Annual Report of the RISD Fleet Library 2013-2014

https://digitalcommons.risd.edu/library_annualreport/1001/thumbnail.jp

Rewind Italia: Early Video Art in Italy

Published in association with AHRC funded research projects REWIND–Italia Artists Video in Italy in 70s and 80s. "Italy was a vibrant center of video art production and experimentation throughout the 1970s and 1980s, attracting artists from all over the world and laying the foundation for video art as a concept in the global art and film communities. With vibrant illustrations, compelling interviews, and essays by leading scholars in the field, this collection highlights Italy's key place in the history of video as an art form.

DEMO 21

Alumni newsletter from Fall - Winter 2014 entitled DEMO21. This issue is 52 pages.https://digitalcommons.colum.edu/alumnae_news/1090/thumbnail.jp

Columbia Chronicle (02/08/2010)

Student newspaper from February 8, 2010 entitled The Columbia Chronicle. This issue is 40 pages and is listed as Volume 45, Number 18. Cover story: Columbia\u27s Moment Editor-in-Chief: Bethany Reinharthttps://digitalcommons.colum.edu/cadc_chronicle/1777/thumbnail.jp

HOW HAVE MUSICIANS’ CAREERS CHANGED IN THE DIGITAL PLATFORM ERA?

openLa "platform society" è una realtà. O meglio, una seconda realtà che si aggiunge e si sovrappone alla dimensione fisica. Ciò vale anche per l'industria musicale. Gli ulitmi quindici anni hanno visto la crescita di piattaforme di streaming musicale come Spotify, con il conseguente riposizionamento dei vari attori coinvolti nell'industria e del relativo sistema economico. Per i musicisti, il nuovo scenario apre a nuove possibilità e pone nuove sfide.The platform society is a reality. Better said, it is a second reality that adds and intertwines with the physical dimension. This is so also for the music industry. The last fifteen years have seen the growth of music streaming platforms such as Spotify and the consequent repositioning of actors and revolution of the music economy. The new scenario opens up new possibilities and poses new challenges to musicians' careers

The Mad Science of Hip-Hop: History, Technology, and Poetics of Hip-Hop\u27s Music, 1975-1991

In 1979, the first commercial recordings of hip-hop music were released. The music\u27s transition from the parks and clubs of the Bronx to recorded media resulted in hip-hop music being crafted and mediated in a recording studio before reaching the ears of listeners. In this dissertation I present a comprehensive investigation into the history of the instrumental component of hip-hop music heard on recordings, commonly referred to as beats. My historical narrative is formed by: the practices involved in the creation of hip-hop beats; the technologies that facilitated and defined those practices; and the debates around these two aspects that established the aesthetics of the music. The span of years covered in the dissertation are bookended by the establishment of precision breakbeat compositions on turntables in 1975 and the technological, economic, and legal developments in hip-hop music and culture that became a turning point for the practice of beat making and the sound of hip-hop music beginning in 1991. Beat makers, producers, and engineers--the recordists predominantly responsible for the sound of a hip-hop recording--are cultural producers involved in the social practice of cultural production. As such, the history in this study is informed by ethnographic research in the form of interviews and participant observation. Musical analyses are also utilized to illuminate the historical development of hip-hop music, particularly to display the ways that beat makers created their sound arrangements through the functions of certain technologies. This dissertation explores the intermingling of technology and human practice and serves as a foundation for further inquiry into the effect of technology on music making practices

Guide to the Gallery 312 Collection

This guide describes the organization and scope of the Gallery 312 archival collection, housed within the College Archives & Special Collections at Columbia College Chicago. Gallery 312 was founded in 1994 by Lewis S. and Anne Neri Kostiner as a nonprofit art organization at 312 North May Street in Chicago, Illinois, focusing on the development of local artists and exhibiting works by local and international artists alike

Wavelength (November 1983)

https://scholarworks.uno.edu/wavelength/1036/thumbnail.jp