Get This Dolphin Vaporwave Aesthetic 90s Notebook.This blank lined journal is an awesome low-tech companion to draw doodles, sketch out or write notes. Use it as a notebook to write down your everyday thoughts, plans and lists. It's a great gift idea for artists, writers and thinkers who want to free their minds and write down their ideas.
Has the virtual invaded the realm of the real, or has the real expanded its definition to include what once was characterized as virtual? With the continual evolution of digital technology, this distinction grows increasingly hazy. But perhaps the distinction has become obsolete; perhaps it is time to pay attention to the intersections, mutations, and transmigrations of the virtual and the real. Certainly it is time to reinterpret the practice and study of music. The Oxford Handbook of Music and Virtuality, edited by Sheila Whiteley and Shara Rambarran, is the first book to offer a kaleidoscope of interdisciplinary perspectives from scholars around the globe on the way in which virtuality mediates the dissemination, acquisition, performance, creation, and reimagining of music. The Oxford Handbook of Music and Virtuality addresses eight themes that often overlap and interact with one another. Questions of the role of the audience, artistic agency, individual and communal identity, subjectivity, and spatiality repeatedly arise. Authors specifically explore phenomena including holographic musicians and virtual bands, and the benefits and detriments surrounding the free circulation of music on the internet. In addition, the book investigates the way in which fans and musicians negotiate gender identities as well as the dynamics of audience participation and community building in a virtual environment. The handbook rehistoricizes the virtual by tracing its progression from cartoons in the 1950s to current industry innovations and changes in practice. Well-grounded and wide-reaching, this is a book that students of any number of disciplines, from Music to Cultural Studies, have awaited.
“Why do you always write magic in the sand of every beach you go to?” he asked as he watched her finger move through the sand in a rhythm writing the word. She smiled and said, “Because there is magic in the sand.” “What do you mean?” he further asked. “When you feel the sand under your feet,” she scrunched up her toes in the sand as she spoke. “And feel every granule of it, the noise of your thoughts suddenly sound like the waves. Just like magic.” Me
Art-form, send-up, farce, ironic disarticulation, pastiche, propaganda, trololololol, mode of critique, mode of production, means of politicisation, even of subjectivation - memes are the inner currency of the internet's circulatory system. Independent of any one set value, memes are famously the mode of conveyance for the alt-right, the irony left, and the apoliticos alike, and they are impervious to many economic valuations: the attempts made in co-opting their discourse in advertising and big business have made little headway, and have usually been derailed by retaliative meming. POST MEMES: SEIZING THE MEMES OF PRODUCTION takes advantage of the meme's subversive adaptability and ripeness for a focused, in-depth study. Pulling together the interrogative forces of a raft of thinkers at the forefront of tech theory and media dissection, this collection of essays paves a way to articulating the semiotic fabric of the early 21st century's most prevalent means of content posting, and aims at the very seizing of the memes of production for the imagining and creation of new political horizons. With contributions from Scott and McKenzie Wark, Patricia Reed, Jay Owens, Thomas Hobson and Kaajal Modi, Dominic Pettman, Bogna M. Konior, and Eric Wilson, among others, this essay volume offers the freshest approaches available in the field of memes studies and inaugurates a new kind of writing about the newest manifestations of the written online. The book aims to become the go-to resource for all students and scholars of memes, and will be of the utmost interest to anyone interested in the internet's most viral phenomenon. ABOUT THE EDITORS ALFIE BOWN is the author of several books including "The Playstation Dreamworld" (Polity, 2017) and "In the Event of Laughter: Psychoanalysis, Literature and Comedy" (Bloomsbury, 2018). He is also a journalist for the Guardian, the Paris Review, and other outlets. DAN BRISTOW is a recovering academic, a bookseller, and author of "Joyce and Lacan: Reading, Writing, and Psychoanalysis" (Routledge, 2016) and "2001: A Space Odyssey and Lacanian Psychoanalytic Theory" (Palgrave, 2017). He is also the co-creator with Alfie Bown of Everyday Analysis, now based at New Socialist magazine.
In the age of global capitalism, vaporwave celebrates and undermines the electronic ghosts haunting the nostalgia industry. Ours is a time of ghosts in machines, killing meaning and exposing the gaps inherent in the electronic media that pervade our lives. Vaporwave is an infant musical micro-genre that foregrounds the horror of electronic media's ability to appear - as media theorist Jeffrey Sconce terms it - "haunted." Experimental musicians such as INTERNET CLUB and MACINTOSH PLUS manipulate Muzak and commercial music to undermine the commodification of nostalgia in the age of global capitalism while accentuating the uncanny properties of electronic music production. Babbling Corpse reveals vaporwave's many intersections with politics, media theory, and our present fascination with uncanny, co(s)mic horror. The book is aimed at those interested in global capitalism's effect on art, musical raids on mainstream "indie" and popular music, and anyone intrigued by the changing relationship between art and commerce.
In Bitstreams, Matthew G. Kirschenbaum distills twenty years of thinking about the intersection of digital media, textual studies, and literary archives to argue that bits—the ubiquitous ones and zeros of computing— always depend on the material world that surrounds them to form the bulwark for preserving the future of literary heritage.
Nobody wants to fail. But in highly complex organizations, success can happen only when we confront our mistakes, learn from our own version of a black box, and create a climate where it’s safe to fail. We all have to endure failure from time to time, whether it’s underperforming at a job interview, flunking an exam, or losing a pickup basketball game. But for people working in safety-critical industries, getting it wrong can have deadly consequences. Consider the shocking fact that preventable medical error is the third-biggest killer in the United States, causing more than 400,000 deaths every year. More people die from mistakes made by doctors and hospitals than from traffic accidents. And most of those mistakes are never made public, because of malpractice settlements with nondisclosure clauses. For a dramatically different approach to failure, look at aviation. Every passenger aircraft in the world is equipped with an almost indestructible black box. Whenever there’s any sort of mishap, major or minor, the box is opened, the data is analyzed, and experts figure out exactly what went wrong. Then the facts are published and procedures are changed, so that the same mistakes won’t happen again. By applying this method in recent decades, the industry has created an astonishingly good safety record. Few of us put lives at risk in our daily work as surgeons and pilots do, but we all have a strong interest in avoiding predictable and preventable errors. So why don’t we all embrace the aviation approach to failure rather than the health-care approach? As Matthew Syed shows in this eye-opening book, the answer is rooted in human psychology and organizational culture. Syed argues that the most important determinant of success in any field is an acknowledgment of failure and a willingness to engage with it. Yet most of us are stuck in a relationship with failure that impedes progress, halts innovation, and damages our careers and personal lives. We rarely acknowledge or learn from failure—even though we often claim the opposite. We think we have 20/20 hindsight, but our vision is usually fuzzy. Syed draws on a wide range of sources—from anthropology and psychology to history and complexity theory—to explore the subtle but predictable patterns of human error and our defensive responses to error. He also shares fascinating stories of individuals and organizations that have successfully embraced a black box approach to improvement, such as David Beckham, the Mercedes F1 team, and Dropbox.
From Schism[2] Press Amygdalatropolis is a work of brilliant neurorealism in which the city is a Computer, a libidinal pornutopia voided of all bedeutung other than the residual, electronic prickling of sexual fear and auto-autistic aggression where software and synapse flicker in an endless algorithmic loop. Norburt Wiener's apocalyptic steersman leads directly here: a psychopathological cyberutopia heading straight into the lake of fire. Scott Wilson, author of Great Satan's rage: American negativity and rap/metal in the age of supercapitalism Yeager's haphephobic protagonist /1404er/ has got over reality, family or the social and moved on - to a somewhat more tenable amnion of snuff porn, clickbait and casual online scapegoating. Amygdalatropolis inhabits our post-truth heterotopia like some virulent new literary life form, perfectly tooled for the death of worlds. David Roden, author of Posthuman Life: Philosophy at the Edge of the Human
Celebrate Mom's special day with The Very Hungry Caterpillar in this colorful book featuring Eric Carle's joyful illustrations. Show Mom just how much she means with this colorful book from the World of Eric Carle. Join The Very Hungry Caterpillar as he honors Mother's Day and celebrates incredible parents everywhere. With joyful illustrations and colorful creatures, this charming keepsake is a great way to show parents, grandparents, soon-to-be mothers, aunts, friends, or whomever you call "Mom" just how much you care.
