23.12.10

21.12.10

a number of interesting papers in the most recent edition of the ijei on digital technologies and educational integrity, including (shameless plug) this book review wot i done wrote.

20.12.10

dancecult psytrance cfp

THE EXODUS OF PSYTRANCE?

Special edition of Dancecult: Journal of Electronic Dance Music Culture.
Edited by Graham St John | http://dj.dancecult.net/

Early in the global financial crisis, in the 2008 edition of Psychedelic Traveller magazine, in an article "The Exodus of Psytrance", Sam from chaishop.com reported that while the listing of psytrance parties on the website grew from 1207 in 1999 to 6731 in 2008, the "the exodus of artists and dancers is clearly visible. Most primitive cornerstones of psytrance parties have lost half or more of their visitors. Most labels have signed bankruptcy, media companies are struggling if not yet dead, scene workers left for a 'normal' job". And, while he still notes that "loads" of music is still produced and released, and that a "third generation" of trance enthusiasts has appeared, "it seems that the underground psychedelic frantic party vibe can these days more likely be found at a proper Techno party".
Concurrent with such concerns, the scene suffers variable regulatory and repressive interventions of state authorities in many parts of the world. Furthermore, as psytrance receives "negative press" from sources internal to psytrance and other electronic dance music scenes, scene insiders and the spokespersons and advocates of other EDM aesthetics are some of the most ardent critics.

Yet, while psytrance has been buffeted by manifold economic, political and aesthetic crises, it appears to be a hardy and durable phenomenon. From the UK to Brazil, Japan to South Africa, Russia to Australia, in the realms of production and performance, and in non/virtual domains, psytrance has mutated, adapted and transformed in scenes worldwide. In the areas of genre, music production/performance, event production, virtual distribution, pharmacology, it appears that psytrance flourishes amid complexity.
This special edition of Dancecult seeks contributions from scholars of psytrance from all disciplines and methods attending to this genre (or meta-genre) in a period of transition and growing complexity.
//

Critical attention to the following and related themes addressing the contemporary direction and character of psytrance in the various places of its emergence and growth are welcome:

* The changing state of psytrance.
* The impact of new media and communication technologies on music production, performance and distribution.
* The repression of Goa/psytrance.
* National/regional/metropolitan translations of psychedelic trance.
* The condition of psytrance as a genre.
* The role of the contemporary psytrance festival.
* The shifting character and significance of the "psychedelic" in psytrance.
* The impact of ever-expanding range of chemical compounds on scene and music.
* The continuing significance of the "traveller" (as opposed to "tourist") pretence or sensibility.
* Why is psytrance one of the most loathed scenes and aesthetics in EDMC?

// SUBMISSIONS //

Submissions may be either Feature Articles or From the Floor pieces.
For Policies see: http://bit.ly/g78sz1

Authors are encouraged to submit multi-media content.
See Guidelines at: http://bit.ly/gYQYFz
This special edition is proposed for publication in Dancecult in April 2012.

If interested, send a 250 word abstract (along with brief author bio) to
Graham St John (graham@dancecult.net) by May 1st, 2011.

If your abstract is accepted, the deadline for full article submission is Nov. 1st, 2011. Beyond that, the deadline for online submission to Dancecult (for peer review) is Jan. 15th, 2012.
Please send inquiries and expressions of interest to Graham St John: graham@dancecult.net







17.12.10

12.12.10



gabbenni amenassi and fed: jungle tales (2010)




10.12.10



8.12.10

sharing music files: tactics of a challenge to the music industry
a paper just out in first monday by my friends and colleagues brian martin, chris moore, and colin salter. the abstract reads:

The sharing of music files has been the focus of a massive struggle between representatives of major record companies and artists in the music industry, on one side, and peer–to–peer (p2p) file–sharing services and their users, on the other. This struggle can be analysed in terms of tactics used by the two sides, which can be classified into five categories: cover–up versus exposure, devaluation versus validation, interpretation versus alternative interpretation, official channels versus mobilisation, and intimidation versus resistance. It is valuable to understand these tactics because similar ones are likely to be used in ongoing struggles between users of p2p services and representatives of the content industries.

30.11.10

29.11.10

26.11.10




22.11.10

18.11.10

here's some of it:




scanner

lucas ihlein

1/4 inch

istr

fca

free music and trash culture.

'pre-publication version' of a paper in the just-published

What’s it Worth?: ‘Value’ and Popular Music. Selected Papers from the 2009 IASPM Australia-New Zealand Conference, Auckland, edited by Shelley D. Brunt and Kirsten Zemke.

17.11.10

remix theory. as our event gradually comes into focus. i'm particularly psyched about the live music, about which more soon.

15.11.10

8.11.10


remix comp of randomatik blast on illphabetik: pimp my blast (2010). see here.

6.11.10

5.11.10


all tracks produced using one square wave and the amen only:

GigaRDeCt – WASAAO
iserobin – SSD
Oven Toast Jam – 私から君へアシッド(オリジナル・バージョン)
FFF – My red hot clipping squarewave
newk – kingston kongi
Shex – baby starr amen
CDR – SQUAREMEN
Taishin Inoue – I get amen from Mr.CDR

3.11.10

invasion of the aca-zombies.

full text in print version:

Universities are increasingly populated by the undead: a listless population of academics, managers, administrators and students, all shuffling to the beat of the corporatist drum. Perhaps not surprisingly, the terrifying zombie plague that has swept through the sector is now the subject of serious scholarly attention (books, articles, conferences), as surviving academics investigate how we have descended into this miasma.

So who or what exactly is responsible for tertiary zombification? Is there an antidote? Perhaps a clue lies in the recent independent movie Pontypool; in which the zombie virus is spread through endearments like ‘honey’, ‘sweetheart’ and so on. The contagion is rapid and lethal, infecting all those who come into contact with such banal sweeteners.

Similar lexical vacuity exists in today’s university campuses, which have become hollowed-out spaces containing soulless buildings: food courts like any zombified shopping mall; eerily deserted libraries; and hi-tech lecture amphitheatres. In this bleak landscape the source of the zombie contagion lurks in the form of ‘dead hand’, mechanical speech. Academic zombie speech is peppered with affectless references to DEST points, citation indices, ERA rankings, ARC applications, esteem factors, FOR codes, AUQA reviews and the like. Aca-zombies participate in numerous über-zombified, government sponsored quality assurance exercises, presided over by powerful external assessors.

Many zombies have long lost the capacity to distinguish between a place of learning and a money-making PR machine, mummified in red tape. They appear incapable of responding meaningfully to the tyranny of performance indicators, shifting promotion criteria, escalating workload demands, and endless audits, evaluations and reviews.

The enculturation of such practices has been known to produce catatonia in zombie academics, who often collapse upon hearing the word ‘quality’, knowing this usually means more hard labour. But try as they might to resist, zombies merely acquiesce to the corporatist line. They even come to believe that corporatist language promotes transparency and accountability! The viral effects of such delusions are such that many aca-zombies do not even realise they have already passed over into the valley of shadows. Work formerly conducted at university (remember teaching and research?) has been replaced by a sinister doppelgänger: bureaucratically generated compliance.

The virus is also present among the overworked reserve army of sessional minions, trapped in a stygian netherworld of precarious short-term teaching contracts. This legion of lost souls is the raw material for University Inc., a sinister operation not dissimilar to the Umbrella Corporation of the Resident Evil franchise. Like the undead slaves of voodoo lore, these tutors, entranced perhaps by a misapprehension regarding the ‘status’ of full-time academic zombies, are mercilessly exploited, but expected also to continue producing and publishing scholarly research. Often reduced to burnt-out husks before finishing postgraduate study, they constitute the core of the academic zombie labour force.

Many students have also succumbed to the zombie virus. Yet some undergraduates manage to retain a vestigial half-life related to their outside commitments – underpaid work, servicing debts, caring for their families, commuting, and sometimes (apparently) socialising. The days when students had time to simply hang out (let alone indulge in, say, critical thinking), are gone. Students now occupy a joyless twilight world which, superficially at least, resembles a ‘university’, although in reality they are vocational charnel houses. Just as zombies sometimes half-remember how to use revolving doors or firearms, students and academics half-recall that the institution once had a recognisable purpose beyond the imperatives of vocation and the bottom line.

The most curious aspect of this zombie plague, though, is not its devastating effects on those who stagger through the intellectual rubble, but the pockets of resistance it fails to quash. A tutorial here, textbook marginalia there, crack squads of indomitable postgrads, secretive cells of idealistic academics, and even the odd public intellectual – all scattered signs that intelligent life persists. Occasionally it is necessary, as in Zombieland and Shawn of the Dead, to ‘pass’ as undead to survive. Paradoxically, it is the unthinking intellectual rigor mortis of the current bureaucratic plague which enables some to survive the worst aspects of zombification.


how cool is this?

1.11.10


31.10.10

15.10.10


another ref to 1992.

badman moriarty: i was 6 in 1992 (2007)

straight outta norwich.

8.10.10


shenanigans from digivom.

6.10.10

1.10.10

30.9.10

29.9.10



dusk - chillout!? (pavillon36, 2009)

heavy-duty oldskool dnb mix

25.9.10







18.9.10

video game dj.

14.9.10


atarix: the bitmapper

'11 tracks, 320 kbps, unmixed,unmastered,just the raw sound', it says here.

11.9.10

Zombies in the Academy - book chapters for an interdisciplinary anthology

this should be good. we already got a lot of nice responses.


Call for papers: book chapters for the interdisciplinary anthology Zombies in the Academy: living death in higher education

Editors: Andrew Whelan, Chris Moore and Ruth Walker

This book takes up the momentum provided by the recent resurgence of interest in zombie culture to explore the relevance of the zombie trope to discussions of scholarly practice itself. The zombie is an extraordinarily rich and evocative popular cultural form, and zombidity, zombification and necromancy can function as compelling elements in a conceptual repertoire for both explaining and critically ‘enlivening’ the debates around a broad variety of cultural and institutional phenomena evident in the contemporary university. We propose to canvas a range of critical accounts of the contemporary university as a living dead culture. We are therefore seeking interdisciplinary proposals for papers that investigate the political, cultural, organisational, and pedagogical state of the university, through applying the metaphor of zombiedom to both the form and content of professional academic work.

We invite submissions from a range of scholars - notably in cultural and communication studies, but also popular culture, anthropology, sociology, film, game, and literary studies, political science, philosophy and education - who would be prepared to submit chapters that examine the zombie trope and its relation to higher education from a variety of perspectives.

The editors of Zombies in the Academy have an agreement for publication with Intellect Press UK for 2012. The anthology will be structured in three sections around the broad general topics of:

1. corporatisation, bureaucratisation, and zombification of higher education;
2. technology, digital media and moribund content distribution infecting the university;
3. zombie literacies and living dead pedagogies.

Paper proposals that would fit into these sections would include essays that might:

• investigate the current conditions of the academy under pressure from the ‘zombie processes’ variously described as ‘audit culture’ or the ‘McDonaldisation’ of higher education;
• explore the uncanny value of the figure of the zombie as a component in critical pedagogical accounts (zombie concepts, undead labour in Marxist theory etc.), including in such accounts as they are applied to the university itself;
• analyse the theme of zombies and the academic gaze through the narratives and mechanics of particular films, games, texts or graphic novels;
• name the attenuated conditions of work in the sector with reference to its various forms of ‘zombidity’;
• evaluate the perceived decomposition of academic standards;
• discuss the zombie contagion model as an explanatory device for the circulation of content across multiple media platforms, including into and out of the classroom;
• explore pedagogical activities that use or reflect zombie content;
• critically investigate the rise of ‘zombie literacies’ - as an epidemic circulated by an unthinking student horde, and/or the undead ivory tower itself;
• address the corpselike inertia and atavism of academic distinction and social closure (journal rankings, peer review, tenure etc.) in the face of the apparently ‘lifelike’ models of research production beyond the walls of the academy;
• reassess the metaphor of zombiedom, considering how it can be construed not only as a negative critique, but also as a possibly desirable, advantageous or alternative adaptive strategy in academic contexts.

Abstracts for proposed book chapters should be 1000 words. Authors are asked to include brief biographical details along with their proposals, including name, academic affiliation and previous publications.
Deadline for submissions is 15th December 2010. Please select the most appropriate book section theme for your paper, and submit proposals as an emailed attachment to the following editors:

For papers on the corporatisation and zombification of higher education:
- Andrew Whelan, PhD. School of Social Sciences, Media and Communication, Faculty of Arts, University of Wollongong. Email: awhelan@uow.edu.au
For papers on technology, digital media and contagion:
- Chris Moore, PhD. Centre for Memory, Imagination & Invention, Faculty of Arts and Education, Deakin University. Email: moorenet@gmail.com
For papers on zombie literacies and pedagogies:
- Ruth Walker, PhD. Learning Development, University of Wollongong. Email: rwalker@uow.edu.au


Anticipated timeline:
- proposals due December 15th 2010 (1000 words)
- contributors notified January 15th 2011
- chapters due July 1st 2011 (6,000 - 9,000 words)
- edited full manuscript to publishers December 2011
- book publication 2012



we should have a blog up shortly to track the development of the project.

10.9.10


shot_firer: disappointment (noiseworx 2010)
bringing the heavy sound from Україна.

6.9.10

urban popcultures cfp

1st Global Conference

Urban Popcultures

Tuesday 8th March – Thursday 10th March 2011

Prague, Czech Republic

Call for Papers

This inter- and multi-disciplinary conference aims to examine, explore and critically engage with issues related to urban life. The project will promote the ongoing analysis of the varied creative trends and alternative cultural movements that comprise urban popcultures and subcultures. In particular the conference will encourage equally theoretical and practical debates which surround the cultural and political contexts within which alternative urban subcultures are flourishing.

Papers, reports, work-in-progress, workshops and pre-formed panels are invited on issues related to any of the following themes:

1. Urban Space and the Landscape of the City

Urban Aesthetics and Architecture, Creative Re-imagining and Revitalization of the City. The Metropolis and Inner City Life: Urban Boredom vs. Creativity.

2. Urban Music Cultures

Histories, Representations, Discourses and Independent Scenes.
Popular Music Theory. The Visual Turn. Urban Intertextualities and Intermedialities. Postmodernity and Beyond.

3. The City as Creative Subject/Object

Urban Life and Themes Considered in Music, Literature, Art and Film, Urban Fashion, Style, and Branding.

4. Urban Codes

Urban Popular Culture and Ideology, Politics of Popcultures, D.I.Y, Alternative Ethics of the City. Urban Religion and Religious Expressions. The Avantgarde and Urban Codes.

5. The City and Cyberculture

Virtual Urbanity – Online Communities and the Impact of Social Networking. Urban Identity and Membership. Globalization/Localization of Urban Experience. Recent trends in Copyright/Copyleft. The Role of Internet in the Transformation of Music Industry. The Impact of User-generated Content.

6. The Urban Underground

The Rise and Fall of the Experimental Subcultures, Scenes and Styles.
Alternative and Underground Dance, Hip Hop, and Punk Scenes. Queer Theory and Urban Cultures. Gendered Music and Fashion. Free Urban Exploration and Libertine Lifestyles.

7. Urban Activities in Massmedia

The Visual Aspects of Urban Entertainment. The Evolution of Music and Thematic Television. Media Structure of Music Video. Explicit TV and Censorship. Urban Styles and Extreme Sports.

300 word abstracts should be submitted by Friday 1st October 2010.
All submissions are minimally double blind peer reviewed where appropriate. If an abstract is accepted for the conference, a full draft paper should be submitted by Friday 4th February 2011. Abstracts should be submitted simultaneously to the Organising Chairs; abstracts may be in Word, WordPerfect, or RTF formats with the following information and in this order:

a) author(s), b) affiliation, c) email address, d) title of abstract,
e) body of abstract

Please use plain text (Times Roman 12) and abstain from using footnotes and any special formatting, characters or emphasis (such as bold, italics or underline). We acknowledge receipt and answer to all paper proposals submitted. If you do not receive a reply from us in a week you should assume we did not receive your proposal; it might be lost in cyberspace! We suggest, then, to look for an alternative electronic route or resend.

Organising Chairs

Jordan Copeland

La Salle University,

Philadelphia, USA

E-mail: copeland [at] lasalle.edu

Daniel Riha

Hub Leader (Cyber), Inter-Disciplinary.Net

Charles University,

Prague, Czech Republic

E-mail: rihad [at] inter-disciplinary.net


Rob Fisher

Network Founder and Network Leader

Inter-Disciplinary.Net,

Freeland, Oxfordshire, UK

E-mail: up [at] inter-disciplinary.net

The conference is part of the ‘Critical Issues’ programme of research projects. It aims to bring together people from different areas and interests to share ideas and explore various discussions which are innovative and exciting.

All papers accepted for and presented at this conference will be eligible for publication in an ISBN eBook. Selected papers maybe invited for development for publication in a themed hard copy volume(s) or for inclusion in a new Cyber journal (launching 2011).

For further details about the project please visit:

http://www.inter-disciplinary.net/critical-issues/cyber/urban-popcultures/

2.9.10

31.8.10


ruby my dear: la mort du colibri (2010)

ruby my dear is (was) doc colibri, and rightly so. illphabetik.

28.8.10

27.8.10

26.8.10

pure gold this stuff.

10.8.10



doc colibri: po...pô...popp! (2009) love love records.
faya bumbaka, tuuune.

1.8.10

29.7.10

dancecult vol. 1 no. 2 out. toc:


Making a Noise – Making a Difference: Techno-Punk and Terra-ism
Graham St John
Technics, Precarity and Exodus in Rave Culture
tobias c. van Veen
The Aesthetics of Protest in UK Rave
Ramzy Alwakeel
Memory and Nostalgia in Youth Music Cultures: Finding the Vibe in the San Francisco Bay Area Rave Scene, 2002-2004
Eileen M Wu
Conversations
The History of Our World: The Hardcore Continuum Debate
Simon Reynolds
“Let’s Have At It!”: Conversations with EDM Producers Kate Simko and DJ Denise

Rebekah Farrugia
From the Floor
Sound System Nation: Jamaica
Graham St John
Capturing the Vision at California's Symbiosis Festival
Pascal Querner
Reviews
Reggaeton (Rivera, Marshall and Hernandez)
Alejandro L. Madrid
Rave Culture: The Alteration and Decline of a Philadelphia Music Scene (Anderson)
Beate Peter
Club Cultures: Boundaries, Identities and Otherness (Rief)
Fiona Hutton
Review Essay: Run Lola Run and Berlin Calling
Sean Nye

27.7.10

26.7.10


term commences.

22.7.10

journal of punk and post-punk cfp

call for papers for the inaugural issue:


Punk & Post-Punk is a new peer-reviewed journal serving the international academic, industry and journalistic communities engaged with punk and post-punk culture. It explores the concepts of ‘alternative’ and ‘independent’ established during the punk explosion and developed through the ensuing post-punk era. Punk remains among the most significant and influential popular culture phenomena of the last forty years. Complementing the journal’s historical focus, therefore, is a prominent contemporary aspect. This considers how punk and post-punk’s ethos and aesthetic are absorbed into the present and projected into the future.

Article submissions:
We invite students of the punk and post-punk eras, as well as those from related disciplines into which punk’s influence has fed – including researchers, teachers and practitioners – to contribute to the first issue of Punk & Post-Punk. We welcome papers exploring punk’s impact on the wider culture beyond music, including the arts, language, iconography, sociology and gender and race
issues. We particularly encourage papers discussing regional and international differentiation and contribution. Similarly, each issue will aim to feature at least one paper in which relevant visual imagery will be a major component.

Articles should be between 4,000 and 6,000 words in length. Topics may include
(but are not limited to):
• Etymology and Language
• Genre Definition and Development
• Antecedents and ‘proto-punk’ influences
• Methodologies and theories appropriate for research and study in this field
• Industrial structures and practices in relation to production
• Gender, class and race issues
• Comparative study between nations or regions, cultures and industries
• Associated cultural industries including fanzines and fashion
• Performance of Style
• Concepts of Independence
• Modernist and Post-Modernist influence
• Global impact and Inclusion
• Performance authenticity
• Archival Approaches

Potential contributors should send a 200-word abstract to co-editor Dr Philip Kiszely at P.Kiszely at leeds.ac.uk. A prompt response will assess eligibility for inclusion and provide writer’s guidelines. The deadline for submitting completed articles for peer-review is 31 December 2010.
Punk &Post-Punk will be officially launched at the University of Leeds in
September 2011.

20.7.10

sayanora records - more brilliant japanese breakcore netlabel tunage.

16.7.10


meconium: rehab schmehab

on illphabetik, i think 2010.

13.7.10

Jessica Wood. 2010. "The Darknet: A Digital Copyright Revolution." Richmond Journal of Law and Technology vol. 16, no. 14.

intro reads:


[1] We are in the midst of a digital revolution. In this "Age of Peer Production," armies of amateur participants demand the freedom to rip, remix, and share their own digital culture. Aided by the newest iteration of file sharing networks, digital media users now have the option to retreat underground, by using secure, private, and anonymous file sharing networks, to share freely and breathe new life into digital media. These underground networks, collectively termed "the Darknet[,] will grow in scope, resilience, and effectiveness in direct proportion to [increasing] digital restrictions the public finds untenable." The Darknet has been called the public's great equalizing force in the digital millennium, because it will serve as "a counterbalancing force and bulwark to defend digital liberties" against forces lobbying for stronger copyrights and increased technological controls.

[2] This article proposes a digital use exception to existing copyright law to provide adequate compensation to authors while promoting technological innovation, and the creation and dissemination of new works. Although seemingly counterintuitive,
content producers, publishers, and distributors wishing to profit from their creations must relinquish their control over digital media in order to survive the Darknet era. Absent a government-granted monopoly, free market forces will provide adequate incentives to producers to create quality works, and an efficient dissemination
infrastructure will evolve.

[3] Part I examines the prospect that, due to the Darknet, it is virtually impossible to control digital copying. Peer production is increasing and darknets are becoming more prevalent. Liability rules, stringent copyrights, and technological protection measures stifle innovation, smother creation, and force consumers further underground into darknets. The Darknet poses a particular threat because it is impossible to track or proscribe user behavior. Further, the presence of the Darknet will render technological protection measures unenforceable, or at least impracticable, as a solution for digital copyright management. Part II introduces a digital use exception for copyright to deter development of the Darknet. The proposed copyright shelter is the solution most closely aligned with the goals of copyright, and a monopoly is no longer necessary or practical to accomplish those goals in the digital realm. Part III explores methods by which content creators, publishers, and distributors can profit under this new rule. Absent copyrights for digital works, service providers will capitalize on alternative business methods and data mining. Driven by necessity, they will commission the production of new works.

12.7.10



phuq on bad sekta from january. more info and tons more tunes here.

10.7.10



polish speedcore netlabel smokeskull records and their sublabel napierdalatornia ceased operations on june 8th. this links to their entire archive.

9.7.10

7.7.10


loligrind.

5.7.10

otherman records. japanese breakcore netlabel.

28.6.10


the gaslamp killer: teasers (2007)