tester & debaser tour

confirmed dates here. a whole bunch of stivs tracks here, well worth checking.


sem cfp

society for ethnomusicology cfp:

The Society for Ethnomusicology will hold its 53rd annual meeting, October 25-28, 2008, in Middletown, CT, hosted by Wesleyan University. All conference events will take place on the campus of Wesleyan, home to one of the oldest ethnomusicology programs in the USA,

The annual Charles Seeger lecture will be delivered by Robert Garfias, Professor of Anthropology at the University of California, Irvine. He is a former president of SEM, founded the ethnomusicology program at the University of Washington and has served as Dean of the College of Fine Arts at UCI. In addition to decades of research in diverse areas such as Korea, Romania, Burma, Mexico, and Turkey, he has made numerous documentary films, recordings, and radio programs.

The conference theme for the 2008 meeting will be “Ethnomusicology Beyond Disciplines”. Topics will include the following:

  1. Ethnomusicology and Advocacy
  2. Musical Innovation and Experimentation
  3. De-Centering the Western Art Music Canon
  4. The Ethnomusicology of Film
  5. Music and Spirituality
  6. Overlooked Musical Traditions

Proposals on any other topics relevant to the field of ethnomusicology are also welcome.

further details on submission guidelines etc here.


slskland. i don't know who set it up. not a lot of people 'live' there just yet.


i dream of soulseek

the inaugural mix of a series to be presented on this blog, dedicated to the memory of john peel.
kate moss side (40.01)
bomb20: money (reality surpasses fiction 2003)
edit: daig cravid (bollox 2005)
dj dq: where the sidewalk begins part 1 (illegal art december 2003)
toecutter: rockhole (the brk breakcore show 2007)
moab: screwed up (unreleased)
triptech: south-eastenders (squatjuice unreleased)
bolz bolz: take a walk (original mix) (the world of schranz vol. 3 2007)
mc chris: rats (eating's not cheating 2005)
noise/girl: smoke'n'mirrorz (discopathology 2005)
brain eaters trailer
edit: badgers (bollox 2005)
moogz: deathkiss (squatjuice unreleased)
8 bit weapon: times of lore intro (remix) (8 bit weapon)
stu phillips: amperssand (instrumental) (valley of the dolls ost 1970)
stella: achete des disques americains (mondo girls - 20 floorshaking soul/r'n'beat gems from the 60s)
1-speed bike: my kitchen is tiannamen square (droopy butt begone! 2000)
mike sammes and the mike sammes singers: heineken (music for biscuits 2006)
black ops: cry me a river rmx (heavy meckle 2005)
kunteynir: no title (no title 2004)

pete doherty side (30.40)

rompeprop: tussenstuck (masters of gore split 2006)
lisbent: mvsd (mar) (tlrimbmta)
them: it's all over now, baby blue (them again 1966)
atarix: uber-concrete (sick 2007)
the bug feat. killah p and flow dan: skeng (skeng 2007)
jah division: dub will tear us apart (dub will tear us apart 2004)
epsilon: out cunting (extol.nihil 2002)
christ of noise: ignition (amiga tools industry vol. 1 1997)
passenger of shit: killcore rap shit.aiff (unreleased sketches + shit 2006)
delia derbyshire: depression (electrosonic 1972)
mad ep: acid jig (gully gotham grit vol. 1 2006)
mf doom: people places and things (the doomilation 1 bootleg)
krinjah: sound burial (anthem/sound burial 2001)

i'll aim to do one a month. enjoy.


more black metal

than you could possibly shake a stick at:

a) how do they do it?
b) how did rapidshare apparently get the monopoly on hosting, given how idiotically restrictive it is?



electronic concept orchestra: windmills of your mind
from moog groove (1969), an album of cover versions. i like covers, almost as much as i like mashing and plunderphonic sampling. a bibliography on musical borrowing here.
if you wondered where you knew 'windmills of your mind' from, the original noel harrison version was on the soundtrack for the first thomas crown affair, for which it won the best song oscar that year. i think there's another version in the remake, although i didn't see it. either way, i like this version.

istari lasterfahrer's vegetable to midi set-up


caterpillar apocalypse

on an unrelated note. pictures here. that's a lot of caterpillars.


the cybermind online gender project. all papers are derived from members of the cybermind mailing list, and refer to interaction on that mailing list. in a nice dialogical use of the medium, papers marked with a 'v.1.0' will seek to incorporate and address comments and critiques raised etc.
i like this one, so far.


c.r.a.p. mix

an excellent dj mix of what doormouse refers to as c.r.a.p. - corporate rap and pop. it's really got everything.

download (rar archive)

uploaded by those crazy ppl at gabber.od. more info at discogs.

goffman and ambivalent blogging

for goffman, the self is processual, it is produced through interaction rituals.

goffman, laura robinson recently wrote, "sees the self as the process of dramatic interactions that produces multiple selves for multiple performances" (2007: 96). there is, then, no 'core’ psychological or biological self (although one might assert that there is an 'archived' self).
analogous arguments can be found in the perspective propounded by judith butler, where the self is performative. butler succinctly argues that:
"Gender ought not to be construed as a stable identity or locus of agency from which various acts follow; rather, gender is an identity tenuously constituted in time, instituted in an exterior space through a stylized repetition of acts" (1999: 179).
the presentation of self online, in chatrooms, on facebook or myspace, on blogs such as this, and so on, can be fruitfully explored with reference to what goffman says about 'face' in interaction ritual. goffman writes:
"The term face may be defined as the positive social value a person effectively claims for himself by the line others assume he has taken during a particular contact. Face is an image of self delineated in terms of approved social attributes – albeit an image that others may share, as when a person makes a good showing for his profession or religion by making a good showing for himself" (1967: 5).
"A person may be said to have, or be in, or maintain face when the line he effectively takes presents an image of him that is internally consistent, that is supported by evidence conveyed by other participants, and that is confirmed by evidence conveyed through impersonal agencies in the situation" (1967: 6-7).
robinson agrees:
"the self manages its interactional ventures strategically and performs in a manner calculated to project an image that other interactants will find credible" (2007: 96).
the 'line' goffman takes in presentation of self is slightly different from that in interaction ritual. the former, better known, is where he elaborates the dramaturgical metaphor. interaction ritual is different, not least in that there is (or so it seems to me) a greater interest in the personal, emotional or 'internal' aspects of social interaction:
"When a person senses that he is in face, he typically responds with feelings of confidence and assurance. Firm in the line he is taking, he feels that he can hold his head up and openly present himself to others" (1967: 8).
of course, goffman goes on describe in exquisitely beautiful detail the many different ways in which face can be embarrassingly lost, when people become 'shamefaced', or are put in 'wrong face' or 'out of face', and lists the various strategies available for recovering from such incidents. one of the problems with the dramaturgical metaphor is that it seems to suggest a distinction between 'performed' and 'real' selves, and one of the things which appears to follow from this is the suggestion that one can conceivably be relatively indifferent if one's own performance fails. in fact, goffman explicitly refers to the 'two selves' thesis in interaction ritual when he writes:
"I have implicitly been using a double definition of self: the self as an image pieced together from the expressive implications of the full flow of events in an undertaking; and the self as a kind of player in a ritual game who copes honorably or dishonorably, diplomatically or undiplomatically, with the judgmental contingencies of the situation" (1967: 31).
but these two selves are really the same, the two roles are interconstitutive, this is the point of the analysis of 'face-work' presented in interaction ritual. it is through 'face' that a self is performed and expressed. goffman suggests that
"maintenance of face is a condition of interaction, not its objective … To study face-saving is to study the traffic rules of social interaction" (1967: 12).
and he proclaims his durkheimian legacy when he asserts
"One’s face, then, is a sacred thing, and the expressive order required to sustain it is therefore a ritual one" (1967: 19).
it is reasonable to assume that the processes through which the self is produced online are actually not all that different from those which occur offline. the online is simply a relatively new environment for such processes. such an assumption goes against much of the hyperbolic early scholarship on online interaction, the transcendence of 'meat space' and so on.
one of the reasons i come back to goffman is through thinking about blogging, about this blog and the reception of this thesis, and about the impact the presentation of self and maintenance of a 'line' in such environments has on impressions formed by others in other environments. goffman defines a 'line', by the way, as "a pattern of verbal and nonverbal acts by which he [the participant] expresses his view of the situation and through this his evaluation of the participants, especially himself" (1967: 5).
it is commonly suggested, for instance, that one of the first things employers do is google prospective employees. i have a number of acquaintances who offer such reasons as accounts explaining their nonparticipation on facebook. this link provides an excellent introduction to the quandaries as to whether or not, or how, one ought to present oneself online, given the consequences it might have for prospective employment.
and one of the things goffman is helpful for in this regard is elaborating the ambivalence i feel about blogging as an occasional, abbreviated, voluntary, and in my case rather attenuated activity, in the 'face' of a relatively inscrutable 'generalised other'. blogging is fun. i enjoy it, and i try to post every day, even if, as is usually the case, there is only time for a few words. blogging is also a helpful way of archiving and presenting one's personal and professional interests (even if the self so presented is a rather narrow representation). but as a relative newcomer to the game of presenting an online face in this way (or indeed any way), one might say that i am to a certain extent withdrawn from total immersion in the experience, following goffman: 'misinvolved' or alienated from interaction.
goffman describes interaction-consciousness as follows:
"A participant in talk may become consciously concerned to an improper degree with the way in which the interaction, qua interaction, is proceeding, instead of becoming spontaneously involved in the official topic of conversation" (1967: 119).
everyone is familiar with this experience. in this instance it is also in part related to the question of audiencing; of whom, dear reader, you might be. uncertainty here produces ambivalence in tone, which presumably further impacts upon the reader(ship). as goffman puts it: "when one individual is stricken with uneasiness, others often come down with the disease”"(1967: 126). successful blogging, like other 'lines', requires a certain gusto or savoir-faire to come off successfully, to both 'give' and 'give off' the appearance of spontaneous involvement, where this apperarance is received as genuine: there are, for instance, circumstances in which the interactant
“gives the impression that he is occupied with the talk but proves to be really occupied with the task of giving this impression … while there is one obligation to affect involvement, there is another one inducing the individual not to affect it too well” (goffman 1967: 127-128).
another interesting aspect of this is its self-reflexivity. i often notice this now in relation to 'digital humanities', and people who study online interaction from various perspectives and disciplines. there is a tendency for everything to become an object of inquiry in a sort of analytical bootstrapping process. an interest in the medium and its uses affects the purported content of the study of that medium, so that the process becomes a recursive instance of itself. in this way, one can write in a certain medium about the process of writing in that medium (like people who do phds on the process of doing phds, there is no 'outside' referent and the output is an instance of itself). i am at least fortunate in that my phd was about an objective external phenomena. another feature is related to the different modes of writing and the temporal lags between them. having thought long, hard (and reflexively) about what to put in my thesis and how to write it, the thesis is now 'done', it is 'out there' and i don't particularly wish to dwell on it other than to occasionally big it up. the writing style employed in a blog is different, it is quite a different sort of text, for it is always in process and never really 'finished'.
to get back to the point, though:
"A person who chronically makes himself or others uneasy in conversation and perpetually kills encounters is a faulty interactant; he is likely to have such a baleful effect upon the social life around him that he may just as well be called a faulty person" (goffman 1967: 135).
without full and ‘spontaneous’ involvement:
"the illusion of reality will be shattered, the minute social system that is brought into being with each encounter will be disorganized, and the participants will feel unruled, unreal, and anomic" (ibid).
i’m a fan of goffman. one of the great things about him is his acute grasp of how social reality is produced, through a process which also produces people (macro-micro). another is his ability to evoke how what recurrently occurs in small-scale interactions sediments and impacts upon people’s lives (micro-macro). i am not very fond of, or good at, the confessional mode (see my conclusion on academese and the scholarly 'i'). in raising the daunting and depressing possibility goffman describes, and ‘personalising’ it in relation to this blog, my intention is actually to ritually exorcise it. let us forget ourselves and enjoy the ride.

Butler, Judith. 1999. Gender Trouble: Feminism and the Subversion of Identity. London: Routledge.

Goffman, Erving. 1967. Interaction Ritual: Essays on Face-to-Face Behaviour. London: Allen Lane The Penguin Press.

Robinson, Laura. 2007. "The cyberself: the self-ing project goes online, symbolic interaction in the digital age." New Media and Society, vol. 9, no. 1, pp 93-110.




another archive dedicated to slsk chat, this time heavily centred on quotes from the rather enigmatic Rin-Zau. thanks to renu. who is Rin-Zau? no-one knows; as is often the case, their gender is also in question, due to certain peculiarities of interactional style...



krinjah: sound burial

from the anthem/sound burial black label (2001). still works just fine for me. the nfo reads in part:
black label 10" with nothing but a bunch of etchings as follows...
A-side - KMNJAH 001 A 45 (thnx for telling me ha) big up J.A. beetz chopstick
AA-side - KMNJAH 001 AA 45 (really why put the speed in the etching?) [a happy face with a speech bubble comeing from him saying] "beetz!!!" [a heart] to all the ladies!!
wicked sheet i wish i knew who and where it came from
Big ups to the peeps of EFnet #jungle_mp3
it's a great new school jungle track. generic enough to fit perfectly, different enough to stand out. jungle is kind of a closed formation, and not many people can pull it off. everything about the tune is instantly familiar, but handled in a certain way, that's what makes it so good. jungle will always be one of my first ports of call.


new computer

new computer, old username. actually, the computer, generously donated, is not new. but it's a lot faster than the one that doesn't work anymore ever was! anyways, announcements concerning the death of mrs. Norris prove to be premature.


dead computer

yesterday morning, as is my custom, i was moving downloaded tunes off my external drive: into the share folder; and onto the laptop, so they can be taken home and assimilated. i restarted the 10 year old compaq deskpro on which i run slsk, but it was not to be. the computer has finally given up the ghost.
as it happens, i haven't lost that much - external hd, and i had just cleared the incoming folder - but i have lost my userlist. this is bad. and it's the end of that username too, mrs. Norris.
mrs. Norris was named after a cat in harry potter (not, as americans often and endearingly tend to think, after the wife of chuck norris), who was in turn named after a character in jane austen's mansfield park. below is a picture of the cat in one of the harry potter movies:

it was the picture that was in my slsk user info. oh well, i'll probably have sourced another computer by monday. i hope. i just won't have that username, and i'll have to start all over again with my userlist. many slsk ppl will be lost to me, and i to them, and the same with our respective collections.
the striking cats who played mrs. norris in the movie, incidentally, are maine coons. i have never seen one of this breed up close, but apparently they grow to a remarkable size (as shown, for instance, in this image of riley and his human companion martha).

mrs. Norris requiescant in pace


dichotonies: a workshop on gender & music

cfp here:

Dichotonies: A Workshop on Gender and Music
University of Cologne, Germany from June 13 to 15, 2008

Deadline for proposals: January 31st, 2008
In June 2008, a festival for contemporary music will be held in the City of Cologne, supported by the Cultural Affairs Office of the City of Cologne, the Opera of Cologne, the Music School, the School for the Arts and Media, the School for Design, the TV Station (WDR), and the Radio Station (Deutschlandfunk). This three-day festival of concerts, exhibitions, multimedia installations and talks will be dedicated to questions of how gender and music interact.

Part of this event will be an intersquareiplinary workshop at the University of Cologne (organized by Prof. Dr. Beate Neumeier) on the cultural implications and intersections of music and gender. Contributions are invited that cover a wide range of concerns from questions of gender and music production as well as reception, to aspects of gender and intermediality, to intersections of music theory with gender theory (see below). The results of this workshop will be published in a special subsequent issue of gender forum (http://www.genderforum.uni-koeln.de/).

Papers and presentations are welcome on any of the following aspects (this is only an indicative list):

Gendered Musical Production and Reception

Gender and Genre Traditions

  • Why do certain musical genres seem to be more gender exclusive than others?
  • Genre/Gender Crossovers: How are genres differently appropriated/subverted regarding the gender of the musician/listener?
  • Gendered Recitations and Variations of Patterns
  • Traditional Genres and Gender (De-)Construction: American Blues, German Krautrock, French Chanson, Chinese Opera, Tribal Dances, etc.
  • Subversive Voices in the Opera: counter tenors and breeches parts
  • Gender, Genre and Sexuality: The relation of musical genres and sexual practices?

Gender and Product/Production

  • Artists: gender reiteration and gender bending
  • Producers, Composers, Managers, Performers: self expression vs. manufacturing, questions of power
  • Labels: Sexism and Homophobia in the Music Industry — Women labels, Queer labels
  • New Media: The music industry and youtube/myspace. Have changes in the modes of production/distribution/representation positively affected the possibility of diversity?
  • Ritual and Performance as Gender Reiteration?

Gendered Reception of Music

  • Music as Site of Cultural Heritage, Resistance, Postcolonial Expression, Intercultural Influence
  • Mass Hysteria: boy and girl bands and their shaping of youth culture
  • Gender and Social/National Status: from "low" to "high", from Black to White, from West to East
  • Classical Music as (Gendered) Education?

Intermediality and Gender Identity: Music, Gender and Modes of Representation

Hybrid Productions

  • Drama: Drama as Opera (e.g. Macbeth, Hamlet, Salome etc.),
  • Music as modus operandi in Plays (e.g. Helen Cooper, Tom Stoppard)
  • Gender of/in Poetry, Sonnets, Lyrics
  • Pop-Prose (e.g. Beat Generation, Bret Easton Ellis, Sibylle Berg, Nick Hornby, Thomas Meinecke, Alexa Hennig von Lange, Hanif Kureishi)
  • Musical as Coming-of-Gender Stories/Songs (e.g. My Fair Lady, Funny Girl, Billy Elliot, West Side Story, Bollywood- Productions)

Audiovisual Culture

  • Music in Film: Gendering characters and movies? Irony? Title songs?
  • Music Videos: performing subjects/objects of desire, overt sexism and homophobia in hip hop, ragga and heavy metal, gender playfulness (e.g. Madonna/Marilyn Manson/Scissor Sisters/Mika, etc.)

Distribution and Commodification

  • Casting Shows
  • VJ/DJ(ane) Cultures
  • Mobile Ring Tones
  • Commercials

Music Theory and Gender

Traditions of Music Theory

  • Systematic Music theory, Music Ethnology, History of music: levels of music discussed — from mathematical/neurobiological to cultural heritage;
  • Gendering of academic traditions

Possible Intersections of Music Theory with Gender Theory

  • Semiology, (Post)Structuralism
  • Discourse Analysis
  • (De)Constructivism, Theories of Cognition

Please send your proposals in English or German (200-300 words) by January 31st, 2008 to gender forum (gender-forum@uni-koeln.de.

i'm there.




w00t is 2007 word of the year, the beeb notes. the top ten list for 2007 runs as follows:
nice pr from merriam-webster. blog was word of the year in 2004. the 'best of' for the previous 4 years can be viewed here.


keep on truckin

yikes!inside the long-derelict station-master's house, by the railway in nobber, right by where i live. nose to the grindstone.