no. 1: 56-78.

Liu, Fengshu. 2009. "It is not merely about life on the screen: urban Chinese youth and the Internet café." Journal of Youth Studies vol. 12, no. 2: pp. 167-184.

Mainsah, H. (2011). Transcending the national imaginery: Digital online media and the transnational networks of ethnic minority youth in norway. In E. Eide & K. Nikunen (Eds.), Media in motion: Cultural complexity and migration in the Nordic region, (pp. 201-219). Surrey: Ashgate.

Mainsah, H. (2009). Ethnic minorities and digital technologies. New spaces for constructing identity. (Unpublished doctoral dissertation). Oslo University, Norway.

Mandaville, Peter. 2003. “Communication and diasporic Islam: a virtual unmah?” Pp. 135-147 in The Media of Diaspora, edited by Karim H. Karim. London: Routledge.

McLaughlin, W. Sean. 2003. “The use of the Internet for political action by non-state dissident actors in the Middle East” First Monday vol. 8, no.11 (http://www.uic.edu/htbin/cgiwrap/bin/ojs/index.php/fm/article/view/1096/1016).

Meredyth, Denise, Julian Thomas, Scott Ewing, and Liza Hopkins. 2006. Wired High Rise: A Community Based Computer Network. Swinburne Institute for Social Research, Melbourne (http://www.sisr.net/publications/0603wiredfinal.pdf).

Miller, Daniel and Don Slater. 2001. The Internet: An Ethnographic Approach. Oxford: Berg.

Morton, H.. 1999. "Islanders in Space: Tongans Online." In King, R., J. Connell (eds.), Small Worlds, Global Lives: islands and migration. London, Pinter: 235-253.

Nemer, D.(2013). Materializing digital inequalities: the digital artifacts of the marginalized in Brazil. In Proceedings of the Sixth International Conference on Information and Communications Technologies and Development: Notes-Volume 2 (pp. 108-111). ACM.

Nemer, D., Reed, P. (2013). Can a Community Technology Center be For-Profit? A case study of LAN Houses in Brazil. In Proceedings of the CIRN 2013 Community Informatics Conference. Prato, Italy.

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Wong, Loong. 2003. “Belonging and diaspora: the Chinese and the Internet.” First Monday vol. 8, no. 4 (http://www.uic.edu/htbin/cgiwrap/bin/ojs/index.php/fm/article/view/1045/966).

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see also the bibliography maintained by Ismael Peña-López, and also ICT use and connectivity of minority communities in Wales. this special issue of taja is also good, as is this one of the International Journal of Media and Cultural Politics. last updated 12/11/15. the project produced a paper which we placed here.



some tunes by me from when i am moab, they're pretty good, some of my favourites, at least they're short.
moab: beatless home
moab: hacksaw lady
moab: disclaimer
and there's plenty more where that came from. i know it might look like i'm actually giving this music that i worked so hard to produce away, for nothing, or maybe i am desperately trying to raise interest in my artistic output. but this is not the case. i have worked out (in a jeremy bentham style) that these tunes are worth, mathematically and legally, that's right, $9,250 each, and i trust the fans to do the right thing. otherwise i'll just spamigate you for the money. best at high volume, cheers.

(re-uploaded 14/07/08)


shell to sea

shell to sea.
you can be sure of shell.


the audio from the whitehouse gig in dublin last month here. yes, wma, that's what the thing records as. it's been sitting on my computer for about a month. the gig was pretty good, but for some reason william bennett wasn't there. so that wasn't so good. note to philip best: lewd gestures do not a live gig make.



free tunes, or not

this guy wants you to pay cash money for his album or whatever. he writes:
Music files may be abundant, but listener value and attention are still

By Hugh Brown

For some time, the independent music industry has been crowded with people discussing the benefits of giving music recordings away and the consensus, much to my disgust, seems to be that it's a great idea - nay, a necessity - for any indie. Just put the stuff out there and good things will come your way because that's what the new "economics of abundance" dictates. This argument is embodied in this Techdirt article, in which Mike discusses the economics of abundance and therefore the virtues for an artist/band of making music available for free.
This is an example of slightly muddled and mistaken thinking but before I show why, I want to get a couple of things straight.

1) Yes, there can be benefits to giving away recordings. But, as Mike puts it rather succinctly: "Giving stuff away for free needs to be part of a complete business model that recognizes the economic realities." Don't assume that giving recordings away will necessarily get you anywhere.

2) The belief that music should be free and that if it's not people are perfectly justified in ripping it off is a blight on society and must be stamped out (not that it ever will be). I'm all for the cyberpunk ideal and breaking down barriers to progress, but I believe in those things because I think they make for a more reasonable set of conditions for mutual benefit and development. Stealing music, just like stealing bread, cars or life savings, is not being more reasonable. It is being completely one-sided and depriving the other party of the opportunity to renegotiate. If you don't like the price, send a signal by not buying - it has the same effect on the seller but retains your moral rectitude.

Having set that straight, there are a couple of points I take issue with in Mike's article. The first is his quote from Jefferson regarding ideas: "Its peculiar character, too, is that no one possesses the less, because every other possesses the whole of it". This refers to what economists call a non-rivalrous good. One person having or using it does not prevent another from having or using it. The best example of a non-rivalrous good is air - anyone can breathe it without preventing another from breathing it. However, anyone who's lived in a polluted city like, say Tokyo, LA or Beijing will know that not even air is perfectly non-rivalrous. One person's "use" of the air can make that air unbreathable to other people. Similar limits apply to roads, trains, mail, etc. In any real case there are limits to non-rivalry.

Where this causes problems with respect to ideas, however, is in assuming that each use of an idea is identical - or at least equivalent. Jefferson, like Newton and Einstein, was subsequently proved slightly wrong. One of the problems with ideas, modern psychology tells us, is that no two people have the same ones and, as any teacher will tell you, transferring an idea from one head to another is an imprecise and frustrating process (sometimes that's a good thing). This is largely because everyone has a previously collected set of idea into which they must fit the new idea - and sometimes it doesn't fit at all. As the saying goes "a little knowledge is dangerous". The more complex the idea, the more difficult is its transferal from one to another.

When it comes to something as complex as artistic expression, as opposed to the sequence of ones and zeros that make up a digital file, the transfer is almost never perfect. While digital files may be perfectly reproducible (see my next point about that), music is not. The greatest art is ambiguous, and this is why it survives: it makes us question, debate and reconsider our lives and our place in the world. It does not supply answers, it asks questions, allowing us to find our own answers. This point lies at the core of why many of the arguments from those who talk up the virtues of music like water and treating music as a utility or paying for it via flat taxes or fees attached to digital player sales are just plain wrong: they assume that the value each consumer holds for each song, as with each digital file, is identical. It is not. In terms of their value to listeners, digital files are not songs, or games, or movies. They are merely the electronic embodiment of one version of them. To use the two interchangeably is to miss the entire point of human experience.

So when Mike says to "Redefine the market: the benefit is musical enjoyment" he is quite correct. But he is wrong in the next line - "the music itself" is NOT infinite. The value of the music, as opposed to the vehicle for the recording's distribution, lies in the experience of the listener - whether at a live show, or on the radio driving to work, at the time of a first kiss, watching a poignant moment on a favourite movie, or the birth of a child ... whatever. Even if you send me a copy of your favourite new song discovery, I may not attach the same value to it that you do, simply because of our mindsets at the time of discovery. And its value in an exchange between artist and fan lies in the relationship between those two, which does not necessarily lie in any particular song (or digital file). Radiohead understood this, and although many people (myself included) downloaded the album for free on a "try before you buy" basis, many others paid them handsomely. I have no doubt that they have more than recouped the costs of production.

The next point I want to object to is the use of the word "infinite" when talking about the economics of "abundance". Abundant and infinite are NOT the same thing. "Non-scarce" is closer to "abundant" than "infinite". And in any case, infinite does not exist, it can only ever be approached. Many web servers have crashed because of excess demand while attempting to distribute "infinite" digital goods - rendering them instantly finite as far as consumers are concerned. There are limits to bandwidth and many other factors involved in supply of digital goods. It is simply incorrect to refer to the goods as infinite.

Finally, releasing the "infinite good" does NOT necessarily increase marketsize. This is a well-documented furphy. The best it can hope to do is increase the potential marketsize, and many other activities will achieve the same thing. This is because in an abundant digital economy,marketsize is limited by attention scarcity. This is NOT a new condition for indies. Prince and Radiohead used this to great effect; their stunts garnered them huge amounts of attention. But it was not the giving away of the music they benefited from, it was the attention raised because of the novelty of that approach. Had Radiohead posted their new album as free streams for people to listen to before deciding to buy, they would have provided me with the same service and access - but would not have solved the attention scarcity problem because
that's been done plenty of times before. Now that that novelty has been realised, it will not work so well again for them or for anyone else. Incidentally, Prince did not give his CD away - he sold it in bulk to a newspaper for more than he probably would have made at retail. He's a smart lad. On the other hand, the poster child for online music business, Jonathan Coulton, does NOT give his digital files away for free (though he's probably not about to sue file-swappers for copying them). Every posting of music on his site links to a pay-for download (one of them is the "pay what you like" site, SongSlide), and you can listen to the streams for free.

The real problem is that if you don't find some way to tell people that the music is available, and find some way to make it relate favourably to their lives, you will gain nothing. This has been the experience of many artists - myself included - whose music has been available for free for months and whose marketsize remains negligible and unsustainable. Similarly, making the music is available will make no difference if it is bad. In fact, it may deter people from coming to shows and buying merchandise - such is the double-edged sword of attention.

The upshot of all of this is that what indies need to be discussing is the best means for overcoming attention scarcity, not devaluing music recordings by implying that giving them away is necessarily beneficial. As Bob Leftsetz points out, finding ways to overcome attention scarcity is one of the great assets that the major labels and big players retain. Giving away recordings without addressing the attention scarcity problem is playing back into the hands of "those who refuse to give up their old business models". The only way for indies to compete is to optimise their revenue streams, not compromise one in the hope of catching up with another.


The Genre Benders: "I am leaving! I am leaving!"
- out now at www.genrebenders.com

so go buy the album eh. this is good stuff, but i think there are a couple of fairly big things wrong with this kind of thinking:
bread, cars, life savings, music. proudhon?
there's the reduction of music to commodity. there's an account of value which can't be tied to that commodity form. there's also a notion of artistic or aesthetic value, distinct from market worth, which is sort of essentialised and doesn't say much about why music might have values for those who use it. there's also a failure, i think, to acknowledge what is happening to attention and the way that disrupts older ideas of value. the most important thing for me, as a vociferous and obsessive downloader and listener, is that the way in which digital distribution completely opens up access is considered a negative inconvenience for those trying to make a buck out of their creativity (a chance'd be a fine thing! anyone want to pay me?). everyone is facing this attention economy, this glut of material with which their own output must compete. nonetheless, the music i listen to, i simply would not know it existed if i wasn't able to download it. also, p2p is a social practice, an exchange system, which is a process in itself regardless of the material so exchanged. people aren't just leeches, and they (consumers, pirates, whatever you want to call them) are sharing because they're trying to get the music they think is important to a wider audience. moreover, reductive music-as-commodity arguments seem to simply miss the whole ecology of music consumption. music as an industry is a recent invention, and it seems to me like we need a way of thinking about music which acknowledges the fundamental role it plays in our lives. this is why, anthropologically speaking, monetization and copyright seem like distortions, fallacies about cultural value which have been given scary powers by the commodity form and in consequence, the law. blah.


post 90s blues

this was written by one shane lawlor and posted to the ie-dance list:

There is more to life than techno
I only just found out
For I spent all of the 90’s
On a 4/4 roundabout

Record shops and E parties
Looking for a harder beat
Arguing with Detroiters in my head
About the merits of Code Red

There is more to life than techno
And fists pounding the air
It all just seems so vacuous
When you’re punching nothing there

Frying the link ups in my skull
Hazy chats about minimal
Which actually meant 3 bits in a track
As opposed to some lame tech house crap

There is more to life than techno
Now it’s another follower of the rule
That every scene begun misty eyed
Will end up embittered for the old school

I’ve met too many mercenaries
Simple customers of shops
Who inflict their bad taste on everyone
Because they’ve learned to chop

There is more to life than techno
It’s like water from a tap
I might be able to appreciate it
If it stopped gushing from our laptops

The endless stream, the dead mystique
Tired repetition of repeating beats
Try alliterating cymbols
To describe high frequencies!

There is more to life than techno
But I can’t remember what
Hankering after feelings
That won’t be coming back

But to expect more from a type music
Is probably just as absurd
As writing such a bitter letter
To a genre that grinds through words

There is more to life than Jungle
And hating techno beats
Forgetting which Rasta sample’s used
From smoking too much weed

Thinking there was so much more
When you were chewing your face
Because there was a real nation of brothers
And a stupid load of bass

There is more to life than breakcore
And angry dreaded men
Cutting chopping fucking up
Another bloody Amen

There is more to life than Electro
And looking pissed off on the decks
Convinced nothing else could possibly be great
That wasn’t written on an 808

There is more to life than House music
And sampling old disco tracks
Getting Funky, Down, Bootied
Higher, Lifted, Jacked

If getting older means to mellow
Appreciate things you previously couldn’t see
Then I still can’t seem to shake my association of House
With a neat dress policy

There is more to life than IDM
Looking serious and dour
Oh reliving the early days of Skam is bliss
When only you and 10 nerds know it exists

Bragging about the bargain bin
Where you found the best & rarest Aphex Twin
Buzzing off being a party wrecker
Spinning all your b-sides by Autechre

There is more to life than Hip –Hop
And hating everybody else
Boasting about how no one else’s skills
Could ever match yourself

Automatically believing that
Every single scratchy cut
Enhances a great record
Instead of seeing you’re in a squeaky rut

There is more to life than moaning
About how you feel let down
By music genres, sounds and scenes
That you will never own

It’s comically futile
To always insist on what is absolutely good
When the whole point about music
Is that it’s there for every mood

But the funniest dumbest lesson
I never seem to learn
Will guarantee I’m back again
Dishing out the scorn

Something worse than all our bitching
That keeps me morbidly enthralled
Is where any and every one of us
Would be if none of this existed ever at all


genres ending in 'core'

this is 'nerdcore' hip-hop:
mc hawking: uft for the mc
there's a link back here to a lori kendall paper which discusses nerdcore.
this is proper hardcore like they make these days:
tieum: q bazzz
in fact i think it might be 'frenchcore'. i hear great new tunes faster than i can upload and post them. this is passenger of shit:
passenger of shit: crush your enemy
this is landfill:
landfill: bruised circuit circus

the peter and the wolf section of this tune is now the ringtone on my new phone. it's an example of what lacasse calls "allosonic" quotation (as indicated on p. 242 of my thesis).
Lacasse, Serge. 2000. “Intertextuality and Hypertextuality in Recorded Popular Music.” Pp. 35-58 in The Musical Work: Reality or Invention?, edited by Michael Talbot. Liverpool: Liverpool University Press.
this is the back cover of a grind release, negligent collateral collapse's feynman art technique math grind core:
there's a whole nerd thing going on here.



your inference, going by the url of this page, is correct. here's an image of the pressie:

i'm still figuring this thing out. the phone i had before was a dinosaur.

too good to pass up. i found it here. there's an example here of the mpaa paying someone to do to torrentspy more or less just what the mediadefender-defenders did.


shortwave numbers stations

i have this thing on my ipod, the conet project: recordings of shortwave numbers stations. i only every listen to stuff i haven't heard yet on the ipod, on (the suspiciously unrandom) shuffle mode. anyway, i kept hearing these recordings of shortwave numbers stations, which i think are kind of soothing (though other people i know can't tolerate them at all), but i never really got what these stations were for. it's a 4 cd set, there's also a remix project. i vaguely thought maybe it was something to do with mapping locations, like the stations were talking to each other in some way. anyway, today i finally looked into it. the conet project website. the audio hosted at archive. the wikipedia page. bizarre.

riaa to usenet: you're next

this should be interesting. the companies filing against usenet are:
Arista, Atlantic, BMG, Capitol, Caroline, Elektra, Interscope, LaFace, Maverick, Sony BMG, UMG, Virgin, Warner Bros. and Zomba.
as reported by torrentfreak.
unfortunately for slyck, the lawsuit cites thomas mennecke. a dubious honour indeed (still, nice to know everyone's reading the same things). at ars technica. i don't really see how this can work, it's completely unhinged. apparently, this is exactly the sort of thing you shouldn't say nowadays.



the chips: rubber biscuits
plus, it's about hunger.

swearing at work is good for morale

unsurprisingly. see here.
“The question is what should we do about it? We offer a model and some practical advice. Certainly in most scenarios, in particular in the presence of customers or senior staff, profanity must be seriously discouraged or banned”.
“However, our study suggested that in many cases, taboo language serves the needs of people for developing and maintaining solidarity, and as a mechanism to cope with stress. Banning it could backfire.”
“Managers need to understand how their staff feel about swearing. The challenge is to master the ‘art’ of knowing when to turn a blind eye to communication that does not meet their own standards.”
frontstage/backstage again. randall collins has a whole bit somewhere about reading frontstage and backstage as class distinctions. it seems swearing builds morale within the team, but ought not be encouraged in front of customers or bosses. there's a sort of slide towards insubordination depending on whom is witness to the swearing. the team is too strong if it is swearing in front of its social superiors.



i hadn't thought of that

a nice article here about the mediadefender thing. 'igor' has evidently been ploughing through the emails and raises a number of interesting points, notably the following:
  1. the legal campaign is based upon the notorious claim that an ip address can be correctly associated with a single, legally accountable person. however, the speed with which mediadefender ran through ip addresses (because constantly banned for uploading dud material) belies this possibility. in one four month period, mediadefender went through 5 million distinct ip addresses. an implication of this is that it is apparently possible that those subject to cease-and-desists inherited ips from mediadefender and their like. there are other well-documented issues with the '1 ip, 1 person' approach.
  2. because the riaa pay companies like mediadefender to flood p2p networks with spoof files, they cannot be certain that the people to whom they issue cease-and-desists have actually broken the law. the legal, cease-and-desist strategy, and the technological, flood-the-networks strategy work at cross-purposes to each other. they may be suing people who have downloaded the fake files they themselves are distributing.
going by the capitol vs. thomas case, as recording industry vs. the people also point out, the average cost per tune shared if you get sued is $9,250 (jamie thomas had 24 tracks in her shared kazaa folder, they got her for $222,000). the computer on which i access p2p has 32,140 songs on it. by my reckoning, holding cost per tune constant, that collection would then be worth $2970,545000. thomas is appealing by the way.