31.1.10

noise nerds.

30.1.10



drugzilla: thrashcore 3, berlin 2010



drugzilla vs. hatewire: the passion of st. tibulus 2009

speedcore from that parallel universe where speedcore is good, at times entering extratone territory. the passion of st. tibulus is named after an episode of father ted. drugzilla are irish and yes, they have a t-shirt.

29.1.10


xrin arms: disappearing juice
2009 mixtape comp of heavy.

25.1.10

Call for Papers: * Media Anthropology Network workshop: The rewards of media *

11th EASA Biennial Conference: Crisis and Imagination

Maynooth (Ireland), 24-27 August 2010

Convenors:

John Postill (Sheffield Hallam University, UK)
Philipp Budka (University of Vienna, Austria)

Discussant:

To be announced

Short abstract:

The workshop explores the rewards (social, economic, symbolic, sensory, etc.) derived from engaging in specific media practices in different sociocultural settings.

Long abstract:

This workshop is a sequel to the Media Anthropology Network workshop on media practices held at the EASA conference in Bristol in 2006 that led to the edited volume “Theorising Media and Practice” (Braeuchler and Postill, in press). Whilst on that occasion the aim was to explore and theorise media practices in general, this workshop will focus on a single but crucial aspect of mediated practice, namely its rewards (cf. Warde 2005). As contemporary social worlds become ever more media-saturated – particularly after the huge surge in mobile phone uptake in both rich and poor countries – questions arise about the considerable amounts of time and money that many individuals and groups appear to spend using, learning, sharing and making all kinds of media technologies (mobiles, blogs, wikis, radio, social networking sites, YouTube, etc.). Presenters may wish to address (but are not limited to) questions such as:

* What are the rewards (cultural, social, economic, symbolic, sensory, etc.) that people derive from engaging in specific media practices?

* Why do people around the globe devote scarce temporal and financial resources to certain media practices and not others?

* In keeping with the conference theme of ‘Crisis and Imagination’, how do people caught up in the global turmoil use old and new media technologies to seek or create new job opportunities, imagine future economic scenarios or perhaps ‘forget’ their financial woes?

References:

Bräuchler, B. and J. Postill (eds) (in press). Theorising Media and Practice. Oxford and New York: Berghahn.
Warde, A. 2005. Consumption and theories of practice, Journal of Consumer Culture 5: 131-53.

Papers should be proposed via NomadIT’s online system. Please note that this year EASA is requesting a single abstract of 150 words which will be displayed both online and in the conference book.

Submission of abstracts:

http://www.nomadit.co.uk/easa/easa2010/panels.php5?PanelID=648

Deadline: 1 March 2010

General information on the conference:

http://www.easaonline.org/conferences/easa2010/index.htm

If you have any questions, please do not hesitate to contact either of the panel convenors.

23.1.10

21.1.10














a1 davros - battle intro
a2 davros - exterminate the unibomber
a3 davros - stupid primitive machine
a4 davros - no future
b1 davros - the user
b2 davros - only amiga
c1 unibomber - battle intro
c2 unibomber - amiga 500 home computer
c3 unibomber - popular demand
d1 unibomber - breaktrain
d2 unibomber - schizophrenia



davros (aka abelcain) vs. the unibomber, 2008 noize:tek release.
all tracks produced on the amiga 500. check here for some background info, and mp3s of the live amiga battle from 2007, for which these tracks were composed, and the original amiga battle in 1997. dark side.


20.1.10










18.1.10

it's the same tune again!
p.m. 7/jupiter: pone tala pone (indian)
on shadow music from thailand, a sublime frequencies comp from 2008. more info here. all i've learnt thus far about this particular version is that:
In “Pone Tala Pone (Indian),” a reverb-drenched guitar phrase melds with vaguely Eastern drumming and melismatic vocals, making for something strange and heady.

shockingly, it is suggested here that:
the compilers accidentally switched both listed versions of “Pone Tala Pone”, because it is the last one, and not the first, which sounds as if it is sung in Indian and with an Indian influence, while using a leading hand bell rhythm and with the electric guitar only in the background.

could this be right? i heard the other one, i can't really tell. this one sounds more like the other versions than the other one. what is this tune exactly and where does it come from?
shouldn't we, incidentally, be listening to more thai music?




16.1.10

learning in the wild of a virtual world

a recently completed phd by suzanne aurilio at the faculty of claremont graduate university and san diego state university. the abstract reads:


This study took place in the online 3D virtual world Second Life®, a recreational environment designed for world-building and socializing, and intended for individuals 18 years old and older. It described learning from the perspective of Second Life® Residents and focused on their world-building activities. As a virtual ethnographer, my avatar interacted with seven main participant-avatars in-world. Real life ages ranged from 33 years old to mid 50s; all but one were women. I collected data from 20 other Residents also. The study contributes to a nascent body of educational research exploring new forms of inquiry and practice conceived in virtual worlds, and breaks new ground by positioning itself in terms of a
constructionist-learning context in which adults actively engage.

The findings reiterate previous research of learning in virtual worlds. It is situated, social, intrinsically engaging and requires a high degree of personal agency. Learning in Second Life®, however, typifies constructionist principles, and qualities of adult learning which, in practice, are relevant to children as learners too. The context-specific activities of world-building invoke in learners a capacity to be self-directed problem-solvers of concrete and personally meaningful tasks. These activities result in novel expressive forms, and performative expressions of self through one's avatar. World-building engenders artists' and artisans' habits of mind in the forms of learning-by-doing and trial and error.

Compared with the larger population, Second Life® Residents are trailblazers. I therefore proposed cyborg learners/learning as a formulation for characterizing the expressive forms and ways of learning documented here.

* Learners embody avatars in a 3D graphical space.
* They are geographically dispersed.
* They occupy at least two or more social and technological locations simultaneously.
* Learning is technologically and socially platform-specific.
* It is socially interdependent.
* It depends on intrinsically motivating activities.
* It engenders forms of learning-by-doing.

These findings contribute to a broad research paradigm addressing games for learning, mobile learning, open learning, personal learning environments (PLEs) and multi-user learning environments (MUVEs).



check it here.

10.1.10

themeless 2



released 01/01/10, the first 2010 of 2010 for me, and going by the outstanding previous form, a great start to the year.





9.1.10

psychedelic house





for all your trippy 60s psych needs, maaaaaaaan.

8.1.10


the fez!: i'd rather not say (2008)
on wrong lab along with a ton of other stuff.
rapid. see also the incredible love love records.

7.1.10

6.1.10

sennheiser hd 280 pro 64 Ω




how i love thee.

5.1.10

god rekidz. like.

4.1.10



tetris gabber zomg.
gabber bass tone again saving itself from itself, like capitalism is supposed to.