Critical World Blog » Fresh

Musicking People

Alexandre — Thu, 12 Jun 2008 17:27:15 +0000

Maid in Mexico

Lots to say about musicking, informal music playing, aspirations, working conditions, social status, musical sensitivity.<<" alt="" border="0" />—6a599ce0edec67d8e4762569ecc8f4eb—><<" alt="" border="0" />—971b080ffc97045d954282274120e6a2—><<" alt="" border="0" />—bd04f69acb7bee85a814ee0d8c6726a5—><<" alt="" border="0" />—7ccdfd4a71656cbb8c52c1b39b29b423—><<" alt="" border="0" />—4bc8b90d483aca32072f1fca08249f8e—>

New Models for Music as a Business: Games vs. Online Stores

Alexandre — Tue, 03 Jun 2008 18:07:16 +0000

Not that it’s a completely new topic but it’s an interesting effect which now has some documented cases. Rock musicians apparently making more money from selling tracks in games like Rock Band and Guitar Hero than on the iTunes Store.
Rock acts ringing up sales via video games | Entertainment | Reuters
The write-up and the comments from an industry player sound a bit “disconnected” from the typical enthusiasm in tech communities. But that might be a good thing. If CEOs of record labels, large and small, do get what is happening, there might be hope that new models for music as a business will finally bloom.<<" alt="" border="0" />—92136ed7335d4c81a9761ace7a904984—><<" alt="" border="0" />—6eb606cea6067806e6161751ef6079f4—><<" alt="" border="0" />—81ad5c318e9af930f8625d6f37ef044e—>

Bo Diddley Grooved

Alexandre — Tue, 03 Jun 2008 18:01:33 +0000

Just a thought…
Charles Keil should do an updated article on participatory discrepancies (PD) as a tribute to Bo Diddley, who passed away yesterday.
One of Keil’s first PD piece is in the Grooving on Participation section of Music Grooves, a fairly unique piece in the ethnomusicological literature.
Keil has since been active in a number of interesting projects, including the 12/8 Path community, the Born to Groove book and community website.

Musical Curiosity

Alexandre — Wed, 27 Feb 2008 17:54:07 +0000

Thrift Sounds
A new blog version of a musical “cabinet of curiosities.” By Léon Lo.<<" alt="" border="0" />—eac2d38388e78b31f8bdd168fafc8f7c—>

Bronfman Epiphany?

Alexandre — Fri, 16 Nov 2007 04:00:22 +0000

Been using Edgar Bronfman Jr. as the Recording Industry strawman and he seemed to be the most reactionary CEO of the RIAA. But these words seem to suggest he might have seen the light:

“We used to fool ourselves,’ he said. “We used to think our content was perfect just exactly as it was. We expected our business would remain blissfully unaffected even as the world of interactivity, constant connection and file sharing was exploding. And of course we were wrong. How were we wrong? By standing still or moving at a glacial pace, we inadvertently went to war with consumers by denying them what they wanted and could otherwise find and as a result of course, consumers won.”
MacUser: News: Music boss: we were wrong to go to war with consumers

Much of this is very obvious to anyone who has been observing (event glancing at) the Recording Industry during this long debacle. But the fact that Bronfman would change his tune so radically is quite interesting.
That is, of course, if his words have been reported accurately. Which seems to be the case, looking at the transcript of Bronfman Jr.’s speech (PDF).<<" alt="" border="0" />—a85199270255aa6b0ed891223893dd85—>

Reactions to Ringtone

Alexandre — Thu, 13 Sep 2007 22:16:45 +0000

Seems like Apple’s recently announced ringtone service is increasing media coverage of the ringtone market.
A Baffling New Phenomenon: Customized Ringtones – New York Times
I’ve already explained my personal position on iTunes ringtones. Interesting that most tech journalists should be of the opposite opinion.
Of course, my position is based on a licensing model for the use of musical recordings. In this case, I have no idea how those licenses are handled. It is, in fact, quite possible that artists are not gaining anything from ringtone sales and/or that musicians cannot prevent their music to be transformed into a ringtone. But the abstract model makes sense, to me. Licensing music for use in a ringtone should probably follow similar guidelines to music licensing for advertising. What Pogue and others seem to be forgetting is that music is often used as an identity symbol. In youth culture, such symbols are quite important. Paying 2-3$ for a distinctive ringtone sounds like a decent deal and the convenience aspect is quite high. There are many free ringtones available and, as is often the case, the free items drive sales of paid content.
It might be relevant to look into what the Future of Music Coalition has to say about ringtones. They’ll be in Washington DC in a few days.

Cost of Ringtones (Rant)

Alexandre — Sun, 01 Jul 2007 22:47:32 +0000

A short piece mentioning a new iTunes-based way to create 30-second ringtones from purchased tracks.
iPhone ringtones will cost you – Crave : The gadget blog
My very personal opinion: this might really be a move in the most appropriate direction assuming the money really goes to right owners (and, hopefully, to musicians).
This may come as a surprise to some who read some of my posts here. But paying for ringtones makes a lot of sense in the specific logic which surrounds music as a business.
Music itself is not a commodity. But some commodities are based on music. A track can be bought and it does make a lot of sense, especially if musicians are compensated as part of that deal. A ringtone is a different type of commodity from a downloaded track. It’s associating a musical excerpt with “customization.” It’s using music as a symbol of identity. It’s branding self through sound.
The same way music used in advertising should definitely result in a clear agreement, most likely with a financial reward for the artist whose music is used in the commercial, music used as personal branding should result in some gain on the part of the musician who created the music. In fact, I personally hope that musicians can opt out of the ringtone-making process. Not that such opting-out would be very effective (many ringtones can be done with any MP3) but, as a musician and an observer of musicians, I easily can imagine the frustration some people may feel from having their music transformed into a ringtone.
This may sound like tortured logic to those who think strictly in good/bad distinctions. I’m not saying that ringtones are necessarily good or necessarily bad for musicians. I’m saying that listening to music and using music as a “status symbol” are two very different thing.
The term “licensing” is particularly strong, here. I personally find it perfectly reasonable for a musician to sell music specifically for the purpose of being used on cellphones or in family videos. I also think there’s a need for “royalty-free” music banks, such as the ones associated with Apple’s GarageBand. If this new iTunes to ringtone process works as advertised, it in effect creates an easy licensing model for consumers of music-based sound icons to pay back musicians for the creation of the music on which these sound icons are based. A similar logic to that used in most licensing programs under frequent discussion: Creative Commons, GNU Public License, Copyright. In the same logic, public domain works and those under the less restrictive Creative Commons variants should be usable as ringtones without the licensing process. It’s unfortunate that Apple has no mechanism for these. But it’s also understandable, in the iPhone context.
I should really dig up recent numbers but I read a few years ago that ringtones were worth around 3 billion USD while the recording industry as a whole (excluding ringtones, apparently) was worth 30 billion. I keep musing about this idea that ringtones may be worth 10% of the whole recording industry and that, if said recording industry were to wake up, it might realize that a lot of money can be made on things different from selling the privilege to listen to a “tune.”

This post represents my own (Alexandre Enkerli’s) personal views and do not necessarily represent the views of anyone at CriticalWorld.<<" alt="" border="0" />—adb9f2cb44d2840fd025a29ff88330b6—>

Special Issue: Music and Globalisation

Alexandre — Wed, 13 Jun 2007 15:17:27 +0000

Just received a not about this bilingual issue of Filigrane on music and globalisation.
Filigrane n°5 : Musique et globalisation
They also prepare a conference on the same topic.<<" alt="" border="0" />—ded61f53c290572de7c74080e23ec781—>

Canada Council Consulting Community

Alexandre — Tue, 22 May 2007 09:24:34 +0000

The Canada Council for the Arts is soliciting feedback on its strategic plan. Those of us with Canadian connections have a vested interest in what the Canada Council will become.
They do seem to welcome broad feedback even though the main consultation method is through an online survey.
Strategic plan consultation – Canada Council for the Arts

Peter Gabriel and Ad-Supported Music

Alexandre — Wed, 02 May 2007 03:56:58 +0000

Ok, Gabriel is not spearheading this, necessarily, but he’s a founder investor.
We7 is an ad supported music downloading system using the
MediaGraft Technology platform. They seem to have big plans and are asking for suggestions.
The concept is simple: tracks start with 10-second advertisement, automatically customised to the downloader’s profile. After a month, tracks are available without ads.
What makes this service different from others (like Ruckus and SpiralFrog, for instance) is that the tracks are available as plain MP3 files, not DRM-heavy, proprietary files. This makes it easier to handle the files.

At this point, the project hasn’t really been launched but the main ideas are there.

Personally, I would say that the site is low on features. The tracks themselves are interesting but the “value proposition” of downloading tracks for free on such a relatively simple site may push people toward sites which focus on music communities. Which might be a good thing for independent music.<<" alt="" border="0" />—75080996242ad97bb6fd653e29121fdd—>

New Models for Music as Business: NIN Edition

Alexandre — Fri, 06 Apr 2007 03:50:14 +0000

Online Odyssey Stoking Interest In New NIN Album

Ironically, with its numerous pirated downloads available, the whole album has not leaked yet. According to a source, the only leaks are the ones Reznor approved himself. And whether he realizes it or not, Reznor may be building a new option for presenting music that augments the existing CD/tour scenario. “It’s not about slapping something on top of an existing experience,” the source says. “It must be its own entity. Make the experience as immersive as possible for fans.”

Even the RIAA ecosystem can show signs of creative thinking.<<" alt="" border="0" />—a402453ab7751fdb11338bc569810d72—>

Taking Music Play One Step Further: Rock Band (Harmonix

Alexandre — Fri, 06 Apr 2007 03:26:36 +0000

Just announced, a new game from the creators of Guitar Hero.
Guitar heroes unite; ‘Rock Band’ is coming | Crave : The gadget blog
The emphasis on collaboration goes well with the whole participatory culture and musicking trend in today’s industrial societies.

Montreal At Austin?

Alexandre — Sun, 11 Feb 2007 02:57:31 +0000

So, one of Montreal’s music scenes is, yet again, being described in relationship to U.S. realities. This time, in the context of the SXSW (formerly “South by Southwest”) festival in Austin, TX.
Podmodernisme: SXSW ou Pop Montréal: l’édition texane?
(The blog entry is in French but it’s commenting on an article in English.)
Can’t find an online text version of Mark Lepage’s article but it’s an entertaining read.

Interestingly enough, some are wondering if Austin’s music scene isn’t dying. Not that Montrealers haven’t been asking the same questions about their city’s musical dynamism. But it does seem like rent is the main issue for musicians anywhere (in English-speaking North America).<<" alt="" border="0" />—9b325c671317f56c5d80676b057a7a4a—>

New Models for Music as Business: Attali Got It!

Alexandre — Fri, 26 Jan 2007 14:50:29 +0000

Seems like this year’s Midem has been the ideal locale for rethinking a few preconceived notions about the monies involved in music. My (overly naïve) attempt at listing some possibilities for music businesses finds some support in the words of insight-master Jacques Attali. When I eventually read it, the first edition of Attali’s Bruits seemed uncannily prescient as to what came to be understood as the “Napster Revolution.” Haven’t read it yet, but IHT reports on Attali’s newest book forecasting “that all recorded music will be free in the next several decades.” According to this Voir interview with Attali (in French), the book provides a rare insight into some possible scenarios for new economic orders. Is Attali really not a member of the Global Business Network?<<" alt="" border="0" />—b55390d8f8dbd4e5c5b4625e46f50d3f—>

The Day The Music Undied?

Alexandre — Fri, 26 Jan 2007 13:42:52 +0000

In the context of a MidemNet panel, recording industry executive Larry Kenswil (a “music bigwig”) made comments which seem to indicate that some RIAA members were finally hit with a clue-by-four:

“We can’t think of it as counting unit sales anymore,” said Kenswil. “We have to license … and think like the publishers.”

Universal exec – say goodbye to the old record co. | The Register

What remains to be seen is whether this is a desperate strategy of a group of zombies or the announcement of a seachange in the global music industry.

Solidarythmé 18 novembre 2006

Alexandre — Tue, 14 Nov 2006 02:19:48 +0000

AQOCI [l’Association québécoise des organismes de coopération internationale]

Solidarythmé pour un changement durable présente : Gadji Gadjo, Tomas Jensen, Opossum, Zi King Kow, cirque Kaolectif, peinture live, expo photo, danse et plus!

QUOI : 6ème édition de cette soirée pluridisciplinaire engagée

QUI : Tomas Jensen, Gadji Gadjo, Opossum, Zi King Kow, cirque Kaolectif, peinture live, expo photo, danse afro-colombienne et plus!

QUAND : samedi 18 novembre à partir de 20h

OÙ : au Kola Note (5240 rue du Parc)

COMBIEN : En pré-vente – 12$ (avec présentation de carte d’étudiant) et 15$ pour le public en général. A la porte – 15$ pour les étudiants et 18$ pour le public en général. Les billets sont en vente sur le réseau admission.com, au Kola Note, à l’AQOCI au 871-1086, a l’UdeM au B-2253 ou au 514-343-7896. Nous vous encourageons fortement à acheter vos billets chez l’un des deux organismes pour éviter les frais de service .

L’Action Humanitaire et Communautaire de l’Université de Montréal s’associe à l’Association Québécoise des Organismes de Coopération Internationale pour célébrer le pouvoir qu’a la musique de faire bouger les gens. Solidarythmé pour un changement durable vient ainsi clore deux événements de solidarité majeurs au Québec : la Semaine de la Solidarité UdeM et les Journées Québécoises de la Solidarité Internationale. Les organisateurs de la Semaine d’Action Contre le Racisme se joignent à l’initiative en appuyant l’organisation du spectacle. Ces trois événements sont maintenant devenus des rendez-vous annuels incontournables où se mêlent, l’espace d’une dizaine de jours, colloques, débats, tables rondes, activités jeunesse, expositions, cinéma et musique, entre autres. Autant de passerelles qui visent à démystifier les différentes formes que peuvent emprunter dans notre société les manifestations de solidarité.

Merci de bien vouloir difuser ce message le plus possible !

Au plaisir de vous y retrouver!

Carminda Mac Lorin

Coordonnatrice du Solidarythmé

Université de Montréal/AQOCI

514-831-7090

semainedelasolidarite@gmail.com

Anniversaire Scena Musicale

Alexandre — Mon, 16 Oct 2006 15:11:02 +0000

Scena Musicale
La Scena Musicale célèbre son 10e anniversaire avec un gala bénéfice

POUR DIFFUSION IMMÉDIATE

Montréal, le 12 octobre 2006

Le 21 octobre 2006, certains des plus importants musiciens de la scène montréalaise participeront à un concert gala visant à célébrer le 10e anniversaire de La Scena Musicale. Cet événement unique s’annonce comme l’un des moments forts de la saison musicale de Montréal. En tout, 77 musiciens présenteront 4 heures de musique allant du baroque au jazz, en passant par les répertoires classique, romantique et contemporain, ainsi que l’opéra.

La première moitié de la soirée sera réservée à la musique de chambre : le duo Les Voix humaines interprétera la musique de Sainte-Colombe ; le violoncelliste Denis Brott se joindra au pianiste Wonny Song dans un programme Beethoven ; le pianiste Patrice Laré jouera Liszt ; Paul Merkelo, trompette solo de l’OSM, improvisera en compagnie du pianiste Alexandre Vovan, qui interprétera également Chopin ; la soprano Nathalie Paulin chantera des mélodies françaises de Cécile Chaminade et Pauline Viardot accompagnée du pianiste Michael McMahon ; le Quatuor Molinari interprétera Tan Dun, et Musica Camerata présentera un duo de Piazzolla. Cette première partie se conclura avec un programme jazz de trente minutes durant lequel la pianiste Lorraine Desmarais et son ancienne élève Marianne Trudel joueront en solo et en duo.

Afin de souligner le 250e anniversaire de Mozart, la musique de ce dernier sera à l’honneur durant la seconde partie de la soirée, dédiée à des œuvres pour soliste et orchestre. Le chef Joseph Milo dirigera l’Orchestre symphonique des musiciens du monde de Montréal, un ensemble fondé en 2006 afin de donner aux musiciens immigrants l’opportunité de jouer, dans la Symphonie no 41 et l’ouverture du Mariage de Figaro de Mozart. Le pianiste Ludwig Sémerjian jouera le Rondo pour piano et orchestre en la majeur de Mozart, à la mémoire de son professeur Charles Reiner, alors que la soprano Nathalie Paulin interprétera l’air « Dove sono » du Mariage de Figaro. La violoniste Anne Robert se joindra à l’OMMM dans des pages célèbres de Tchaïkovski, Raff, Kreisler et Brahms, la violoncelliste Velitchka Votcheva interprétera Kol Nidrei de Bruch, et la soirée se conclura avec le finale du Concerto pour piano no 3 de Beethoven interprété par Wonny Song.

Le Gala 10e anniversaire du 21 octobre s’inscrit dans les célébrations du 10e anniversaire de La Scena Musicale et marque le début de sa campagne de financement 2006-2007. Le numéro commémoratif du 10 e anniversaire de La Scena Musicale, paru en octobre 2006, peut-être téléchargé au http://www.scena.org .

Les billets pour le Gala sont en vente au coût de 35 $ (25 $ pour les étudiants). Des billets VIP sont également disponibles à 130 $, incluant un reçu fiscal de 100 $, tirages de prix, buffet et réception. On peut se procurer des billets en communiquant directement avec La Scena Musicale au 514-948-2520, la billetterie McGill au 514-398-5145 ou sur le réseau Admission (les billets VIP sont disponibles uniquement en communiquant avec LSM).

Pour les biographies des musiciens et davantage d’information : http://www.scena.org/pdf-files/sm12-2gala.pdf

Propositions de sujets

Gala 10e anniversaire. Pourquoi les musiciens ont accepté de jouer gratuitement pour aider La Scena Musicale à amasser des fonds?

La Scena Musicale. Le magazine sans but lucratif fait la promotion de la musique classique et du jazz depuis 10 ans.

Entrevue avec Wah Keung Chan, rédacteur fondateur et éditeur. Quelle est la motivation derrière le magazine?

À propos du gala

Dimanche le 21 octobre 2006

Salle Pollack, Université McGill, 555 Sherbrooke O., Montréal

Partie A : 17 h 00 à 19 h 00

Partie B : 20 h 00 à 22 h 15

Billets : 35 $ (25 $ pour les étudiants)

Billets VIP : 130 $, incluant une réception de 19 h à 20 h, un buffet de desserts après le gala B et un reçu fiscal de 100 $.

Info : 514-948-2520 ou info@scena.org

Pour commander des billets: info@scena.org

Musiciens invités

Orchestre symponique des musiciens du monde de Montréal, Joseph Milo, chef
Anne Robert, violon
Suzie LeBlanc, soprano
Nathalie Paulin, soprano
Quatuor Molinari
Lorraine Desmarais, piano (jazz)
Marianne Trudel, piano (jazz)
Ludwig Sémerjian, piano
Wonny Song, piano
Denis Brott, violoncelle
Les Voix humaines, duo baroque
Paul Merkelo, trompette et Alexandre Vovan, piano
Michael McMahon, accompagnateur (piano)

Pour les biographies des musiciens et davantage d’information : http://www.scena.org/pdf-files/sm12-2gala.pdf

Tirages pour les titulaires de billets VIP

Œuvre originale encadrée (valeur de 600 $) de l’artiste Ann McCall

Œuvre originale encadrée (valeur de 550 $) de l’artiste Wah Wing Chan

3 consultations en design d’intérieur (valeur de 180 $), gracieuseté de L’interior Studio

2 romans d’Alain Cavenne signés par l’auteur

Programme détaillé

Partie A, 17 h

Sieur de Sainte-Colombe, Concerts à deux violes esgales, « L’attentif », « Les Couplets »
Les Voix humaines (Susie Napper et Margaret Little, violes de gambe)

Ludwig van Beethoven, Sept Variations sur un thème de Die Zauberflöte de Mozart
Ludwig van Beethoven, Sonate no 3 en la majeur, opus 69 (Adagio cantabile et Allegro vivace)
Denis Brott, violoncelle et Wonny Song, piano

Franz Liszt, Valse Méphisto no 1
Patrice Laré, piano

Jacques Ibert, Impromptu
Improvisation sur Nana de Manuel de Falla
Paul Merkelo, trompette et Alexandre Vovan, piano

Frédéric Chopin, Quatrième Ballade
Alexandre Vovan, piano

Cécile Chaminade, Si j’étais jardinier
Cécile Chaminade, La lune paresseuse
Pauline Viardot, Hai luli
Nathalie Paulin, soprano et Michael McMahon, piano

Tan Dun, Eight Colours for String Quartet
Quatuor Molinari

Astor Piazzolla, Prepárense & Oblivion
Musica Camerata, Luis Grinhauz, violon et Berta Rosenohl, piano

Lorraine Desmarais, piano jazz
Marianne Trudel, piano jazz
Lorraine Desmarais et Marianne Trudel en duo

Partie B, 20 h

Mozart, Ouverture, Mariage de Figaro
Tchaikovsky, Melody
Raff, Cavatina
Anne Robert, violin

Mozart, Rondo pour piano et orchestre en la majeur
Ludwig Sémerjian, piano

Mozart, Symphonie no 41 (Jupiter)

Entracte

Rossini, Overture, Barbier de Séville

Massenet, méditation de Thais (Tatiana Smirnov, violon solo de l’orchestre)

Bruch, Kol Nidrei
Velitchka Votcheva, violoncelle

Mozart, « Dove Sono » (Mariage de Figaro)
Nathalie Paulin, soprano

Kreisler, Liebeslied
Brahms, Danse hongroise no 2 (arr. Gilles Bellemare)
Anne Robert, violon

Beethoven, Concerto pour piano no 3, 3e mouvement
Wonny Song, piano

Orchestre symphonique des musiciens du monde de Montréal
Joseph Milo, chef

programme sujet à changement

pour plus d’information, contacter info@scena.org, 514-948-2520, 514-815-0465

À propos de La Scena Musicale , guide canadien de la musique classique

La Scena Musicale est un magazine mensuel gratuit publié en français et en anglais par La Scène Musicale, un organisme sans but lucratif voué à la promotion de la musique classique. Chaque numéro contient un calendrier des concerts du mois, des critiques, des entrevues, des profils d’artistes et des articles traitant de différents aspects de la scène musicale locale, nationale et internationale.

La version imprimée est distribuée à travers le Canada, avec une emphase particulière dans les régions de Montréal, Québec et Ottawa-Hull. La version électronique est disponible sur l’Internet.

À propos de La Scena Musicale Online (http://www.scena.org)

Publié par La Scène Musicale, un organisme sans but lucratif voué à la promotion de la musique classique, La Scena Musicale Online est un des plus importants sites Internet dédiés à la musique classique. Il propose du contenu original (entrevues, articles, critiques), le Calendrier canadien de la musique classique, ClassicalMusicNews.info (des liens vers des articles parus dans des publications canadiennes et internationales) et Communiqués LSM (communiqués relatifs à la musique classique, de partout au monde). La Scena Musicale Online a été un des premiers sites Web a offrir en ligne l’intégralité du contenu de son magazine imprimé, et ce en formats html et PDF.

Dans son numéro de février 2000, la revue Chamber Music Magazine a choisi La Scena Musicale Online comme troisième meilleur site Web sur la musique au monde. Dans son édition spéciale sur Internet de mai 2000, Le Monde a choisi La Scena Musicale Online comme deuxième meilleur site Web sur la musique classique, lui attribuant 4 étoiles sur 4, un honneur réservé à seulement deux sites. Le magazine français Best on Web (no 8, juillet 2001) a sélectionné La Scena Musicale Online comme l’un des 500 meilleurs sites Web au monde. En décembre 2001, La Scena Musicale Online a été choisi par le London Daily Telegraph comme l’un des meilleurs sites sur la musique.

On peut accéder à La Scena Musicale Online par les noms de domaine scena.org, lascenamusicale.org et ClassicalMusicNews.info.

À propos de La Scène Musicale

La Scène Musicale est un organisme sans but lucratif voué à la promotion de la musique classique. Nos activités comprennent:

* Le magazine La Scena Musicale * Le magazine The Music Scene * La Scena Musicale Online * Le Concours d’articles d’étudiants sur la musique classique * Le programme Sortez votre ado —09e6d0098c4d8565c38517ea330afccb—>

Nationalisms in Montreal / Nationalismes à Montréal (20/10/06)

Alexandre — Sat, 14 Oct 2006 19:52:05 +0000

Communicate | Collaborate | Create – OM1 - Sections

http://artivistic.omweb.org/
http://m-a-i.qc.ca/

// Artivistic + MAI (Montréal, arts interculturels) présentent //

Nationalisme : l’exercice des cultures d’occupation—-
Une discussion autour des nationalismes à Montréal

Le vendredi 20 octobre 2006, à midi
Café du MAI (3680, Jeanne-Mance)

12h00 – Table ronde 1
14h00 – Table ronde 2

avec:

Devora Neumark (modératrice)

Stefan Christoff (Tadamon!)
Lynne Cooper (Le Trunk Collectif)
Sujata Dey (Québec Solidaire)
Ehab Latoyef (Shalom Salaam Montreal)
Afshin Matlabi (artiste)
Leila Pourtavaf (No One Is Illegal – Montreal)
Guy Sioui-Durand (sociologue/commissaire)
Rahul Varma (Teesri Duniya)

+++

Dans le cadre de l’exposition solo Terrorisme, Démocratie, Loisir (présentée au
MAI jusqu’au 28 octobre) de l’artiste irano-canadien Afshin Matlabi, le
collectif montréalais Artivistic et le MAI (Montréal, arts interculturels)
présentent Nationalisme : l’exercice des cultures d’occupation, un événement
composé de deux tables rondes. Ces activités bilingues auront lieu dans
l’atmosphère conviviale du Café du MAI au 3680, rue Jeanne-Mance. Cette
rencontre a pour source d’inspiration le travail d’Afshin Matlabi, qui explore
avec humour et ironie des thématiques comme le rôle des Nations Unies,
l’obsession nord-américaine du loisir et les discours nationalistes.

Animée par l’artiste et activiste Devora Neumark, les deux tables rondes
réuniront divers représentants du milieu artistique, universitaire, activiste
et communautaire de Montréal et de Québec. Les principaux interlocuteurs
seront Ehab Latoyef (Shalom Salaam Montreal), Stefan Cristoff (Tadamon!),
Afshin Matlabi (artiste), Guy Sioui-Durand (sociologue), Rahul Varma (Teesri
Duniya), Lynne Cooper (Le Trunk Collectif), Leila Pourtavaf (Personne n’est
illégal – Montréal) et Sujata Dey (Québec solidaire). Le nationalisme sera
traité sous l’angle de l’occupation dans ses diverses formes – territoriale,
physique ou imaginaire – en tentant de démontrer comment l’appropriation de
l’espace est à la fois source de conflit et d’alliance.

Le public est invité à venir échanger sur ce sujet très présent dans
l’actualité
lors de cette rencontre gratuite.

L’évènement a pour but de rassembler des artistes, théoriciens, et activistes
communautaires locaux afin de réfléchir sur la notion (trop souvent tabou) du
nationalisme dans nos contextes actuels. Prenant en considération les enjeux
spécifiques au contexte montréalais, dont son cadre socio-politique, sa société
pluraliste, son passé/présent coloniale, et dans le cadre des affaires
globales, sous quelles conditions et dans quelles circonstances apparaissent,
développent, s’entrecroisent, et se confrontent différentes formes de
nationalismes? A quelle fin l’humiliation, la fierté, la menace, et les
sentiments multiples d’appartenance de l’individu, à la fois à des communautés
locales et globales, prennent-ils forme dans des expressions collectives et des
manifestations de nationalisme? Comment se négocient les tensions de la
culpabilité, la honte, l’identité, la mémoire, et la géographie? Dans quelles
mesures peut-on dire que le nationalisme est responsable pour les guerres, des
communautés fortes, la patriarchie, la hétéronormalité, et le sexisme? Quelles
sont les nouvelles formes de nationalisme créées par voies de réseaux globaux
d’artistes, d’activistes, et de réfugiés… Il y a-t-il plusieurs formes de
nationalismes? Comment ces complexités sont-elles traitées ou manifestées dans
différentes démarches et pratiques artistiques?

+++

Pour de plus amples informations :

Cléo Myers, Responsable des relations publiques, MAI (514) 982-1812,
comm@m-a-i.qc.ca

Catherine Melançon, Coordonnatrice pour Artivistic (514) 524-9019,
catherine.melancon@umontreal.ca / info.artivistic@gmail.com

http://m-a-i.qc.ca/ | http://artivistic.omweb.org/

http://artivistic.omweb.org/
http://m-a-i.qc.ca/

// Artivistic + MAI (Montreal, arts interculturels) present //

Nationalism: Performing Cultures of Occupation—A Discussion on Nationalisms in Montreal

Friday, October 20, 2006 at 12 noon
MAI Café (3680, Jeanne-Mance)

12 noon – Round Table 1
2 pm – Round Table 2

with:

Devora Neumark (moderator)

Stefan Christoff (Tadamon!)
Lynne Cooper (Le Trunk Collectif)
Sujata Dey (Québec solidaire)
Ehab Latoyef (Shalom Salaam Montreal)
Leila Pourtavaf (No One Is Illegal – Montreal)
Guy Sioui-Durand (sociologist/curator)
Rahul Varma (Teesri Duniya)

+++

Within the framework of the solo exhibition, Terrorism, Democracy, Leisure, by
Iranian-Canadian artist, Afshin Matlabi at the MAI until October 28, the
Montreal-based collective Artivistic and the MAI (Montréal, arts
interculturels)
present Nationalism: Performing Cultures of Occupation, featuring two round
table discussions. These bilingual activities will be held in the informal
atmosphere of the MAI Café, at 3680 Jeanne-Mance. This event builds from
Afshin Matlabi’s work in which he explores, with humour and irony, such
questions as the role of the United Nations, North American leisure-based
society and nationalist discourse.

Moderated by the artist and activist, Devora Neumark, two round table
discussions will bring together representatives from various milieus, including
artistic, academic, activist and community, in Montreal and Quebec City. g
together representatives from various milieus, including artistic, university,
activist and community, in Montreal and Quebec City. The main participants will
be Ehab Latoyef (Shalom Salaam Montreal), Stefan Cristoff (Tadamon!),
Afshin Matlabi (artist), Guy Sioui-Durand (sociologist/curator), Rahul Varma
(Teesri Duniya), Lynne Cooper (Le Trunk Collectif), Leila Pourtavaf (No One is
Illegal – Montréal) and Sujata Dey (Québec solidaire). Nationalism will be
examined through the lens of occupation in all of its forms – territorial,
physical, imaginary – in an attempt to show how the appropriation of space can
be both a source of conflict and alliance.

All are invited to participate in this free event which will allow for dialogue
on this very topical issue.

The event aims to bring together local artists, theorists, and community
activists in order to critically question the (often taboo) notion of
nationalism in our diverse cultural contexts. Taking into consideration
Montreal’s distinct socio-political framework, pluralist society, dual
white-settler colonialist history, and within the present state of global
affairs, under what conditions and circumstances do differing forms of
nationalism unfold, meet, overlap or contest with one another? How are
humiliation, pride, threat, and individuals’ multiple senses of belonging to
both local and transnational communities performed through collective
expressions and manifestations of nationalism? How does one negotiate the
tensions of guilt, shame, identity, memory, geography? How does nationalism
cause wars, strong communities, patriarchy, heteronormality, sexism? What new
forms of nationalism are being created by way of global networks of artists,
activists, refugees… Are there many nationalisms? How do different artistic
practices deal with or manifest these complexities?<<" alt="" border="0" />—5457cb0c4b7ceec077068b606bb5c280—>

Arabic World Festival du Monde Arabe (Montréal, 26/10/06-12/11/06)

Alexandre — Sat, 14 Oct 2006 19:46:28 +0000

Festival du Monde Arabe de Montréal

FESTIVAL DU MONDE ARABE DE MONTREAL
26 OCTOBRE AU 12 NOVEMBRE 2006

C¹est en partenariat avec Radio Canada, TV5, CH, Radio Couleurs Jazz, le
Devoir, Loto Québec, Hydro Québec, et divers instances tant municipales que
gouvernementales que le Festival du Monde Arabe de Montréal offrira sa
septième édition, placée sous le thème

PROPHÈTES REBELLES

parce que la prophétie est le lieu même de notre humanité.
Le verbe des prophètes du FMA sera musique, danse, théâtre, poésie et
réflexion. Les Prophètes rebelles sont ces créateurs qui résistent à
l¹effondrement de l¹humain, qui tentent d¹ajouter de la chaleur et de la vie
à ce monde décomposé et désenchanté. Ils sont ceux et celles qui osent
encore inventer un « nous » pour que la rencontre soit possible.

Tenant compte de l¹importance de l¹apport du Festival du Monde Arabe de
Montréal dans le cadre de cette rentrée automnale, dont vous pourrez trouver
toute la programmation au

www.festivalarabe.com

Future of Music Policy Summit, 2006

Alexandre — Wed, 20 Sep 2006 13:46:43 +0000

FMC | Policy Summit 2006
October 5-7, McGill University, Montreal in conjunction with Pop Montreal<<" alt="" border="0" />—42a2d0823c0636bcae8f870c5b52ff65—>

Job at NYU

Alexandre — Thu, 14 Sep 2006 19:42:32 +0000

The Department of Music: The Department of Music at New York University
seeks to appoint a scholar of exceptional ability and achievement in
original research, publication, and teaching. The position is at the
rank of Assistant Professor and the appointment will commence September
1, 2007, pending budgetary and administrative approval. Preference will
be given to expertise in Ethnomusicology, although a fundamental
requirement of the position will be the ability to work across
disciplines. NYU offers graduate degrees in Composition and Theory,
Ethnomusicology, and Historical Musicology and we are seeking someone
dedicated to working with scholars in all these fields. The position
involves teaching and advising at both the undergraduate and graduate
levels. Applicants should also have a strong interest in the
intellectual and artistic climate of New York City and be willing to
take advantage of the interdisciplinary possibilities at New York
University.

Please send a cover letter, detailed CV, and three letters of
recommendation with the application to:

NYU Music Search Committee
c/o Michael Beckerman, Chair
Department of Music
New York University
24 Waverly Place, Room 268
New York, NY 10003

(212-998-8300)

Review of applications will begin on October 15, 2006. For more
information on the Department, please consult our website at
http://nyu.edu/gsas/dept/music. NYU is an Equal Opportunity/Affirmative
Action Employer<<" alt="" border="0" />—5e6f3f0ee73deb4f44c70be0f1f357db—>

Job at Laval

Alexandre — Thu, 14 Sep 2006 18:55:42 +0000

Le Département d’anthropologie de l’Université Laval invite des candidatures
pour combler un poste permanent de professeur-chercheur dans le champ de
l’anthropologie de l’esthétique et des productions culturelles. L’entrée en
fonction sera le 1er janvier 2007 ou le 1er juin 2007. Le/la candidat(e)
devra couvrir éventuellement les domaines de recherche suivants: l’étude de
la musique, de la danse, du théâtre, des arts visuels et/ou l’étude des
médias et des représentations y compris la cyberculture dans une perspective
anthropologique. Les approches théoriques et méthodologiques peuvent être
variées, mais un ancrage dans un terrain approfondi est exigé de même que la
capacité d’aborder les univers de sens qui sous-tendent les rapports sociaux et
les configurations culturelles. Priorité sera accordée aux candidates et aux
candidats ayant une expérience de terrain en Afrique, en Asie, au Moyen-Orient
ou en Europe.

Le CV et une lettre de présentation devront être envoyés avant le 16 octobre
2006 à 17H:00 à l’adresse suivante: raymond.masse@ant.ulaval.ca

Pour plus de détails, consulter le site web: www.ant.ulaval.ca

Job at Duke

Alexandre — Thu, 14 Sep 2006 18:54:50 +0000

Duke University invites applications for an open-rank (tenured or
tenure-track) position, beginning Fall 2007, for a scholar of music
located in any Humanities or Social Science department, interested in
participating in the development of an interdisciplinary Center for
Ethnomusicology. Rank will be commensurate with experience and
departmental affiliation with disciplinary training. Candidates are
sought who have experience with musical performance and are committed
to recent theoretical debates, interdisciplinarity, and diversity.
Specializations should fall within the arena of music in the public
domain, intersecting with current faculty interests in improvisation,
critical ethnography, music production, and expressive culture in
relation to power and conflict. The successful applicant must have a
Ph.D. at the time of appointment; demonstrate excellence in teaching;
and be an innovative and productive researcher. Applications received
by November 1 are guaranteed consideration. For further information,
contact kimberly.soliman@duke.edu. Send cover letter, curriculum vitae,
and three letters of reference to: Chair, Ethnomusicology Search
Committee, John Hope Franklin Center for International and
Interdisciplinary Studies, Box 90402, Duke University, Durham, NC
27708-0402. Applications from women and minority groups are
particularly encouraged. Duke University is an
equal-opportunity/affirmative-action Employer.

Job at Brown

Alexandre — Thu, 14 Sep 2006 18:50:11 +0000

ASSISTANT PROFESSOR OF MUSIC
Department of Music
Brown University

The Department of Music at Brown University invites applications for
the position of Assistant Professor in Ethnomusicology, to begin July
1, 2007. We seek a candidate with broad interdisciplinary interests
and evidence of exceptional scholarly promise. Experience in
undergraduate teaching is highly desirable. The successful candidate
will be expected to teach undergraduate and graduate courses in
specific area(s) of the world’s music, as well as more general
theoretical or topic-based courses. Candidates who can also lead a
performance ensemble will be viewed favorably. Applicants should
have received the Ph.D. by June 2007.

Brown University is a leading Ivy League institution with a
distinctive academic program and a tradition of innovative and
rigorous multidisciplinary study. A commitment to diversity and
intellectual freedom has remained a hallmark of the University since
its establishment. The Department of Music—with 14 full-time
faculty, 30 teaching associates, and a state-of-the-art music
library—supports undergraduate and graduate courses in the areas of
history, theory, ethnomusicology, composition, performance, computer
music and multimedia. Under the leadership of President Ruth Simmons,
the University’s research profile has been growing, and Music has
been changing along with it. Since 2004 the Department has added four
new faculty members to its roster, and, in 2005, a new Ph.D. in
Electronic Music and Multimedia joined the long-standing graduate
degree program in Ethnomusicology. We are now seeking, with the
current position, an energetic and imaginative teacher and scholar
who will reinforce our Ethnomusicology program and enrich the
intellectual and musical life of the Department generally.

Candidates should send a letter of application, a curriculum vitae,
and three letters of recommendation to:

Ethnomusicology Search Committee Department of Music Brown University Box 1924, 1 Young Orchard Avenue Providence, RI 02912

Applications received by October 12 will receive full consideration,
but the search will remain open until the position is closed or
filled. Brown University is an EEO/AA employer. Minorities and women
are encouraged to apply.

Digital Rights Management and Grassroots

Alexandre — Fri, 08 Sep 2006 01:41:08 +0000

October 3rd Declared “Day Against DRM” | DefectiveByDesign.org
The so-called “music industry” is a big part of the support behind Digital Rights Management. Such a campaign targets the more corporate side of the so-called “music industry” and the backlash against DRM might help some people understand that there is more to online music than “consuming” audio files.
One can hope.
This campaign has a petition to get Bono to join them. Interesting choice of target.

Free Online Journals (SAGE)

Alexandre — Thu, 07 Sep 2006 17:29:21 +0000

Free Online Access to ALL SAGE Journals!

If your institution subscribes to one or more SAGE journals, free online access to ALL SAGE journals is available for you, your colleagues, and your students until October 18, 2006! No registration is required, so start accessing articles in your discipline on SAGE Journals Online today! Search leading SAGE journals covering a wide range of subjects in Business, Humanities, Social Sciences, and Science, Technology, and Medicine.

If your institution does not subscribe to any SAGE journals, click here to register for free online access to the trial today!

Learn more about the enhanced SAGE Journals Online platform coming soon!

New look and feel

Improved navigation

Enhanced advanced search options

Thanks, Marsha, for the heads-up—7a7bd624ff78ec154515f2dc52c5375c—>

Popular Music Conference in Boston

Alexandre — Tue, 05 Sep 2006 01:19:27 +0000

IASPM-US Homepage : 2007 Conference Proposal Submission

IASPM-US 2007 Logo
[Conference Home] [Registration] [Program] [Local Info] [Ridesharing]

IASPM Canada and IASPM-US 2007 Joint Conference:
Boundaries, Blockades and Bridges

Northeastern University
April 26-29, 2007
Boston, Massachusetts

Submission deadline: 11:59 PST November 1, 2006.<<" alt="" border="0" />—a9deab1a1bc7025e4e4e0ab56a8ba2f9—>

Septième édition du Séminaire du CRI: Problématiques de l’intermédialité

Alexandre — Mon, 04 Sep 2006 20:45:02 +0000

CRI - Cdoc – Fiche Activités

SÉMINAIRE PLU-6042 – Automne 2006

Septième édition du Séminaire du CRI :
PROBLÉMATIQUES DE L’INTERMÉDIALITÉ.

INTERMÉDIALITÉ ET INTERSUBJECTIVITÉ

Sous la direction de Bob W. White
Professeur au Département d’anthropologie de l’Université de Montréal

PRÉSENTATION

L’histoire de la pensée moderne est en grande partie l’histoire de l’émergence du sujet moderne, mais comment rendre compte de ce phénomène sans avoir recours à une véritable théorie de la rencontre ?
L’intersubjectivité — c’est-à-dire l’ensemble de gestes, paroles et préjugés qui conditionnent la rencontre avec l’autre — n’a pas un domicile disciplinaire fixe, mais plusieurs disciplines possèdent des modèles intéressants pour réfléchir ce phénomène (philosophie, études littéraires, anthropologie, études cinématographiques, psychologie).
Pendant que certains penseurs donnent un statut ontologique à l’intersubjectivité, d’autres le prennent comme feuille de route méthodologique ou morale. Dans le contexte d’une réflexion sur l’intermédialité, l’étude de l’intersubjectivité nous permet de comprendre non seulement l’interaction entre les êtres humains à travers différentes sortes de produits culturels (livres, films, disques, peintures, expositions), mais aussi l’entre-deux qui se crée dans plusieurs sortes de dispositifs médiatiques (cinéma, télévision, radio, internet, musée). Ce séminaire propose une analyse des différentes théories et situations de l’intersubjectivité et vise à
explorer l’intersubjectivité en tant que projet esthétique comme en tant que projet éthique.

CONFERENCIERS INVITES

Distance temporelle, distance culturelle, et l’objet d’art?
Walter Moser (Chaire de recherche du Canada, Université d’Ottawa)

Réponsivité et dialogisme chez Bakhtin : Le civisme raté du «Bus Uncle »
Greg Nielsen (Department of Sociology and Anthropology, Concordia University)

L’herméneutique entre ontologie et langage: le cinéma d’animation de J.M. Kibushi Ndjate Wooto
Lomomba Emongo (Philosophie, UQAM)

Installations interactives : La rencontre de l’autre
Luc Courchesne (École de design industriel, Université de Montréal)

La médiation par l’objet: l’exemple du musée
Élise Dubuc (affiliation, Université de Montréal)

L’entre-deux au cinéma : triangulation entre personnage, réalisateur et spectateur
Frédéric Sabouraud (cineaste et critique culturel)

Petite histoire et expérience d’un collectif : Medvedkine & Cie.
Marion Froger (Université de Montréal) et Viva Paci (Université de Montréal)

Intersubjectivité et sociabilité sur le web
Madeleine Pastinelli (Département de sociologie, Université Laval)

HORAIRE ET SALLE

Le séminaire se tiendra tous les mardis, de 9h00 à midi à compter du 5 septembre jusqu’au 5 décembre 2006 dans la salle Z-345 du Pavillon Claire-McNicoll de l’Université de Montréal, au 2900, Chemin de la tour.

INSCRIPTIONS

Ce séminaire vise plus spécifiquement les étudiants d’Anthropologie, d’Études cinématographiques, d’Histoire de l’art, de Littérature comparée, d’Études littéraires, de Sociologie, de Psychologie et de Philosophie.

Prière de vous inscrire auprès du responsable de la gestion des dossiers étudiants des 2e et 3e cycles de votre département.

Pour tout renseignement, merci de bien vouloir contacter :
M. Bob W. White à l’adresse suivante : bob.white@umontreal.ca
ou
Anne Lardeux : anne.lardeux@umontreal.ca

Page Web du séminaire:
http://cri.histart.umontreal.ca/cri/fr/cdoc/FicheActivites.asp?ActiviteID=1688
———————————————————————————————————————————————————————En parallèle de ce séminaire, le Centre de recherche propose une cycle de projections de films.
Ces séances sont ouvertes au public.

« Cycle L’entre d’eux »
Programmation proposée par Le Centre de recherche sur intermédialité
avec la collaboration de la Cinémathèque québécoise

Mercredi 20 septembre
18h30 Fernand-Seguin

Bon voyage
Réal. : Kapwani Kiwanga [Écosse – France, 2004, 3 min., s.-t. a.]
Une exploration visuelle du travail, Bon Voyage dresse le portrait
d’une femme sur son lieu de travail : les toilettes de la gare
Montparnasse à Paris.

Suivi de

Manmuswak
Réal. : Olive Martin et Patrick Bernier [France, 2005, 16 min.]
La journée ordinaire de K., homme d’origine africaine vivante en
France et employé comme vigile, à travers ses métamorphoses
successives de surveillé en surveillant.

Suivi de

Eux et moi
Réal. : Stéphane Breton [France, 2001, 62 min.]
Depuis quelques années, un ethnologue retourne régulièrement dans un
petit village de Nouvelle-Guinée. Il parle la langue de ses habitants,
partage leur quotidien. Tout en filmant les individus qui lui sont le
plus proche, le réalisateur livre ses propres questionnements et les
doutes incessants qu’il subit. Fait relativement rare pour être
apprécié, l’ethnologue devient ainsi objet d’étude lui-même au travers
d’une interaction qui n’est jamais vécue comme pleinement
satisfaisante ou naturelle avec le peuple.

Mercredi 27 septembre
18h30 Fernand-Seguin

The Good Woman of Bangkok
Réal. : Dennis O’Rourke [Australie, 1991, 82 min.]
Comme la pièce de Brecht dont il reprend à son compte le titre, le
film s’organise autour de la figure centrale d’une prostituée pour
examiner la possibilité de vivre une bonne vie dans un monde
imparfait. O’Rourke examine la complexité de sa position (client,
amoureux et cinéaste) et explore les conjonctions entre sexe et argent
dans cette zone de contact entre Orient et Occident qu’est Bangkok.

Mercredi 4 octobre
18h30 Claude-Jutra

Le goût de la farine
Réal. : Pierre Perrault [Québec, 1977, 108 min.]
Trois blancs partent à la découverte de Saint-Augustin et de la
Romaine, dans la région de la Côte-Nord, au Québec.

Mercredi 22 novembre
18h30 Fernand-Seguin

Figure-toi. Auto-portrait(s) d’une classe de 3PP
Réal. : Frédéric Sabouraud, [France, 2004, 70 min.]
Animateur d’un atelier vidéo dans un lycée professionnel parisien,
Frédéric Sabouraud s’est mis à filmer pour son propre compte un groupe
d’élèves engagé dans des exercices d’autoportrait. Documentaire sur
une activité pédagogique impliquant des adolescents immigrés aux
prises avec le système scolaire et les problématiques de
l’intégration, le film poursuit aussi, en voix off, une méditation sur
l’exil.

Sans faire d’histoire
Réal. : Frédéric Sabouraud, [France, 2004, 55 min.]
Ce film est une fiction qui raconte les aventures d’un homme à la
recherche d’une introuvable histoire.

Mercredi 29 novembre
18h00 Claude-Jutra

Ice
Réal. Robert Kramer [États-Unis, 1970, 121 min.]
Le film suit un groupe fictif qui mène une offensive nationale
destinée à provoquer un soulèvement général de la population (…).
C’est un récit en forme d’avertissement, un film de science-fiction
qui projette nos peurs et notre paranoïa de la violence et de la
révolution dans l’avenir ‘pour voir ce qui pourrait se passer’. À
l’époque il fonctionnait comme un psychodrame obligeant le spectateur
à se positionner. (Paul Mac Isaac, 1998).

20h30 Claude-Jutra

Point de départ
Réal. Robert Kramer [France, 1993, 90 min., v.o.
française/vietnamienne s.-t.f.]
En 1969, Robert Kramer s’était rendu au Vietnam avec une délégation
d’Américains opposés à la guerre. Il en était revenu avec People’s
War, document militant d’un intellectuel engagé dans le combat
anti-impérialiste. 23 ans plus tard, il retourne à Hanoï, caméra sur
l’épaule, avide de voir, d’écouter, de comprendre le Vietnam des
années 90. De rencontre en rencontre, Robert Kramer ne cesse de
chercher ses marques et d’en changer continuellement, fasciné par le
quotidien, les visages, les gestes, les lieux qu’il capte d’une
manière sidérante, hors de tout cadre établi. Véritable partition
visuelle, le film mêle sans cesse passé et présent, explore les
mémoires, évoque les espoirs et les doutes d’un pays en pleine
mutation.

Mercredi 06 décembre
18h30 Fernand-Seguin

Berlin 10/90
Réal. Robert Kramer [France, 1991, 63 min.]
La commande d’Arte exigeait du cinéaste un plan-séquence d’une heure,
contrainte nouvelle dans le cinéma puisque les caméras pellicule ne
permettaient pas de dépasser le quart d’heure. Le dispositif imaginé
pour venir à bout du pari est de découper l’espace et le temps en deux
« scènes » reliées l’une à l’autre par des mouvements latéraux : (…)
Kramer assis sur une chaise et un poste de télévision. (Jean-Louis
Comolli, 2002).<<" alt="" border="0" />—97c2f2e321a756c99a2e7d453b226203—><<" alt="" border="0" />—28e213d9422ed309570e604efd9d6bc7—>

Congrès des musiques dans le monde de l’islam | Conference on Music in the World of Islam

Alexandre — Mon, 04 Sep 2006 20:39:12 +0000

Congrès des musiques dans le monde de l’islam | Conference on Music in the World of Islam

Appel à communications

LES MUSIQUES DANS LE MONDE DE L’ISLAM

Un congrès international
à Assilah (Maroc) du 3 au 9 août 2007 (attention, léger changement de dates)
organisé par la Fondation du Forum d’Assilah et la Maison des Cultures du
Monde

Date limite de soumission : 15 octobre 2006

Call For Papers

Conference on Music in the World of Islam

An international conference in Assilah (Morocco), August 3-9, 2007 (dates changed from previous announcements) organized by Fondation du Forum d’Assilah and Maison des Cultures du
Monde.

Submit abstracts by : October 15, 2006

Back To School: RIAA Still Not Learning

Alexandre — Fri, 01 Sep 2006 02:28:13 +0000

Boing Boing: RIAA propaganda movie for students in desperate need of remix
p2pnet.net – the original daily p2p and digital media news site
RIAA copyright education contradictory, critics say | CNET News.com

Wonder what Bronfman has to say about this…<<" alt="" border="0" />—6d502746ab48791678da7cdd428eac58—>

Waived JSTOR Fees for African Institutions

Alexandre — Thu, 13 Jul 2006 18:18:54 +0000

JSTOR: Open Africa Program

As part of JSTOR’s mission to create an archive of scholarly literature and extend access to the archive as broadly as possible, we are proud to announce that JSTOR has adopted a plan to waive participation fees for any academic or not-for-profit institution on the continent of Africa. This plan affects new participants, as well as institutions that currently participate in JSTOR.

JSTOR is one of the most important electronic repositories of academic articles. It covers a wide range of journals from most academic disciplines and from a long period of time. While Internet access itself is often costly in Africa, this could greatly benefit the collaboration between African scholars and their colleagues outside of Africa.<<" alt="" border="0" />—ca683579eef4251bb63f423e9db9501b—>

Barenaked Ladies: Preaching By Example

Alexandre — Tue, 13 Jun 2006 01:56:26 +0000

As explained earlier, Steven Page and the rest of Canadian band Barenaked Ladies are part of the Canadian Music Creators Coalition which takes a stance in favour of musicians and against the Canadian Recording Industry Association. That band now distributes, free of charge or royalties, MP3 versions of the four mix tracks to their newest single on their MySpace page.
(From Frank Boosman through Cory Doctorow on BoingBoing)

Atelier Popolo Workshop

Alexandre — Tue, 06 Jun 2006 13:52:05 +0000

casa del popolo

Alhan el-Aalam Music and Culture Series Workshop
Fri, June 16, 1:00 PM
Sala Rossa
4848 St. Laurent
Free!

As part of the programming for its 2006 edition, the organizers of Suoni Per Il Popolo are pleased to announce “Middle Eastern Musical Expression in an Age of Fear and Misunderstanding: A Workshop”. This workshop, which will include the participation of a number of artists from throughout the Middle East and its various diasporas, is organized in conjunction with the “Alhan El-Aalam” series, whose goal is to the celebrate the influence of Middle Eastern music on the North American avant garde and acknowledge the presence of various Middle Eastern diasporas in Canadian public life. The facilitators for the workshop will present a series of listening activities and discussion that touch on some or all of the following topics:

-How does music, not only lyrics but also sound, convey meaning about cultural, ethnic, and religious difference?
-How can music be both a bridge and an obstacle to combating negative stereotypes about people and politics in the Middle East?
-Can improvisation and/or listening be mobilized as metaphors of reconciliation in current and recent conflicts in the Middle East?
-What is or what should be the role that artists play in public debates about political and economic violence?
-What does it mean to talk about the Middle East as a political or cultural entity?

This workshop will include: Hassan El-Hadi, Yassin Alsalman (Narci) and members of A Silver Mt. Zion and The Black Ox Orchestra
Workshop facilitators:
Eric Lewis (Department of Philosophy, McGill University)
Bob W. White (Department of Anthropology, Université de Montréal)

Come join us for an afternoon of discussion, music and debate.

NETTIME_NORTH_AMERICA / NETTIME_AMERIQUE_DU_NORD 2006 30 MAI MONTREAL … !!!!!!

Alexandre — Sun, 28 May 2006 20:23:34 +0000

NETTIME_NORTH_AMERICA / NETTIME_AMERIQUE_DU_NORD 2006 30 MAI MONTREAL …

[ svp distribuer / please circulate widely ]

=================

MUTEK & UPGRADE MONTREAL PRÉSENTENT:

+++++++++++++++++++++

NETTIME_NORTH_AMERICA_GATHERING

NETTIME_AMERIQUE_DU_NORD

CRITICAL PRACTICE RESUSCITATION (CPR)

contenu libre / tactical media / open source hacktivism / medias hackers / no borders / sans frontières VJs / DJs / net.art / net-performance grassroots strategies / pensée rhizomatique techno-nomadisme / NETTIME.ORG!

++++++++++++++++++

mardi 30 MAI 2006 tuesday

=================

@ SAT, 1195 St. Laurent
10h00 – 24h00

GRATUIT / FREE

MONTREAL, CANADA

================

[TOUTES LES INFOS / ALL INFORMATION

HORAIRE / SCHEDULE ETC. [[[[[ http://theupgrade.sat.qc.ca <—- ]

avec (international) participants:

Ted Byfield / David Garcia / Stephen Kovats Ken Werbin / Abe Burmeister / NAW & VJ Nokami John Sobol / Johnny Ranger / Fishead / Lucille Calmel JoCool / M.I.L.F. / Nina Czegledy / beewoo Kirsty Robertson / Gita Hashemi / Kevin Yuen Kit Lo Michael Lenczner / Aaron Lakoff / Omar Bickell Jaggi Singh / Helen Hudson / Miriam Verburg Koumbit.org / Ile Sans Fil / CKUT / Studio XX ACT-MTL / No One is Illegal-MTL / SAB-SSF V2 / Next Five Minutes ..

un jour de débats publics, présentations et performances *

a day of public discussion, presentation & performance *

partenaires / partners:

Mutek.ca / Turbulence.org / Rhizome.org / SAT CKUT 90.3 FM / esse / Parachute / V2 Upgrade International / Nettime.org

++++++++++++++++++++

[english below]

Le mardi, 30 mai 2006, Upgrade Montréal sera l’hôte de la première
rencontre nord-américaine de la liste de diffusion internationale
.

La Rencontre inaugura aussi l’édition 2006 du festival des arts
numériques de Mutek.

Nettime.org est depuis longtemps le point focal du indymedia mondial,
du net-art, des médias tactiques et des arts technologiques. Depuis
1994, sa liste de diffusion, ses discussions enligne et hors ligne, ses
publications et ses rencontres ont galvanisé une quantité de réseaux
transnationaux de même que leurs praticiens, développant ainsi une
expression de cette culture sous le nom de “net.criticism.” En 2006,
Nettime célèbre son 11e anniversaire, fort d’une décennie de
publications, d’interventions et de débats. _Cela étant dit, quel est
le rôle continu et l’impact de Nettime de nos jours_?

Étant un noeud d’Upgrade International, un réseau grassroots d’art
technologique en expansion, la Rencontre posera une série de questions
à l’égard du futur de Nettime: quels en sont les nouveaux participants,
et quelles sont les nouvelles directions prises par les médias
tactiques?

Membres du public, artistes, théoriciens, auteurs, codeurs, et curieux
de tous genres sont les bienvenu(e)s à cette série de présentations et
de panels qui seront suivis d’une soirée de musique et de performance
dédiées à Nettime, ses membres, ses oeuvres, ses passés et ses futurs.
Des membres internationaux de Nettime seront de la partie, ainsi que
des modérateurs de liste. Nettime est une liste ouverte et cet
événement est ouvert au public!

Horaire / infos:
http://theupgrade.sat.qc.ca/cpr

*traduction simultanée chuchotée vers le français disponible sur place.

[english]

On Tuesday, May 30th 2006 the Upgrade Montreal will bring together the
first North American gathering of the global mailing list, .

The Gathering will also launch the 2006 edition of the Mutek festival
of digital culture.

Nettime.org has long been the focal point of global indymedia, net-art,
tactical media and the technology arts. Since 1994 its mailing lists,
online and offline discussions, publications and gatherings have
galvanized a flurry of global networks and their practitioners,
developing an _expression of Net culture known as “net.criticism.” In
2006, Nettime celebrates its 11th birthday against the backdrop of over
a decade of publications, interventions and debates. _But what is the
continuing role and impact of Nettime today_?

As a node in the expanding, grassroots technology arts network Upgrade
International, this Gathering poses a series of questions to the future
of Nettime: _who are the new practitioners & what are the new
directions in tactical media_?

Members of the public, artists, theorists, writers, codemonkeys and the
curious are welcome to attend a series of talks and panels followed by
an evening of music and performance devoted to Nettime, its members, it
works, its pasts and its futures. International members of Nettime will
be in attendance including list moderators. Nettime is an open list and
this event is open to all of the public!

Schedule / info:
http://theupgrade.sat.qc.ca/cpr

===

[upgrade]

L’Upgrade est une organisation autonome, internationale et rhizomatique
de rendez-vous mensuels pour la culture numérique et les arts
technologiques. Upgrade Montréal bénéficie du soutien généreux de la
Société des arts technologiques [SAT], ainsi que de ses réseaux formant
Upgrade International, des divers partenaires avec lesquels il
collabore, des artistes faisant don de leur temps, et de l’énergie
bénévole de son triumvirate organisateur.

http://theupgrade.sat.qc.ca | http://www.theupgrade.net

The Upgrade is an autonomous, international and grassroots organisation
of monthly gatherings for digital culture and the technology arts.
Upgrade Montreal is generously supported by The Society for Arts and
Technology (SAT), through the networks of the Upgrade International,
the various partners we work with, the artists who donate their time
and the personal energies of its organiser triumvirate.

——bisous from the triumvirate:

tobias c. van Veen Sophie Le-Phat Ho Anik Fournier

______________________________________________________
Lèche-vitrine ou lèche-écran ?
magasinage.yahoo.ca

This listserve is intended for members of Critical World and other people interested in thinking about and making world music. Please remember that if you reply automatically to this email your response will be sent to everyone on the critical world listserve. If you have any questions please send an email to info@criticalworld.net.
Think critical: www.criticalworld.net

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QueCon Blues

Alexandre — Fri, 19 May 2006 18:51:30 +0000

In a column on the Commercial Radio Review by the Canadian Radio-Television and Telecommunications Commission (CRTC), Michael Geist asks:

Why is French music from Quebec almost entirely absent from most Canadian online music services?

(See comments on Geist’s blog-like homepage.)

It’d be interesting to determine the effects of Canadian Content rules (“CanCon”) on the state of Quebec’s musics. It’s quite possible that CanCon has been one of the reasons behind the vitality of Francophone music in Quebec, especially when considering airplay on Anglophone radio stations. Yet, it seems to me that the current state of the “music industry” in Quebec is much less dependent on CanCon than it might have been in the past. This is not a full-fledged analysis on my part and I might be completely off-base. But this preliminary hypothesis is based on a few observations as a French-speaking Quebecker, a «Canadien errant» (an itinerant French-Canadian), and a fan of Francophone musics. My emphasis here is on «chanson», the type of music done by «auteurs compositeurs interprètes» (“singers-songwriters”). In terms of sales, it’s a relatively important market but it’s mostly significant as part of Québécois identity.
Through a significant period of Quebec’s recent history, there was a perception that musicians, especially singers, had to succeed in Paris to be recognized in Quebec. France was, and still remains to some extent, the main reference for Quebec’s “cultural institutions” and there was a sense that Quebec culture was dependent on French recognition. Many actors in Quebec’s music scenes looked up to France as a significant source of prestige. Obviously, Quebec artists were also influenced by British and American cultures. But pride in “our artists” was most often triggered by the accolades they would receive in France.
Quebec’s singers are now much less dependent on France. For instance, Daniel Bélanger, Ariane Moffatt, and other musicians on the Audiogram independent label have achieved significant success in Quebec before ever performing in France. In fact, a few French artists even achieve recognition in Quebec before they do so in France, partly because of large musicals like Plamondon and Cocciante’s adaptation of Notre-Dame de Paris. Some could say that Quebec culture is now much more inward-looking and insular than it ever was. The effect is a relative autonomy in the world of “cultural industries” (arts and entertainment, media, etc.).
Which brings another point, often bemoaned by many Quebeckers but clearly central to Quebec’s current situation: media convergence. In Quebec, “convergence” is often used as a buzzword to designate (and often decry) the practises of large corporations like Quebecor which own several media outlets and use this type of integration to cross-promote the people with whom they sign contract (or, as some put it, “to plug the artists they own”). Quebecor itself, seen as a giant, argues that it is in fact much smaller and more benevolent than the real threat of international media conglomerates (typically coming from the United States). Whatever the case may be, this discourse plays on cultural identity. No matter how evil or monopolistic it may be, Quebecor is still a Quebec institution (it says so in its name). And the contents they push are identified as part of Quebec culture, whether they’re original Quebec content or are adaptated from content which has worked in France and the United States.
By to the CRTC and content rules. Quebec content (QueCon) is covered in part by CanCon, at least through language-specific rules (Acadian and Franco-Ontarian musics are different though connected stories). Cultural protectionism does titillate cultural identity. Québécois don’t typically think of Canada’s federal agencies like the CRTC as defenders of Quebec’s distinct culture. In fact, some Québécois critics see the CRTC almost as a threat to Quebec culture, perhaps even more so than anything coming from the United States. This perception might be completely inaccurate but it does inform the attitudes of many Québécois on culture and media.
In such a context, how important is it for the CRTC to “protect” Quebec content?<<" alt="" border="0" />—0e1e868329cb81e3a22a710f726d685e—>

Music: Not a Commodity

Alexandre — Mon, 08 May 2006 19:31:10 +0000

Steven Page, of Barenaked Ladies, on record labels:

Steven makes the case that record labels still need to learn that music is not a commodity, and marketing it in that way alienates fans who view it in an almost spiritual sense. Music is a touchstone in our lives – it’s the soundtrack of our past, tied directly to our emotions and memories. The impression of fans is that the recording industry wants to control what most people consider to be something very personal.

Page is part of the Canadian Music Creators Coalition which has a simple message based on three principles:

Suing Our Fans is Destructive and Hypocritical

Digital Locks are Risky and Counterproductive

Cultural Policy Should Support Actual Canadian Artists

Members of that coalition include such disparate musicians as Chantal Kreviazuk, Sam Roberts, Avril Lavigne, and Sarah McLachlan. While this coalition’s meant as a movement for Canadian artists, its message goes much further than Canadian exceptionalism.
Material available on the site and press coverage of the movement is surprisingly insightful and clear. While they may oversimplify some issues, their voice is loud and clear.

Alternate Distribution

Alexandre — Mon, 24 Apr 2006 23:42:42 +0000

An interesting discussion on copyright in thelatest episode (April 23, 2006 TWiT 51: Digg This) of the This Week in Tech podcast. Nothing really new, apart from the proposed “DMCA II” legislation. But some of the comments by TWiT participants were quite insightful.
Somewhat similarly, a recent episode (04/21/06 – Tom is lazy) of the Buzz Out Loud podcast had some things to say about the changing landscape of music distribution as ticket prices for mainstream acts are skyrocketing.
Among interesting commonalities, both groups talk about new distribution modes in a context in which the RIAA and other “Old Media” organizations are trying to maintain a stronghold on distribution channels.

We do live in interesting times.

Nouvelles d’Amsterdam

Yara — Fri, 17 Mar 2006 01:16:21 +0000

Chers tous,

J’ai jusqu’à présent évité d’envoyer ou poster des photos identifiant les
compositeurs, par simple précaution, bien qu’ils m’aient donné leur
consentement, mais après avoir reconfirmé de nouveau avec eux leur accord
de poster des photos plus explicites et identifiables, je peux enfin vous
envoyer des photos plus intéressantes.

Je vous envoie donc une photo du Muziekgebouw de loin et une des quatre
compositeurs dans un restaurant indien où nous avons passé un bon moment à
discuter de musique et identité. J’ai pu aujourd’hui organisé un
calendrier d’entrevues individuels avec chacun des compositeurs. Pour
aller au delà du discours SUR la musique et pour parler de discours
musical comme tel, j’ai demandé aux compositeurs d’apporter leurs
brouillons et partitions, et si possible des enregistrements à partir de
leurs logiciels de notation de leurs créations et nous allons faire
l’entrevue en prennant ces documents comme point de référence. J’ai pu le
faire aujourd’hui avec Ezequiel, le compositeur argentin, et vous ne
pouvez imaginer la richesse de la discussion. Il m’a beaucoup appris sur
le processus de création musicale et surtout sur sa façon d’approcher une
nouvelle pièce et de la construire.

Dans une tradition musicale très dépendante de l’écriture, j’ai compris
que la partition était incontournable et qu,il fallait l’inclure comme
“informateur” dans l’entretien ethnomusicologique. Ce qui rend la
conversation encore plus intéressante, c’est la présence du NEM, dont les
répétitions des créations tous les jours permet aussi d’examiner des
questions d’interprétation et de performance.

Je n’entrerai pas dans les détails des discussions (ce sera pour la
thèse!) mais je vous laisse au moins avec quelques photos. (une photo avec
la compositrice allemande, Karola, discutant de sa pièce avec Lorraine
Vaillancourt durant une répétition, une de Geof, le compositeur canadien
écoutant sa pièce sur scène durant une répétition et une de Marco, le
compositeur serbe, durant un master-class d’analyse de son oeuvre, et une
de Ezequiel, avec des brouillons de sa partitions suite à notre entretien
(Je voulais le photographier lisant la partition, mais il était trop
conscient de la caméra. J’ai eu droit à un magnifique sourire).

À bientôt!

Yara

<<" alt="" border="0" />—1e3104e1343b999dc21ddfa8ff53ceea—>

first day

Yara — Mon, 13 Mar 2006 15:26:25 +0000

Just got back from my first day at the Forum. As first days go, I couldn’t have asked for a better experience. Having ethnographed the 2004 edition of the Forum, most of the musicians recognized me and couldn’t believe that I had actually followed them all the way from Montreal just to hear them practice! That was a big ice-breaker with the musicians being clearly appreciative of the you enter. Behind the bars are lights that are designed to change the whole mood of the hall, which is an indication that visuality has finally broken through the glass cieling of pure sound ideology. Ah yeah, and the whole building is set on the edge of a wide port. The exterior is all glass which gives the impression that the water is IN the building.

As I talked to the musicians, I realized that they were really impressed with the place, it seemed that they were in their fairytale music hall, and couldn’t stop raving about the acoustics.

As for the composers, I had a nice bite with them over lunch and talked about different ideologies in music conservatories, and between the schools of electroacoustic music and instrumental music. Didn’t record … I decided to keep the “technology” out of the way until I establish a real rapport. All though I did record over three hours of repetitions with the ipod discreetly placed under the conductor in order to hear his comments on the piece. He seemd to be very comfortable with it.

So over all it was a pretty successful and impressive day. Just got back to catch up on some much needed sleep and make some phone calls … until I realized my low budget hotel doesn’t have a phone line in my room. Oh well! It was free wireless internet so who needs phones?

BTW Thanks Pascal for the links to the NEM!

Here is the link to the Muziekgebouw where the event is taking place and I’ll be uploading some pics right away:
http://www.muziekgebouw.nl/uk/gebouw_detail.asp?id=3

Yara

I’m in Amsterdam!

Yara — Mon, 13 Mar 2006 08:16:01 +0000

Ok, So I made to my charming budget hotel in the middle of Amsterdam after taking the train and then the Tramway, dragging my baggage behind me. It used to be a monastère which gives the building some real historic charm. It’s a perfect low budget hotel, basic but friendly, and very homely, with cool pierced nose owners that were nice enough to tell me where to get cheap and good lunches, and buy hemp clothes.

I’m sure I’ve earned a couple of bloody tourist looks here and there, especially after I dragged my bag right into the tiny tram carts, but I have to say, the atmosphere of the city is wonderful. It’s not the city of legal prostitution and legal drugs for nothing. It is also Rembrandt’s 400th anniversary so wherever you go you see Rembrandt staring at you with his Renaissance clair-obscure glare. I bought a three day ticket for the trams but I’m seriously considering renting a bike and just taking advantage of the canals and narrow streets. The weather is chilly but has that springy feel in it and the streets are filled with bikers and walkers. It makes you feel alive.

The Forum du NEM, which is the competition/event I’m researching starts today. Even though I haven’t slept yet, I’m probably going directly there as soon as I have my 5 euro toast and jam breakfast (expensive is the word I’m looking for here). I’m a little nervous as first days always are. This time there are 4 composers I’ll be trying to interview about music, identity, postcolonialism and all that stuff anthropologists are so fond of these days.

An update will be coming to you soon, probably tonight!

Yara<<" alt="" border="0" />—4363fd2c1fe28a5708bcbc8300c25fab—>

Music vs. Racism

Critical World — Thu, 09 Mar 2006 14:18:04 +0000

La Semaine d’actions contre le racisme – www.inforacisme.com
Good music, good cause.
Alpha Blondy, Groundation, Chango Family, Karavan Kaya, Kaliroots, Laura Robles, Guemilere, 7 doigts de la main, Manouche, Oztara, La Mine de Rien, Dibondoko, Bombolesse, Zuruba, Syncop, Opposum, Garbanzo, Kaolectif…<<" alt="" border="0" />—d284fe23bce005fd1a73fb1e02824f93—>

The Upgrade! Montréal » Mars 08: REMIX : VOIX DE FEMMES AUTOCHTONES / VOICES OF ABORIGINAL WOMEN

Critical World — Thu, 02 Mar 2006 22:28:09 +0000

The Upgrade! Montréal » Mars 08: REMIX : VOIX DE FEMMES AUTOCHTONES / VOICES OF ABORIGINAL WOMEN

============
UPGRADE MONTREAL
============

MERCREDI, le 08 mars 2006 / WEDNESDAY, March 8th, 2006
Société des arts technologiques (SAT) – 1195 St. Laurent

< http://theupgrade.sat.qc.ca/ >
En collaboration avec Studio XX, Femmes Autochtones du Québec (FAQ) et
terminus1525, Upgrade Montréal présente:

=
REMIX : VOIX DE FEMMES AUTOCHTONES
une manifestation artistique contre la violence pour célébrer la
Journée internationale des femmes

REMIX: VOICES OF ABORIGINAL WOMEN
Artists Demonstrating Against Violence in Celebration of International
Women's Day
=

19h00 – 22h00 / 7pm – 10:00pm

€ 19h00: doors open/ouverture des portes
€ 19h30: Alexis O’Hara & Fanny Wylde
€ 19h50: Melissa M. Dupuis
€ 20h10: Taqralik Partridge & Nina Segalowitz
€ 20h30: table-ronde/discussion
€ 21h30: musique avec dj Tashish
€ 22h00: Fin

[.PDF: http://www.quadrantcrossing.org/papers/UpgradePress030806.pdf]

=========
UPGRADE MARS
=========

~~Français~~

Afin de souligner la Journée internationale des femmes, Upgrade est
heureux de s’associer avec le Studio XX et Femmes autochtones du Québec
(FAQ) pour cette soirée de mars. La violence étant une problématique
taboue qui touche énormément de femmes, l’événement veut sensibiliser
le public à cette réalité (physique, psychologique, économique,
politique et sociale) telle que vécue par les femmes autochtones au
Québec et au Canada via des interventions artistiques. La soirée
débutera avec une performance de la chanteuse algonquine Fanny Wylde et
l’artiste sonore montréalaise Alexis O’Hara, alliant chants
traditionnels et sonorités électroniques, suivi d’une performance de
conte moderne de l’artiste médiatique innue Mélissa M. Dupuis.
L’artiste multidisciplinaire abénaquise Christine Sioui Wawanoloath
présentera aussi une version du mythe de la création huron-wendatt dans
une installation multimédia intitulée Tortue et Femme céleste, tandis
que les artistes inuits Taqralik Partridge et Nina Segalowitz, ayant
collaboré en 2005 avec l’Orchestre Symphonique de Montréal,
interpréteront quelques chants de gorge. Pour clore la soirée, une
table-ronde composée d’intervenantes en promotion de la non-violence
autochtone viendront apporter quelques pistes de réflexion sur le
phénomène de la violence. Par la même occasion, le 5e numéro de .dpi,
le périodique électronique du Studio XX, y sera lancé. Avec également
l’implication de jeunes artistes autochtones via la participation de
terminus1525.ca.

L’événement est ouvert à tous et toutes. Ouverture des portes à 19h
avec la musique de dj Tashish, les perfomances débutent promptement à
19h30, et c’est gratuit!

~~English~~

Marking this year’s International Women’s Day, Upgrade Montreal is
happy to collaborate with Studio XX and Quebec Native Women (QNW) for
the March event, presenting women artists demonstrating against
violence. Violence is still a taboo subject and a problem affecting
many women. The event is meant to raise awareness concerning violence
(physical, psychological, economical, political and social) faced by
Aboriginal women of Quebec and Canada. The evening will begin with a
performance by Algonquin singer Fanny Wylde and Montreal audio artist
Alexis O¹Hara, combining traditional singing and electronic sounds,
which will be followed by a modern storytelling performance by Innu
media artist Melissa M. Dupuis. Multidisciplinary Abenaki artist,
Christine Sioui Wawanoloath, will also present her own version of the
Huron-Wendatt creation myth in a multimedia installation called Turtle
and Skywoman, while inuit artists Taqralik Partridge and Nina
Segalowitz, who have collaborated with the Montreal Symphonic Orchestra
in 2005, will perform throat singing. In closing the evening, a
roundtable will take place with Aboriginal community workers involved
in the promotion of non-violence in order to deepen a reflection on the
issue of violence. At the same occasion, the 5th issue of .dpi, Studio
XX’s online periodical, will be launched. The event welcomes the
involvement of young Aboriginal artists with the participation of
terminus1525.ca.

The March Upgrade is open to all. Doors open at 7pm with music by dj
Tashish. Performances promptly begin at 7.30pm – and it’s all free!

– Sophie, Anik & tobias
Mars / March 2006

The Upgrade est une organisation autonome, internationale et
rhizomatique de rendez-vous mensuels pour la culture numérique et les
arts technologiques.

The Upgrade is an autonomous, international and grassroots organisation
of monthly gatherings for digital culture and the technology arts.

Partenaires de mars / March partners:
http://www.studioxx.org/
http://www.faq-qnw.org/<<" alt="" border="0" />—1e0ef61dbee45f7bd387d5aec306b051—><<" alt="" border="0" />—88152229d3d9fdb6115f989e69bb0110—>

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IFPI, Radio as Industry

Critical World — Thu, 09 Feb 2006 03:20:16 +0000

Episode 23 of the Fake Science Lab Report (a podcast about the state of the music industry) has interesting comments about IFPI’s effect on “Global music” and on the history of radio. Not that these comments are really unique but they’re interesting to listen to. Thing is, a lot of people seem to be talking about the exact same things, very often in the same ways (whether or not people agree on what should come from that).

Semaine Interculturelle

Critical World — Mon, 30 Jan 2006 22:58:24 +0000

Services aux étudiants

Une semaine unique pendant laquelle le campus se transforme en un véritable festival interculturel. Associations et groupes interculturels, activité artistiques, rencontres-causeries, spectacles, conférences et beaucoup plus<" alt="" border="0" />—bfd847d3007d6d914d641904cd2fb33a—>

CFP: Borders, Markets, Movements

Sophie — Wed, 28 Dec 2005 01:24:56 +0000

CasaZine 3: Call for Papers

What makes together? Notes on the life of political
collectivities
CASAZine #3: Borders, Markets, Movements

“Through the work of listening to others, of hearing
the force of their pain and the energy of their anger,
of learning to be surprised by all that one feels
oneself to be against; through all of this, a ‘we’ is
formed and an attachment is made.”
-Sarah Ahmed

The focus of this issue emerges from the 2005 Cultural
Analysis Summer Academy (CASA) international meeting
in Amsterdam organized around the themes of “Borders,
Markets and Movements”. CASA addressed a variety of
topics from immigration policy to working conditions
to the democratization of education. What united this
wide range of interests was a commitment to raising
questions of social responsibility, along with a
desire for collective analyses and collective
solutions for confronting and countering oppressions.

From this shared commitment, CASA 2005 became a space
for telling stories of our political successes and
failures in organizing, of our hopes and yearnings for
a more just world, as well as of our daily
negotiations with both privilege and marginalization
in the places where we work and live. The
conversations, narratives and anecdotes exchanged at
CASA reflect broader issues that people working toward
social justice consider in everyday life.

Call for Papers

Editors of what makes together?, the 3rd issue of
CASAZine, invite proposals that investigate the
commitments, relationships and attachments involved in
working collectively. We seek experiential writing
that critically reflects upon issues of the political,
ethical and emotional labour involved in imagining,
enacting and sustaining political collectivities that
work toward the creation of social justice.

Whether engaged in solidarity projects seeking justice
for refugees, localized struggles for worker’s rights
or international movement building around democratized
education, all of this political organizing demands
constant and critical reflection regarding the
processes of working collectively to enact social
change.

Focused on what we can gather from listening to each
other, we envision this collection as an “ethics of
tactics” rather than a guidebook or instruction
manual. Instead of telling each other what to do, we
see this ethics of tactics as an opening to what each
other has to tell, and as a proper listening that can
create the force and formation of a ‘we’. Toward this
aim, we seek writing that interrogates and expands
upon questions such as:

– How does the collective emerge? – What are the dangers of romanticizing the ‘birth of
the collective’? – What is it that holds people together in a
collective? – How do we think of our commitments and attachments
to a collective? – How do our political investments shape our
participation in collective resistance? – How is our investment in the collective different
from our commitments and attachments to our cause? – How can we better address and incorporate the
failures of our organizing? – How do we assess conflict and communication failure? – How does critique function in the collective? – How do we create spaces for the cross-pollination of
knowledges and tactics? – What kinds of responsibilities do we ‘voluntarily’
take on and what kinds of stresses can and does this
produce? – What kinds of conditions can and do we endure for
the sustained existence of the collective? – How do obligations form and arise? – How do the bureaucratic structures we critique in
other social institutions creep into our own
organizing? – What happens when a collective member inserts
something ‘new’? – What is the importance of spontaneity in collective
organizing? – What kinds of new languages can and do creative
tactics and strategies generate in collectivities? – What is the role of pleasure and desire in
collective politics? – What can we learn from the energy and occurrences
that escape the plans of our actions? – How do we generate collective resistance that is
both hard and joyful? – What does it mean to leave a collective?

Submission Guidelines

Submissions should be between 500-3,000 words. We are
open to various writing styles and encourage
creativity and experimental forms.

Send email queries and submissions (as Word documents)
to whatmakestogether@riseup.net

Deadline: Feb 15th, 2006

CASA

CASA offers a platform for people to discuss and
combine efforts and information working towards social
transformation. For more information on CASA 2005
Borders, Markets, Movements and to find out about the
summer meeting CASA 2006: Constructing Social Change
go to http://www.casa.manifestor.org/<<" alt="" border="0" />—f9c17f2605b7a71c464d2bf7659192e3—>

habitat JAM :: Get involved in Habitat JAM”Imaginez un instant des dizaines de milliers de

Critical World — Thu, 01 Dec 2005 14:53:22 +0000

habitat JAM :: Get involved in Habitat JAM
“Imaginez un instant des dizaines de milliers de
personnes, dans le monde entier, qui se connectent en
temps réel sur l’Internet pour discuter et débattre
des enjeux les plus urgents et les plus controversés
auxquels doit faire face notre planète où
l’urbanisation ne cesse de s’accélérer. Imaginez des
intellectuels de renommée mondiale dirigeant les
discussions. Imaginez les résultats qui pourraient
être atteints par une telle collaboration et un tel
débat au niveau mondial. C’est l’idée de l’Habitat
JAM.”

http://www.habitatjam.com/

“Imagine tens of thousands of people around the world
just like you connecting in real time over the
internet to discuss and debate some of the most urgent
and controversial issues that face a rapidly
urbanizing planet. Imagine world-class thinkers
leading the discussions. Imagine the results that
could be achieved by this unprecedented global
conversation and collaboration. This is Habitat JAM.”

Konono no 1

Critical World — Mon, 14 Nov 2005 14:15:36 +0000

Part urban, part traditional, and completely contagious – The Boston Globe
Konono no 1, appearing at the Somerville Theater.

INTERNATIONAL MEDIA DEMOCRACY DAY 2005

Sophie — Mon, 17 Oct 2005 12:06:59 +0000

INTERNATIONAL MEDIA DEMOCRACY DAY 2005

GLOBAL STORIES: Citizens’ Media from Around the World
A week of events celebrating autonomous, independent media

October 17th to 21st at Concordia University

überculture collective, along with The Link, CKUT, CUTV and Concordia University, are pleased to invite you to join us for the second annual celebration of International Media Democracy Day in Montreal. Centring on the official date of IMDD, Oct. 18th, this year’s week of events aims to carry on where last year’s conference left off, examining how and where information is produced and disseminated and how we can build effective, grass-roots alternatives to corporate dominated media.

This year’s theme, GLOBAL STORIES: Citizens’ Media from Around the World, aims to look at citizen-based media both in Canada and abroad and hopes to explore how it has become possible for small, localized, independent media outlets to develop a global reach.

The week’s highlight will be a keynote address and Q & A on Tuesday Oct. 18 featuring Clemencia Rodriguez, a Latin American media activist who has extensively explored citizen-based media, and John Downing, founder and director of the Global Media Research Center and author of Radical Media.
Kicking off the week will be the Montreal instalment of the cross-Canada Measuring Security Measures series, co-sponsored by the NFB/CitizenShift. With events taking place in ten different Canadian cities, MSM will explore the changing nature of security measures in Canada since Sept. 11, 2001. The Montreal event, taking place at 7pm on Monday, Oct. 17th, will pay particularly close attention to the corporate media’s role in shaping the security agenda. MSM-Montreal will feature screenings of never before seen independent films examining state-security in Canada and a panel featuring Adil Charkaoui, Julius Grey and Yasmin Jawani.

Below is a brief schedule of events for the week. For more information and to download the program, please visit
überculture .

IMDD 2005 SCHEDULE OF EVENTS:

October 17:
5:45pm: Book Launch – Something New in the Air: A History of First Peoples’ Television in Canada, by Lorna Roth. Concordia’s School of Community and Public Affairs.

7pm: Measuring Security Measures – part of a Canada-wide project co-sponsored by the NFB looking at security measures in Canada since 9/11,vfeaturing security certificate activist Adil Charkaoui, civil rights lawyer Julius Grey and Concordia communication studies professor Yasmin Jawani. Room H-110, Hall Building.

October 18:
10am – 4pm: Alternative Media Fair bringing together over 30 independent media organizations from across Quebec and further. Mezzanine, Concordia Hall Building

7pm: Keynote address by Clemencia Rodriguez (Latin American media activist and author of Fissures in the Mediascape: An International Study of Citizens Media) and John DH Downing (founder, Global Media Research Center and author of Radical Media: Rebellious Communication and Social Movements). Room H-110, Hall Building.

October 19:
5:30pm: Building an Independent Media Movement from Montreal to Beirut, a presentation & interactive slide show on indymedia in Beirut by media activist and CKUT host Stefan Christoff. Co-sponsored by CKUT and ISM & CMAQ. Concordia University SCPA.

7:30pm: Security and Surveillance: How big is Big Brother? A public discussion with moderator Kenneth C. Werbin (Concordia University) and guests. Co-sponsored by University of the Streets. Café Esperanza, 5490 St. Laurent Blvd.

October 20
6pm: Being Controversial in the Media – Panel discussion organized by the Link, featuring Matthew Hays, Linda Kay, Josey Vogels and Jan Ravensbergen. D.B. Clarke Theatre, Hall Building.

October 21
7pm: Video for Change – A Witness Book Launch and Wine and Cheese with Liz Miller (Concordia University) and Katerina Cizek (Filmmaker and writer) and Video Projections from Volatile Works and Les Lucioles. Graduate Students Association Lounge.

8pm: Link Alumni party at Reggie’s Pub

10pm: Global Stories wrap party featuring live music, DJs and raffle at Reggie’s Pub (co-hosted by überculture and the Link)

überculture—>

Musical Bells of Accra, Ghana: Time of Bells, 3

Bob — Mon, 03 Oct 2005 02:49:15 +0000

VoxLox.net: Time of Bells, 3

Press release

Street date: November 1, 2005

Musical Bells of Accra, Ghana

The Time of Bells, 3

Produced by Steven Feld & Nii Noi Nortey
Released in collaboration with VoxLox

Steven Feld’s global excursion into the sonic worlds shaped by bells continues with the third volume of a planned five disc series, co-released by VoxLox and EarthEar. In previous releases, Feld’s soundscape compositions from five European countries explored how animal, church, and festival bells shape social time. Now Musical Bells of Accra, Ghana turns to bells as musical instruments. The three featured groups highlight the vibrant mix of music styles in Accra today. But what’s unique here is the presence of jazz in the mix, whether it is the traces of swing parts you hear in bells jamming with car horns, or the straight-up tribute to John Coltrane and the 1970’s avant garde played on African as well as Western instruments.

In Accra, capital cityof Ghana, the former “Gold Coast,” one commonly hears musicians instruct that “the bell is the keeper of the time” in traditional drum and dance ensembles. But bells do much more than keep ensemble time. Listen here as bells of different sizes, pitches, and timbres make time multiple. Interacting with voices, wind, string, percussion and reed instruments—including car horns and jazz saxophone—bells ring the vibrant time of traditional, modern, Pan African diasporic styles now resounding in Accra.

Musical Bells of Accra, Ghana features three never-recorded ensembles working out bell
time on six extended tracks:

Trotro Drivers Union Por Por Group:

Por Por music links two great 20^th Century inventions, the motor car and jazz music. Played by professional bus drivers on bells and the squeeze bulb circular brass car horns brought to Ghana by Indian traders, por por (pronounced paaw paaw) started as a way to scare animals away on forest roads at night as drivers pumped punctured tires. The music grew into a style equally resembling African animal horn ensembles and
riffing jazz horn sections.

Accra Trane Station:
Nii Noi Nortey and Nii Otoo Annan weave bells together with wind, reed, string and percussion sounds of Africa and the Diaspora. Nortey is inventor of the “afrifone” a family of West African instruments modified with saxophone mouthpieces. Annan is inventor of the “African Percussion Kit,” a wild mixture of jazz cymbals and African drums and bells. The ATS tracks preview a forthcoming tribute CD to the African legacy of John Coltrane.

Powerful Bells:
An impromptu medley for bells and voices by seasoned performers associated with the Powerful Drum Shop at Accra’s National Arts Center.

For full liner notes for Musical Bells of Accra—The Time of Bells, 3: VoxLox

The Time of Bells is the most ambitious recording project on the sonic legacy of bells
across human and animal history, and continues the groundbreaking work Feld has done in the academic world to build an appreciation of the value of high-quality field recordings as ethnographic publications in their own right. The Time of Bells series builds on his
earlier work on the acoustic ecology of rainforests (Voices of the Rainforest, Rainforest Soundwalks), and is a soundscape contribution to understanding how bells produce musical and social time around the world.

For more about Feld’s line of VoxLox recordings: www.voxlox.net

For the Time of Bells series: www.EarthEar.com/catalog/timebellsone.html

www.EarthEar.com/catalog/timebellstwo.html

www.EarthEar.com/catalog/timebellsthree.html

For Feld’s New Guinea recordings: www.EarthEar.com/catalog/rainsoundwalks.html

www.EarthEar.com/catalog/bosavi.html

www.bosavipeopolesfund.org

For Feld’s other recordings in Greek Macedonia: www.EarthEar.com/catalog/bellswinterfestivals.html

www.uwm.edu/People/dickblau/BrightBalkanMorning/

Previous EarthEar releases (http://www.EarthEar.com/eerelease)

2004:

A Day of Sound (Jason Reinier, et al)

The Time of Bells 2 (Steve Feld)

The Time of Bells 1 (Steve Feld)

2002:

Grooved Whale (Lisa Walker)

Caratinga: Soundscapes of Brazil’s Atlantic Rainforest (Doug Quin)

2001:

Rainforest Soundwalks: Ambiences of Bosavi, Papua New Guinea (Steve Feld)

2000:

Before the War (David Rothenberg/Doug Quin)

1999:

The Dreams of Gaia (2CD, Various)

Forests: A Book of Hours (Doug Quin)

Why do Whales and Children Sing?: A Guide to Listening in Nature (David Dunn)

FOR REVIEW COPIES OF ANY TITLE, OR FOR INTERVIEW REQUESTS,
PLEASE CONTACT JIM CUMMINGS AT:
cummings@earthear.com

888-356-4918
505-466-1879

Melted Rock

Alexandre — Mon, 19 Sep 2005 01:25:56 +0000

MeltingPod, 14/09/05 The royal sweepers of the luxury desert
Annie’s latest “MeltingPod” podcast on Rock from around the globe. This one on a local (to Marseilles) Rock band which integrates North African and Arab influences. Didn’t know about either «Les balayeurs du désert» or «Royal de luxe». Sounds almost like Catalan and Celtic influences also made their way to Les balayeurs, but that may be a “Generic European Folk/World Music” thing.

Amandla – CKUT radio program looking for contributors

Pohanna — Sat, 17 Sep 2005 17:24:43 +0000

RADIO SHOW ON AFRICA LOOKING FOR VOLUNTEERS!!

Do you want to make revolutionary radio? Are you interested in social
justice issues in Africa? Are you creative, political and ready to step up
to the mic? The Amandla Radio Show wants you!

************************************************************************
THE AMANDLA RADIO SHOW ON CKUT IS LOOKING FOR VOLUNTEERS

************************************************************************
Volunteers do not have to have any radio experience but do need a desire to learn!

WHO WE ARE:

Amandla is a bilingual African current affairs show which airs on CKUT 90.3
fm every Wednesday from 7 pm to 8 pm. For over 13 years, we have been
covering issues in Africa which are ignored and misrepresented in the
mainstream media. We focus much of our work on grassroots struggles,
resistance movements and social justice concerns in Africa while revealing
the international dimension of the issues we cover. The shows

that we produce are heard throughout Montreal and across the world via
internet

WHO WE ARE LOOKING FOR:

We are looking for hosts for our radio show in French and English, as well
as occasional contributors, researchers and engineers/technicians.
Volunteers do not have to have any radio experience but do need a desire to
learn! We are more than happy to train new volunteers and, by becoming a
member of CKUT, you can sign up for a variety of training sessions.
As an Amandla volunteer, you will also have access to production studios to
bring your shows to life on the CKUT airwaves.

INTERESTED??

For more information, contact us at amandla_montreal@yahoo.ca or through CKUT
Radio McGill at www.ckut.ca or news@ckut.ca

—___________________________________________
Graffiti.net free e-mail @ www.graffiti.net
Check out our value-added Premium features, such as a 1 GB mailbox for just US$9.95 per year!

World Forum on Music

Sophie — Sat, 17 Sep 2005 02:25:46 +0000

World Forum on Music
1 – 4 October 2005
Los Angeles, CA, United States

A highly-influential global knowledge-building platform on Music and Society in the 21st Century.

Topics:
1) The Power of Music in a Fast Changing World
2) Music and Technology: What Lies Ahead
3) Globalization and the Future of Music
4) Urban music

Venue: Hollywood Renaissance Hotel, Los AngelesAudience: Policy-makers, industry executives, professionals, artists

Enquiries: forum.imc@unesco.org Web address: http://worldforumonmusic.com Organized by: International Music Council of UNESCO and City of Los Angeles Cultural Affairs Department<<" alt="" border="0" />—1ef6d6a597c7dca61b2b23937abbb10e—>

Artivistic :: art.information.activism/e

Sophie — Sat, 10 Sep 2005 19:04:14 +0000

Artivistic :: art.information.activism/e

September 22-24 2005, Montreal

Artivistic :: art.information.activism/e

= http://artivistic.omweb.org ==

Artivistic is a transdisciplinary event on the
interPlay between art, information and activism.

The bilingual event will bring together diverse
practitioners and theorists of activist art and
communication through performances, art exhibitions,
interventions, workshops and roundtables.

The event includes a benefit for Steve Kurtz
(Critical Art Ensemble) and Robert Ferrell on the
evening of the 22nd September, towards the CAE Legal
Defense Fund.

The artistic and free-form conference asks three
overlapping questions in order to consider new +
different possibilities:

Why is Activism Associated with the Street? A
question here on the notion of space and the politics
that underlies it;

Who Owns your Body_Mind? A question for analysing
the authority of scientific knowledge in relation to
society;

Who is Allowed to Communicate? A question on
communications and media, information as a right and
vector of freedom.

The event is an independent and interuniversity
initiative. It aims to promote open transdisciplinary
+ intercultural dialogue and research on activist art,
to create and facilitate a human network of diverse
peoples, and to inspire, proliferate, activate.

For the complete program and for conference
registration, please visit:

http://artivistic.omweb.org

Inquiries/registration : artivisters@graffiti.net

Conference location:

2013 St.Laurent, 2nd floor, t. 514 849 8246

3 days of conference, including workshops,
meals/coffee and conference package (excluding special
events):

$18 student/unwaged $40 faculty/waged

Registration form:
http://artivistic.omweb.org/modules/wakka/Registration

—= special events =—
CABARET for CAE (The Upgrade! Montreal / [ctrl]
collective) benefit with djs, performance & a silent
art auction with Canadian & international artists:

$5-$15 (door, suggested donation) @ SAT (Society for Arts and Technologies) 1195 St.Laurent, t.514 844 2033 http://theupgrade.sat.qc.ca

Urban Happening with public-active installations,
performance, music and live painting:

Free Location TBA http://artivistic.omweb.org http://www.popandpolitics.net

‘Volatile Shorts’ + closing event with djs, vjs,
performance & tactical media screenings (Volatile
Works et al.):

$5 suggested donation @ Café Toc Toc 6091 ave. du Parc http://www.volatileworks.org

———————————///

= du 22 au 24 sept 2005, Montréal ==

Artivistic :: art.information.activism/e

= http://artivistic.omweb.org ==

Artivistic est un événement transdisciplinaire qui
s’intéresse à l’interAction entre art, information et
activisme.

L’événement bilingue propose performances, expositions
d’art, interventions, ateliers et tables-rondes, en
réunissant diversEs praticien-nEs et théoricien-nEs de
l’art et de la communication engagés d’ici et
d’ailleurs.

L’événement inclue une soirée bénéfice pour Steve
Kurtz (Critical Art Ensemble) et Robert Ferrell le
soir du 22 septembre, aux profits du CAE Legal Defense
Fund.

Le colloque artistique à forme ouverte s’articule
autour de trois problématiques reliées entre elles
afin de considérer et d’encourager des possibilités
nouvelles et différentes:

Qu’est-ce qui unit l’activisme et la rue? Une
question ici sur toute notion d’espace et les
dynamiques politiques qui la sous-tend;

À qui appartient votre corps_esprit? Une question
pour l’analyse de l’autorité du savoir scientifique
par rapport à la société;

Qui est en droit de communiquer? Une question qui
aborde les communications et l’information en tant que
droit et vecteur de liberté.

L’événement est une initiative indépendante et
interuniversitaire. Elle a pour but de promouvoir la
recherche et le dialogue transdisciplinaire et
interculturel sur l’art activiste; de créer un réseau
humain de personnes diverses; et d’inspirer,
proliférer, activer.

Pour le programme complet et pour s’inscrire au
colloque, visitez le:

http://artivistic.omweb.org

Questions/inscription : artivisters@graffiti.net

Lieu du colloque:

2013 St.Laurent, 2e étage, t. 514 849 8246

3 jours de colloque, incluant ateliers, nourrriture /
café et pochette de colloque (excluant événements
spéciaux):

18$ étudiant/sans emploi 40$ faculté/avec emploi

Formulaire d’inscription:
http://artivistic.omweb.org/modules/wakka/Inscription

—= événements spéciaux =—
CABARET pour CAE (The Upgrade! Montreal / [ctrl]
collective) soirée bénéfice avec djs, art performance
& une vente aux enchères silencieuse avec artistes
canadiens et étrangers:

5$-15$ (entrée, contribution volontaire) @ SAT (Société des arts technologiques) 1195 St.Laurent, t.514 844 2033 http://theupgrade.sat.qc.ca

Happening urbain avec installations publiques-actives,
performance, musique et live painting:

Gratuit Lieu à confirmer http://artivistic.omweb.org http://www.popandpolitics.net

‘Volatile Shorts’ + événement de clôture avec djs,
vjs, performance & projections de média tactique
(Volatile Works et al.):

5$ (contribution volontaire) @ Café Toc Toc 6091 ave. du Parc http://www.volatileworks.org

===

Sophie Le-Phat Ho
coordinator, Artivistic /05
c. 514 993 2312
f. 450 466 0664
artivisters@graffiti.net
http://artivistic.omweb.org

Academics on Recording Industry, Digital Music Distribution

Alexandre — Tue, 30 Aug 2005 03:24:22 +0000

Popular Music & Society 28(4)
The latest issue of Popular Music & Society has some articles on issues relevant to Critical World. Comments?<<" alt="" border="0" />—d350495c251a05d2642ff14d65444896—>

Moog

Alexandre — Mon, 22 Aug 2005 15:26:51 +0000

BBC NEWS | Entertainment | Obituary: Dr Robert Moog
BBC NEWS | Entertainment | Synthesiser pioneer Dr Moog dies<<" alt="" border="0" />—cd4afff33712ca07352b68db20880a4b—>

Montreal-Style Burning Man

Alexandre — Wed, 03 Aug 2005 02:46:06 +0000

Brûleurs Montréal Burners: Ignition 2005
If Montreal is so cool, can it handle its own Burning Man?
This one was mentioned on Julien Smith’s in over your head radio podcast.

Montreal Today, Tomorrow AP!

Alexandre — Sat, 30 Jul 2005 12:44:54 +0000

Montreal indie scene squirms in spotlight
Coverage of some of Montreal’s music scenes now goes to Associated Press. At least, Ari Bendersky isn’t blaming the weather and the buzz factor from the US isn’t seen as the best thing that can happen to Montreal musicians. In fact, there’s even an oblique mention that Montreal has other music scenes besides the one that is being hyped by “The Media,” so it might be more clueful than the average.<<" alt="" border="0" />—46ead2b1eca99eaf2a6dc2cd9c5c140d—>

Festival sur le Niger, Programme

Alexandre — Sun, 17 Jul 2005 00:25:56 +0000

Festival sur le Niger, Programme
Rokia Traore, Sekouba Bambino, Super Biton…

Podcasting Gone Sidestream?

Alexandre — Tue, 28 Jun 2005 23:37:39 +0000

Podcasts are downloadable audio programs to which listeners can subscribe (or “syndicate”) through RSS (“RDF Site Summary” or “Real Simple Syndication”). Technologically, it’s fairly simple, but it might have interesting implications. Many similarities with blogging and community radio. Notions of “Do It Yourself” publishing. Some potential for targeted, customized, personalized, collaborative “radio programs.” Much of it has to do with music.
The big news in podcasting today (June 28, 2005), Apple’s iTunes “jukebox” software now supports podcasts. Some say it’s bringing podcasting to the mainstream, which might well be an accurate assessment. Several podcasts are available for free subscription through Apple’s iTunes Music Store. So far, these podcasts on the iTMS aren’t very diversified but one can hope that diversity will come as time goes by. Supposedly, Apple will publish podcasts sent by users without specific restrictions. One can also subscribe to podcasts by adding RSS feeds through the “Advanced” menu in iTunes.
Specialized radio stations online have caught on to a large extent and it’s now possible to listen to radio stations from around the world, wherever we are. All is needed to listen is a computer and a fairly good Internet connection. However, streaming those radio feeds isn’t really as easy and may require expensive equipment. Small radio stations in industrial regions are able to do it but it may not have been that easy for, say, even national radio stations in Africa.
Podcasting requires much less. There are bandwidth issues, of course, but it’s technologically very simple and requires no specialized streaming tools. Like blogs, podcasts may be published irregularly. As the files are downloaded, a fast Internet connection isn’t an absolute necessity.
As anthropologists, we often talk about “giving people a voice” or letting others hear the voice of those with whom we work. The possibilities for ethnography and for the display of the world’s cultural diversity make it an easy technology to be enthusiastic about. Even if “mainstream” podcasters take over the field, there will be room for more “sidestream” podcasters.

So, is podcasting a way to globalise orality? <<" alt="" border="0" />—33d3f4b6c2a265833b5c1e4241a251bc—><<" alt="" border="0" />—1eee2c2127a635ad6486c5b520775b8c—>

Saint-Jean

Alexandre — Tue, 28 Jun 2005 21:52:07 +0000

June 24, feast day for St. John the Baptist, is Quebec’s National Day («Fête nationale»). In the past, it has been a very political event, especially as a moment of intense national pride for sovereignists in Quebec. As such, it has usually been associated more directly with French-speaking Quebeckers. St. John the Baptist is considered patron saint of French Canadians (although Acadians have their own celebration on August 15).

Apart from parades, «Saint-Jean» is known for big shows including subsidised ones in Quebec City, in Montreal, and in different neighborhoods. This year, there has also been a paid show in Montreal.

Here are a few pieces, in French, on those shows:

Pour une Saint-Jean manifestive

Les Saint-Jean de la télé... et l’Autre

Guide Culturel SRC: Franc succès pour la fête nationale

La St-Jean selon… Loco Locass

Un gros party de cégep

Some information in English about the paid show.

A few things to note. The paid show was organised in part by Les Cowboys fringants, a very politicised band, as an alternative to the big subsidised show in Montreal. This TV piece explains some aspects of musical activism by Les Cowboys fringants and Loco Locass.
The fact that the subsidised show was broadcast on TV seems to have had a lot of impact on the content of the show. Interestingly enough, the fact that the more politicised show cost money to attend (and that tickets were sold, in part, through the Gillett Entertainment Group) is often mentioned but doesn’t strike people as being as at odds with the show’s purpose as one would think. Those involved in the subsidised event seem to have had no problem with the existence of an alternative show but make it clear that this second show should never become subsidised. The notion of political freedom runs through the whole discourse, on both sides.
Went to the subsidised show at Parc Maisonneuve (in Montreal). Somewhat tame politically, but quite interesting sociologically.
Notions of cultural diversity were put to the forth throughout.
Normand Brathwaite, MC for that show, routinely uses ethnic and racial categories very openly and is recognized as one of Quebec’s first Black French-speaking celebrities. During the Saint-Jean show, he made frequent references to multiculturalism and cultural integration while using skin colour as a marker. Perhaps the most striking quote, to this anthropologist, was his joking use of the phrase «mon trio viande brune» (“dark meat”) to designate three vocalists in the show, including his own daughter. It wasn’t a slur, it wasn’t meant to be derogatory, and it’s somewhat funny as a food reference. Besides, “it’s ok because he’s himself Black,” according to someone attending the show. But striking nonetheless. Quebec doesn’t tend to have hypodescent as a rule so people who descend from one Black parent aren’t necessarily considered Black themselves.
At any rate, the show did represent cultural diversity to some extent. “Token diversity,” perhaps, but diversity nonetheless. On-stage, a few things were done to make diversity shine through, like the song Un phoque en Alaska with choruses in Haitian Creole, Italian, and Arabic. Attempts were made to represent some of Quebec’s musical diversity while catering to the audience’s nostalgia with medley’s honouring well-known Quebec artists. Unsurprisingly, no song was sung in English…
But more importantly, the show’s audience was quite diverse, in every way. People of all ages, all walks of life, and any origin. While the political dimension was subdued, it felt quite welcoming. Of course, big shows always feel that way. With something like 250 000 people in that park and apparently very few incidents, it was a big party. Less intense than it has been in years long gone, but a party nonetheless.
Music does bring people together.

More on Live8

Alexandre — Thu, 23 Jun 2005 16:45:36 +0000

Playlist: Insight Out: Bashing Geldof, MSN Music changes

Konono no. 1

Anon — Fri, 10 Jun 2005 21:10:50 +0000

L’aventure sonore de Konono no 1
Article de La Presse (Montréal) sur le groupe congolais Konono no. 1.

Selon Indicatif présent (22 avril 2005):

Le world beat branché de Paris. Un album réalisé avec des alternateurs de voitures…

Their first album has been rated 8/10 in the Montreal Mirror on April 28, 2005.

It was no. 6 on CKUT’s chart for May 24, 2005 .

Music for Globalist Canadians

Alexandre — Fri, 10 Jun 2005 20:58:29 +0000

From a ZeD newsletter (May 2, 2005):

Original Music Wanted for New CBC TV Series
.......................................................................

CBC and Vancouver’s Omni Film Productions are creating a new 13-episode television series showcasing young Canadians making a difference in the Global world, and we need music!

Part indie film, part documentary, part music video, this is definitely a new and different kind of program.

We’re searching for music from up-and-coming bands, solo artists, dj’s, and others to be used as the sound track to the series.

Genre doesn’t matter, what we’re looking for is a great sound and great lyrics.

Some of the stories we’re featuring include: A boarder who has created an environmentally friendly snowboard wax, a group of university friends who travel to Cambodia to fight human trafficking, and a choreographer who’ll convince you to vote with her new clothing line called “Democracy is Sexy!”

We’re going to get their messages out there and inspire others to join in the fray.

Music can also change the world. So if you know music that speaks to these stories, we want to hear it. If your music is just really good and you’re looking for a break, we might be able to feature you on the show too!

So, is this you? Or someone you know?

If so please contact Terry Garnett at Omni Film Productions: terry@omnifilm.com 604.675.9714 And then pass this on to anyone and everyone. And watch for the website and TV series soon to be on CBC – because it’s all about making connections.

ZeD is a program on the Canadian Broadcasting Corporation TV along with an accompanying website which serves much of the content shown on the show. The show is devoted to “edgy” content from Canada and elsewhere (visual arts, music, words, ideas…).<<" alt="" border="0" />—cc6d05a87b8254fcf1e431a78f240705—>

DRM-Free Paid Downloads

Alexandre — Fri, 10 Jun 2005 15:25:13 +0000

Playlist: Latin music site to offer DRM-free downloads

exploiting the niches, and offering consumers more freedom

SALA Festival

Anon — Fri, 10 Jun 2005 15:05:15 +0000

suoni per il popolo

The Suoni Per Il Popolo festival is about questioning the status-quo, taking music to new levels and creating opportunities for music that stands on the outside of the pop spectrum to have a chance to be heard and seen in Montreal.

Critical World’s Pohanna Feinberg is involved.<<" alt="" border="0" />—9ab7ddedcbb373db8f4dbbabb596ef6e—>

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Excluded Africans

Anon — Fri, 10 Jun 2005 15:00:13 +0000

The Independent Online Edition > Enjoyment > Africans not included
The aim of the Live8 concerts is to persuade the world not to neglect Africa. Yet that is exactly what the organisers are doing – and demonstrating typical Western arrogance, argues Andy Kershaw, one of the original presenters of Live Aid<<" alt="" border="0" />—cb9df75c681c0efa689d7b4cc4c5f2ce—>

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Copyright Extension, UK

Alexandre — Fri, 10 Jun 2005 14:45:11 +0000

Plan to extend copyright on pop classics – Sunday Times – Times Online

The [British] government wants to extend copyright laws to ensure pop songs are protected for almost twice as long as the current 50 years.<<" alt="" border="0" />—1245f5eea80719d1e3dbdffd47f3e34f—>

Africans not included

Alexandrine — Sat, 04 Jun 2005 14:14:22 +0000

Un excellent article qui critique l’absence de musiciens africains dans un show qui se dit global et pour l’Afrique. Anyway, look at it, c’est vraiment bon!

http://enjoyment.independent.co.uk/music/news/story.jsp?story=643962<<" alt="" border="0" />—9b406b89a44be52ca2a2150184b6f01d—>

Africans not included

Alexandrine — Sat, 04 Jun 2005 14:14:00 +0000

Un excellent article qui critique l’absence de musiciens africains dans un show qui se dit global et pour l’Afrique. Anyway, look at it, c’est vraiment bon!

http://enjoyment.independent.co.uk/music/news/story.jsp?story=643962<<" alt="" border="0" />—aa8e67d155b823433440aa32c2d89a22—>