This study explores Jamaican popular music’s changing engagement with globally networked media technologies. It combines ethnographic analysis of the street dance as a site of urban poor and Black resistance to colonial institutions with an analysis of song lyrics about video cameras at street dances. Newly networked technologies for circulating…[Read more]

BB 9-2 – Kolokoltshik – Колоколъчик (odnozutshno gremit kolokoltshik – Однозвучно
гремит колокольчик ) – Eintönig klingt das Glöckchen – lonely bell – T.: I. Makarov – И.Макаров
M.: first Alexander Lvovich Gurilev (1853?) – А. Гурилев – here: melody of K. Sidorowicz / K.
Сидорович – piano – audio

BB 9-2 – Kolokoltshik – Колоколъчик (odnozutshno gremit kolokoltshik – Однозвучно
гремит колокольчик ) – Eintönig klingt das Glöckchen – lonely bell – T.: I. Makarov – И.Макаров – M.: first Alexander – Lvovich Gurilev (1853?) – А. – Гурилев – here: melody of K. Sidorowicz / K.
Сидорович – piano- sheetmusic

BB 9-1 – Kolokoltshik – Колоколъчик (odnozutshno gremit kolokoltshik)
Eintönig klingt das Glöckchen – lonely bell T.: I. Makarov – И.Макаров – M.: first Alexander Lvovich Gurilev (1853?) – А. Гурилев – here: melody of K. Sidorowicz / K. Сидорович – 2 vibraphones solo – sheetmusic

Maros River, all ungherese – Gipsy tune – Maros vize folyik cszendesen – piano solo – 2:10 – video (plus music plus pics from maros / Mures river)

Maros River, all ungherese – Maros vize folyik csendesen – piano solo – 1:05 / 2:10 – audio

Maros River, all ungherese – Gipsy tune – Maros vize folyik cszendesen – piano solo – pdf – sheetmusic

Reflections on artist Trevor Paglen’s (ab)use of the JAFFE dataset

Reflections on Trevor Paglen’s (ab)use of the JAFFE dataset

The article contains a historical account and commentary on Trevor Paglen and Kate Crawford’s unauthorized use of the JAFFE dataset.

This chapter is a study of music and violence in action films set in Rio de Janeiro’s poorest neighborhoods. It traces how the Brazilian films Cidade de Deus [City of God] (2002) and Tropa de Elite [Elite Squad] (2007) rely both on visual language that emphasizes hyperrealistic slum violence, and on musical tropes that carry a local meaning l…[Read more]

Twenty-five years ago, my colleagues Miyuki Kamachi and Jiro Gyoba and I designed and photographed JAFFE, a set of facial expression images intended for use in a study of face perception. In 2019, without seeking permission or informing us, Kate Crawford and Trevor Paglen exhibited JAFFE in two widely publicized art shows. In addition, they…[Read more]

Dance music is a medium and social practice that has in some cases functioned as a site of refuge for people and communities whom mainstream society marks “deviant” or “uncivilized. Foundational movements in dance music emerge from particular spaces and times where communities are able to center bodies and practices that subvert or contradict…[Read more]

Dance music is a medium and social practice that has in some cases functioned as a site of refuge for people and communities whom mainstream society marks “deviant” or “uncivilized. Foundational movements in dance music emerge from particular spaces and times where communities are able to center bodies and practices that subvert or contradict…[Read more]

(First paragraph): “Any DJ could tell you that you don’t know what music really means until you see it in people’s bodies. A DJ establishes a relationship between audio recordings and the crowd, responding to the speed and intensity of their movements, the symbolism of physical attitudes and gestures, their vocalizations, and the simple pre…[Read more]

(First paragraph): “Any DJ could tell you that you don’t know what music really means until you see it in people’s bodies. A DJ establishes a relationship between audio recordings and the crowd, responding to the speed and intensity of their movements, the symbolism of physical attitudes and gestures, their vocalizations, and the simple pre…[Read more]