The first Net Neutrality video. June 2014
The second Net Neutrality video. May 2017
Wednesday, February 27, 2019
Net Neutrality: Only to be discussed as comedy
The first Net Neutrality video. June 2014
The second Net Neutrality video. May 2017
Instructions for Accessing Audio/Visual Files on Network Servers
NEW PATH. It will work now. Follow these instructions to access the folder called 'SarramCourses' on the CINEMA network drive. You will need to log in to a campus computer (the PCs in one of the Computer Labs or the Macs in the Digital Media Lab and Mac Lab). Make sure you have a pen drive or an external hard disk with enough capacity as the files that you will find on the server are usually quite large. You will most probably need the VLC player in order to play the files on your computer.
Tuesday, February 26, 2019
Monday, February 25, 2019
"Beneath the cobblestones, the beach": Theory, Alternative Media, Situationism and Cultural Resistance
How To Talk Like A Situationist
Guy Debord - Report on the Construction of Situations and on the International Situationist Tendency's Conditions of Organization and Action (1957)
If you are interested in reading more of the Situationist International's documents, manifestos and screeds (they are always fun, engaging and inspiring) you can find an excellent selection in the anthology edited by Tom McDonough and published by MIT Press titled Guy Debord and the Situationist International: Texts and Documents. Modern day situationists have made the book available here. Of course all of the Situationist documents are also available online at the Situationist Online Archive which is a true treasure trove of material. There are many other sources for Situationist materials freely available online, a direct result of the 'proto-free culture' approach the Situationist International always promoted.
Thursday, February 21, 2019
Friday, February 15, 2019
Whitey's Lindy Hoppers: Something Wild
This is the Lindy Hop, the Jitterbug, the Suzie-Q. The clip is an excerpt from H.C. Potter's Helzapoppin' (1941). The Lindy Hoppers doing "The Big Apple" in 1939 are here. Enjoy.
In this clip the dancing starts at the 2:15 mark.
from Jonathan Demme's Something Wild; The Feelies play David Bowies's "Fame" and Jeff Daniels dances with his eye on the 'Other' for cues.
Sunday, February 10, 2019
Nowhere, Nobody
This is the Earl Sweatshirt video I mentioned in class. Please watch it on your own. We will screen it again in class and relate it to the chapters on Narrative and Editing in Carol Vernallis book as well as our discussion on the pre-history of music video.
The Technology and the Society: A Critique of McLuhan
In order to be done with ol' Marshall (even though you're never done with him).
Raymond Williams, "The Technology and the Society" from Television: Technology and Cultural Form
Teddy and Walt in The New Yorker
The Naysayers: Walter Benjamin, Theodor Adorno and the Critique of Pop Culture
by Alex Ross
Even the New Yorker catches up:
"One way or another, the Frankfurt School mode of criticism—its skeptical ardor, its relentless scouring of mundane surfaces—has spread far. When online recappers expend thousands of words debating the depiction of rape on “Game of Thrones,” or when writers publish histories of sneakers or of the office cubicle, they show intense awareness of mass culture’s ability to shape society. And in some cases the analysis takes a recognizably dialectical turn, as in Hua Hsu’s 2011 essay, for Grantland, on Kanye West and Jay-Z’s album “Watch the Throne.” A dispassionate hip-hop fan, Hua Hsu ponders the spectacle of two leading rappers making an “album against austerity,” in which they mark their ascension to a world of “MoMA and Rothko, Larry Gagosian, and luxury hotels across three continents,” and at the same time forfeit a hip-hop tradition of fantasy and protest. Citing the Kanye track “Power”—“Grab a camera, shoot a viral / Take the power in your own hands”—Hsu writes, “This version of power is entrancing—it explains an entire generation. But it also confuses ubiquity for importance, the familiarity of a celebrity’s face for true authority.” There is no telling how Adorno and Benjamin might have negotiated such contemporary labyrinths. Perhaps, on a peaceful day, they would have accepted the compromise devised by Fredric Jameson, who has written that the “cultural evolution of late capitalism” can be understood “dialectically, as catastrophe and progress all together.”
These implacable voices should stay active in our minds. Their dialectic of doubt prods us to pursue connections between what troubles us and what distracts us, to see the riven world behind the seamless screen. “There is no document of civilization which is not at the same time a document of barbarism”: Benjamin’s great formula, as forceful as a Klieg light, should be fixed as steadily on pop culture, the ritual apparatus of American capitalism, as it has been on the art works of the European bourgeoisie. Adorno asked for only so much. Above all, these figures present a model for thinking differently, and not in the glib sense touted by Steve Jobs. As the homogenization of culture proceeds apace, as the technology of surveillance hovers at the borders of our brains, such spaces are becoming rarer and more confined. I am haunted by a sentence from Virginia Woolf’s “The Waves”: “One cannot live outside the machine for more perhaps than half an hour.”"
The Sound Begins: Popular Music Readings II
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| Rufus Thomas, DJ Extraordinaire |
in Garofalo:
-Chapter 2: Blues and Country Music: Mass Media and the Construction of Race
-Chapter 3: “Good Rockin’ Tonight”: The Rise of Rhythm and Blues
Charlie Gillet from The Sound of the City, "The Sound Begins"
Nelson George from The Death of Rhythm and Blues, "Dark Voices in the Night"
-Chapter 2: Blues and Country Music: Mass Media and the Construction of Race
-Chapter 3: “Good Rockin’ Tonight”: The Rise of Rhythm and Blues
Charlie Gillet from The Sound of the City, "The Sound Begins"
Nelson George from The Death of Rhythm and Blues, "Dark Voices in the Night"
Monday, February 4, 2019
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