acid enema

classic and unreleased acid enema black metal/gabber material, pulled together by d-trash for this release.

acid enema is finished, but there is more here.


some of the articles i'm looking forward to reading in the new issue of information, communication and society:
the introduction is by caroline haythornwaite and lori kendall.
the previous issue was devoted to music and copyright.


i also noticed, tpb is linking to blackout europe.


hardcore terrorists

hit the forum for audio.


apparently there are 629 (or something) blogger users giving their location as wollongong. it's kind of compelling (like when you find things like this). i'm one of them, i know a few of them from 'uni' (note the vernacular), and this is one also.


not one but two recent phds in one post, culled from the mysterious and magical interweb of floaty hard work and knowledge:

Patrons and Pathfinders: Two Tales of Successful Strategic Evolution in the Finnish Music Industry

abstract reads:

This thesis presents the entire lifespan of two major record companies in Finland, starting from their creation and ending with their present situation. In this research the strategic evolution of these companies is analyzed through the lens of the strategy logic perspective. In doing so, this thesis takes a qualitative look at the development of strategy in two individual companies. In addition, the study aims to reveal the main issues the strategists of these companies have faced over the decades and the key principles that have steered their companies through successes as well as certain failures.

This thesis seeks answers to the following research questions. 1. What were the strategy logics of Fazer Music and Poko Rekords in the days when the companies were founded? 2. How have the strategy logics of these companies changed during their existence? Have there been any radical turning points or have the changes been incremental? What were the similarities and differences in the evolutionary paths of the two companies? 3. What were the reasons behind the changes in strategy logics? Were the changes deliberate or did they just somehow come about?

The analysis shows how the strategy logics of Fazer Music and Poko Rekords evolved as the companies transformed themselves from their humble beginnings into serious players in the Finnish music industry. Both companies had a similar evolutionary path where they eventually outgrew their own capabilities and ended up divesting their operations. Similarly both companies also became a part of multinational conglomerates, even though these two acquisitions had very dissimilar results.

From a theoretical perspective this thesis demonstrates that the number of essential elements in a certain strategy logic is not the key factor that determines its successfulness. On the other hand, this thesis also points out that any strategy logic inevitably changes gradually or more rapidly. Furthermore, even small changes in the essential elements of a strategy logic may bring about significant changes in the actual operations of a company. In addition, this thesis further indicates that in order to succeed a company should focus both on doing the right things as well as doing things right. Finally, the thesis demonstrates that successful strategies can be created either through a comprehensive analytical process or simply based on personal vision. Neither of these paths is fundamentally wrong, but their functionality should be evaluated on the basis of the characteristics of the organization in question.

Keywords: strategy, strategy logic, mental models, record industry

dl. written by manu aunola at the dept. of management studies in the university of tampere, finland.
and then:

Common Banality: The Affective Character of Photo Sharing, Everyday Life and Produsage Cultures

abstract and summary:

This dissertation investigates the emergent new media practice of mobile blogging (moblogging) and photo sharing online, specifically focusing on how this practice has evolved within a specific community in Copenhagen. Through a 3.5 year long ethnographic fieldwork among everyday photographers in Copenhagen and 14 individual interviews with Flickr.com users, the dissertation both examines how individuals and collectives integrate technology into their everyday lives, especially what constitutes the process of becoming a moblogger. Compared to related research this dissertation deals explicitly with everyday photographers who document all the mundane and banal situations and contexts of their daily life. It is primarily analytic rather than theoretical in its approach. The analysis is centered on two main questions approached differently throughout the chapters: 1. How user generated media reconfigure the spectacle through changes in the production-consumption circuit. 2. How everyday photography enables a creative practice relating it to the affective character of everyday life and the urban environment.
These two aspects are approached with a combination of fieldwork data and theory (primarily Henri Lefebvre, Guy Debord, Brian Massumi, Gilles Deleuze, Roland Barthes, Stuart Hall, Gregory Seigworth and the Situationist International).

The dissertation commences with a review of existing literature on camera phone usage, moblogging and photo sharing. Chapter two deals with different methodological issues related to my fieldwork, my interviews and the development of a new research method. This method – dubbed the GRID – was employed in group interviews with Flickr users in which they talked on the basis of their own pictures about how everyday photography, moblogging and photo sharing have been integrated into their everyday life. The thesis does not have a specific theoretical chapter; different theories are introduced throughout the analysis when considered relevant.

In chapter three the analysis begins with a mapping of how my informants became mobloggers. This chapter will also describe what characterizes photo sharing, everyday photography and moblogging as a photographic practice. Along with this we will see why they have chosen Flickr as the site to share their photos on, and we will also see how their style developed. At this point it will already be evident that their community is important for many of the practices that they participate in so in chapter four we will look into community aspects.

In chapters five and six everyday life will be related to their practice. Chapter five primarily deals with different theories of everyday life, in that it tries to explain what it is about everyday life and its mundane character that makes them want to document it. In explaining this we will witness how capitalism and everyday life, with its mundane habits and routines, foster a creative form of play when documenting our everyday life. We will also identify how the practice of everyday photography and photo sharing mediates between Lefebvre’s triadic structure of everyday life. Especially the affective character of everydayness provides an argument for developing an explanation of why they document the most mundane and banal aspects of everyday life. This chapter also identifies a new form of aesthetic living through a reconfiguration of Mike Featherstone’s theory. In chapter six we focus on how everyday photography, moblogging and photo sharing are integrated into the structures and different practices of everyday life. We will view their practice as a form of rhythmanalysis in which a new rhythm is created by specific relations between time, space and agency, resulting in a reconfiguration of the concepts of presence and present. This will lead us into chapter seven in which we will focus on various collaborative practices related to the way in which value is generated for the users of Flickr, and also look into how the creation of meaning and signification becomes collective and thus restructures the spectacle.

Chapter eight deals with the relations between the city, moblogging and photo sharing, illustrating how these practices enable an electronic form of psycho-geography and dérive, techniques important for the revolution of everyday life as it was put into practice by the Situationist and Debord.
Chapter nine will identify how user generated content can become enclosed within capitalistic structures, thus transforming their practice into relations that resemble work. In mapping how this happens, new places for a Marxist critique in contemporary society characterized by new means of production will be identified. In chapter ten the conclusion will summarize some parts of the dissertation by mapping the different reconfigurations that have been identified throughout the thesis.

i'm liking the theoretical references.
the thesis is downladable here, and was written by søren mørk petersen, in the dept. of innovative communication at the i.t. university of copenhagen, denmark. give these scholars their dues.

fwiw, i think photoblogging, about which i am almost totally ignorant, has, as a medium, some profound and radical potential, and as an example of this i cite this photographer. there's not enough time to say more about this right now, but i would like to write a paper about it, after the one after the one after this one, if you see what i mean; it's definitely in the queue.
if you were wondering, new south wales is wow, and the new gig is wow. more anon.


zomg!?! underwater nazi zombies? with peter cushing, david carradine, and brooke adams (who you might remember from such movies as the dead zone and the 1978 invasion of the body snatchers)? count me in!

the aqua nazi zombies surface menacingly from the water, as is their wont:

he's behind you dude!

behind you!!

more menacing surfacing:

for some reason the nazi aqua zombies wear these fetching goggles, and they really don't like it if anyone takes them off them. even though they've been hanging out underwater since ww2, their uniforms are in pretty good shape. also, instead of eating you they prefer to just hold you under water until you stop moving.
brooke adams is, of course, the final girl. the movie has an extremely damn cool synth soundtrack by richard einhorn, who also did the not-as-good soundtrack for the prowler (1981).


these guys on the great d.o.a. forum seemed mostly not to like my durkheimian amen paper, but i seem mostly just fine with that at the moment. also here (gotta scroll). i kind of like these reflexive loops.


'goodbye horses' by q lazzarus, the tune buffalo bill dances to in the silence of the lambs. a perfect song, for a perfect scene, and some lovely genderfuck all round. like.


the struggle continues!

De-anonymizing Social Networks

the abstract reads:

Operators of online social networks are increasingly sharing potentially sensitive information about users and their relationships with advertisers, application developers, and data-mining researchers. Privacy is typically protected by anonymization, i.e., removing names, addresses, etc.

We present a framework for analyzing privacy and anonymity in social networks and develop a new re-identification algorithm targeting anonymized social-network graphs. To demonstrate its effectiveness on real-world networks, we show that a third of the users who can be verified to have accounts on both Twitter, a popular microblogging service, and Flickr, an online photo-sharing site, can be re-identified in the anonymous Twitter graph with only a 12% error rate.

Our de-anonymization algorithm is based purely on the network topology, does not require creation of a large number of dummy “sybil” nodes, is robust to noise and all existing defenses, and works even when the overlap between the target network and the adversary’s auxiliary information is small.

the paper is by arvind narayanan and vitaly shmatikov at the university of texas in austin, and can be downloaded here.
i'm interested at the moment, teaching-wise, it what can be done with very large data sets concerning or relating to online activity.


stazma: car crash soundtrack

5 track ep released last week on the deadly structural damage records netlabel out of brighton. 18 and a half minutes of mentalness.