Recent Event Highlights: Wellington - Beyond the facade (Part 2), Wellington ( New Zealand ) - beyond the facade (Part 1), Next Page: A peek at Pittsburgh's post-industrial peers, robot invasion art of nikola bozovic in zvono art gallery, Post-Industrial Chic - Bicocca (Milan), Culture and the city, and 17 more...
Created by dipity on Feb 8, 2009
Last updated: 10/04/09 at 02:41 PM
Assumption 1 The Debate is over about Peak Oil and Climate change for the informed. Assumption 2 Popular culture has not acknowledged Assumption 1 Assumption 3 The implications of peak oil are understood by very few. Assumption 4 The real problem is the industrial / post industrial society with its consumer paradigm. We are living in a time of peak resources not just peak oil. Assumption 5 Overpopulation is now a runaway train and overpopulation is a consequence of cheap energy Assumption ...
como suplemento ao seu livro Design and Crime (2002). - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Design acquired in the industrialized societies a strong role of seduction in terms of esthetics, on everyday life, in all its distinct parameters. The personages of the videos ONLY REAL LIFE IS BETTER and DEADPAN are a metaphor of the contemporary society who idolizes the superficiality symbolized by fashion and design. Hal Foster, main theoretical ...
A bipedal tour of Wellington's southern ward with Councillor Pepperell. Come with Pepp as he encounters community minded locals in his daily endeavours. The transition from hill suburb Mornington to the fringe of the CBD, offers an illuminating insight into the post-industrial culture of Wellington city. ... Wellington Carbon-Free Bryan Pepperell WCC
A bipedal tour of Wellington's southern ward with Councillor Pepperell. Come with Pepp as he encounters community minded locals in his daily endeavours. The transition from hill suburb Mornington to the fringe of the CBD, offers an illuminating insight into the post-industrial culture of Wellington city. ... Wellington Carbon-Free
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...heritage . Now a major tourist attraction, Zollverein is a dramatic statement of the value this region places on its industrial culture. The Pittsburgh group was in awe. (We have those seven smokestacks in Homestead, we reminded one another. And there is the...
Source Info
Pittsburgh Post-Gazette
http://www.post-gazette.com/pg/09228/991004-109.stm?cmpid=news.xml
all the fields of applied arts from tapestries, needlepoint and intarsions, through tableware and decorative plastics on façades, to illustrations or, lets say, fabric patterns, robots are their substitutes or equivalents in the mass culture of the postindustrial, information era. Angels being replaced by robots this could be understood as a paradigmatic civilization turn in which robots are assuming the role of the angels of the new world order. ... "Art Safari of robots" "(extrait) yong ...
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...by car WHY? Multiple colleges in the immediate area make this bustling town a bastion of culture in Massachusetts's post-industrial Pioneer Valley. MUST DO Amherst and Springfield are both nearby, but unlike a lot of college towns, Northampton is not dominated...
Source Info
New York Post
http://www.nypost.com/seven/05152009/entertainment/travel/_19_northampton__massachusetts_169095.htm
directs the Simpson Center for the Humanities which established the digital humanities as a key initiative in 2005. She is the author of the forthcoming Statistical Panic: The Cultural Politics and Poetics of the Emotions and editor of The Myths of Information: Technology and Postindustrial Culture. She serves on the steering committee of HASTAC (Humanities, Arts, Science, and Technology Advanced Collaboratory) and the international advisory board of the Consortium of Humanities Centers and ...
Architectural historian David Brownlee traces the long development of Philadelphia's answer to the Champs Elysee. Planned as reflection of this city's role as a national cultural leader, the Parkway illustrates how Philadelphia has learned to blend the old with the new, the industrial with the post-industrial.
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...Culture and Afroamerican and African Studies, University of Michigan "Greek Gods in Baltimore: Ancient Tragedy and the Post-industrial American City" Chris Love, Lecturer, Comparative Literature, University of Michigan "Parallax Viewing, or Throwing Rocks...
Source Info
NewBlackMan
Related Topics
http://newblackman.blogspot.com/2009/01/aint-no-lovechatting-up-wire.html
The Boggs Center to Nurture Community Leadership has begun monthly transformational conversations to explore how movement activists are challenged by the obvious inability of the power structure to resolve the concurrent crises of global warming, two wars in the Middle East, and economic meltdown, to develop strategies that go beyond opposition and protest. Forty people participated in our first meeting on December 12 to discuss (in small groups) "From Opposition to Alternatives: PostIndustrial Potentials and Transformative Learning" by Brian Mulani. We began with this article because it provides the kind of evolutionary/dialectical analysis of revolutionary struggle that we need at this time. The article is included in Expanding The Boundaries Of Transformative Learning: Essays on Theory and Praxis, Palgrave, 2002, a fascinating collection by twenty (mainly Canadian) activists and educators who believe that we are at a turning point in history when saving our planet and all life on earth requires not only that we live more simply but that we also repudiate the single-minded pursuit of economic growth which has led our country, since its founding, to enslave blacks, commit genocide against Native Americans, and treat Nature only as a resource. Most of us view the identity movements of the 60s and 70s as anti-discrimination struggles by particular groups. Milani suggests that we view them as a series that, one by one, triggered another struggle until a majority of Americans were engaged in struggling against any limitation of human potential on the basis of class, race, gender, sexual orientation or disability, becoming what he calls "New Productive Forces" (NPFs). Thus, beginning with the Montgomery Bus Boycott,in 1955, southern blacks, urban blacks, anti-war activists, women, gays, lesbians, chicanos, Asian Americans, Native Americans, the disabled, created a new vision of human potential and the importance of community. Next, in the anti-globalization struggles of the1990s, the Zapatistas and NPFs began a new stage of movement building. Connecting with one another in the "Battle of Seattle," in Quebec, Prague, Genoa etc., they began to forge affinity groups and other new, more participatory methods of struggle. However, when the Iraq War began, this embryonic movement, not yet including the ecology movement, was aborted by anti-war struggles which reverted to the pre-1960s vanguard type methods of mobilizing faceless masses to protest the war and put pressure on the state to end it, Now, however, the concurrent crises of global warming, economic meltdown, and wars in the Mideast provide the opportunity for the movement of the 1990s to re-emerge on a higher level. Milani, who is a carpenter as well as an educator, also explains how the evolution of Work and Culture since Marx and Lenin requires changes in revolutionary strategy. In the 19th and early 20th centuries the average worker was mostly a "Cog laborer," doing monotonous, repetitive and mind-numbing labor. Production was mainly of material goods. So revolutionary struggles were around quantitative issues: hours of work, wages, and the redistribution of profits or material wealth. Cog laborers also depended on liberal and leftist parties to represent them politically because they lacked the time and skills to do their own politics. However, as Work in the late 20th and early 21st centuries has become more service-oriented, relational, and producing cultural goods like radio and films, it engages the minds and imaginations of workers. So today's struggles are more around quality of life and relationship issues. Workers who use their minds and imaginations on their jobs are also more able to think and speak for themselves, making a more participatory democracy possible and leftist and liberal parties redundant. In the 19th and early 20th centuries revolutionary strategy was directed towards gaining control of the means of production and/or the state. Nowadays our struggles are mainly to realize our human potential and to meet our profound need for community, for rootedness in place and for a sense of the sacred. These human needs are not dependent on achieving state power or control of the means of production. To fulfill them we don't need hierarchical leadership or politicians to represent us. Their realization depends on our embracing the power we have within ourselves to relate to and care for one another in the conduct of our daily lives. Thus, as Jenny Lee from the Detroit Summer Collective pointed out during the December 12 discussion, Milani concludes his article with proposals for community building remarkably similar to those already under way in Detroit City of Hope. **** Mulani's essay can be read on the Boggs Center website www.boggscenter.org/html/transformational_conversations.shtml
Meeting with the Finalists of the Student Essay Competition My Home, My City, My Country.Part 5 June 5, 2003 The Kremlin, Moscow Беседа с финалистами конкурса «Мой дом, мой город, моя страна» 5 июня 2003 года Москва, Кремль QUESTION: You have already mentioned the demographic problem for our country. What kind of assistance will be rendered to young families? VLADIMIR PUTIN: Support of young families and motherhood is very important. Look, even the countries which regard it as a priority and allocate massive resources still cannot solve the demographic problem. The more money such countries as France and Sweden allocate the worse the demographic situation, the older the age when women decide to have a child. Its the so-called deferred child problem. I think they give birth to the first child at 2829. It means that the chances of a second and a third child being born are diminished. The better the pension system the lower the birth rate. It is odd, but it is a fact. Population experts have their explanation for that phenomenon. In China they have no pension system, they do not pay pensions to anyone. So it causes people to think how they will live in old age, who will support them and how. I think this is just one incentive for having large families. Just like in Germany and in Russia they had large families, ten and more, in the 19th and early 20th century. Land was plentiful, it needed to be tilled and working hands were needed. The economic conditions encouraged people to have large families. In the modern post-industrial society much has changed: there are other incentives and other interests. To be successful you need to have a good education and then further education. It is only then that a person feels free and ready to assume responsibility for a family and children. And that only happens after the age of 25. That is true of the Western countries. We can hardly answer all these questions today, they are too complicated. But one thing is clear: in any case we must pay attention to the family, to childhood and young families, especially by providing them with housing. The key thing here is to develop the mortgage system. We have made some early timid steps in this direction. Not a large amount of money, but the mechanism must be gradually put on track. It will operate effectively not through the Governments efforts to introduce the mortgage system, but due to improved macroeconomics in Russia. It will happen when interest rates on loans are small and the average incomes are decent so that the banks are not afraid to issue mortgage loans. That process is well underway in some regions. It will gradually develop all over the country.QUESTION: Is there anything the President would very much like to do but cant? VLADIMIR PUTIN: What cant the President do? The President cannot go beyond the Constitution of the Russian Federation. But sometimes the temptation to do so is great.QUESTION: Dont you think that the President is too much in the limelight? I would hate to use the word personality cult, but stillVLADIMIR PUTIN: You know that today in our country it is, to use the trendy word, a popular brand which can be used to make money. So, everybody is doing it with varying degrees of success, some in a suave way and some more crudely. It depends on the overall level of political culture in the country. Time is needed for everything to click into its proper place, as in developed democracies.
From the CD Terroir Blues I will wat for you in the green, green spaces, Wearing our post-industrial faces. Side by side sit the trashpile twin, And the eleventh century center of the Misissippian, With the calender of the sun, A people undone. Ceremonial mounds in the backyards and towns, That's the way it runed out. A city built up on the other great mound torn down, That's the way it happened. A culture on the run, They vanished in the sun, The Mississippian. Forward and on we go, Building our mounds out of control, Full of our finest throw away things. The new Mississippians, Under a smog choked sun, Waiting to be undone.
About the musical/electronical influence of post-industrial culture.
http://images.google.com.sg/imgres?imgurl=http://sonicasymmetry.files.wordpress.com/2008/09/konstruktivists1.jpg&imgrefurl=http://sonicasymmetry.wordpress.com/category/1980s/&usg=__sMdPP9VRkIZHaLoRkof1j3sqU6I=&h=1836&w=1852&sz=668&hl=en&start=2&sig2=ssM9bGfdfv0yS2VK-dHKnA&um=1&tbnid=6kF6Djnm3AR0rM:&tbnh=149&tbnw=150&ei=Q-COSZ6IIYPDkAW3wcmwDA&prev=/images%3Fq%3Dpost-industrial%2Bculture%26um%3D1%26hl%3Den%26client%3Dfirefox-a%26rls%3Dorg.mozilla:en-US:official%26sa%3DN
1 July 2008 KiwiSaver will massively under deliver to all those Kiwi's that have joined and contribute their money to it. KiwiSaver is celebrating it's first anniversary. The Government says it has 2 and half times more savers signed up than it dreamed of a year ago. There are now more than 700,000 members. ####### M. King Hubbert, a petroleum geologist employed by Shell Oil Co., described peak oil in 1956. Production of crude oil, like the production of many non-renewable resources, follows a bell-shaped curve. The top of the curve is termed "peak oil," or "Hubbert's peak," and it represents the halfway point for production. The bell-shaped curve applies at all levels, from field to country to planet. After discovery, production ramps up relatively quickly. But when the light, sweet crude on top of the field runs out, increased energy and expense are required to extract the underlying heavy, sour crude. At some point, the energy required to extract a barrel of oil exceeds the energy contained in barrel of oil, so the pumps shut down. Most of the world's oil pumps are about to go into serious decline. We have sufficient supply to keep the world running for 30 years or so, at the current level of demand. But that's irrelevant because the days of inexpensive oil are behind us. And the American Empire absolutely demands cheap oil. Never mind the 3,000-mile Caesar salad to which we've become accustomed. Cheap oil forms the basis for the 12,000-mile supply chain underlying the "just-in-time" delivery of plastic toys from China. There goes next year's iPod. In 1956, Hubbert predicted the continental United States would peak in 1970. He was correct, and the 1970s gave us a small, temporary taste of the socio political and economic consequences of expensive oil. We passed the world oil peak in 2005, and we've been easing down the other side by acquiring oil at the point of a gun -- actually, guns are the smallest of the many weapons we're using -- paying more for oil and destroying one culture after another as the high price of crude oil forces supply disruptions and power outages in Third World countries. The world peaked at 74.3 million barrels per day in May 2005. The two-year decline to 73.2 million barrels per day produced a doubling of the price of crude. Later this year, we fall off the oil-supply cliff, with global supply plummeting below 70 million barrels/day. Oil at merely $100 per barrel will seem like the good old days. Within a decade, we'll be staring down the barrel of a crisis: Oil at $400 per barrel brings down the American Empire, the project of globalization and water coming through the taps. Never mind happy motoring through the never-ending suburbs in the Valley of the Sun. In a decade, unemployment will be approaching 100 percent, inflation will be running at 1,000 percent and central heating will be a pipe dream. In short, this country will be well on its way to the post-industrial Stone Age. After all, no alternative energy sources scale up to the level of a few million people, much less the 6.5 billion who currently occupy Earth. Oil is necessary to extract and deliver coal and natural gas. Oil is needed to produce solar panels and wind turbines, and to maintain the electrical grid. Ninety percent of the oil consumed in this country is burned by airplanes, ships, trains and automobiles. You can kiss goodbye groceries at the local big-box grocery store: Our entire system of food production and delivery depends on cheap oil. If you're alive in a decade, it will be because you've figured out how to forage locally. We have come to depend on cheap oil for the delivery of food, water, shelter and medicine. Most of us are incapable of supplying these four key elements of personal survival, so trouble lies ahead when we are forced to develop means of acquiring them that don't involve a quick trip to K-Mart. On the other hand, the forthcoming cessation of economic growth is truly good news for the world's species and cultures. In addition, the abrupt halt of fossil-fuel consumption may slow the warming of our planetary home, thereby preventing our extinction at our own hand. Our individual survival, and our common future, depends on our ability to quickly make other arrangements. We can view this as a personal challenge, or we can take the Hemingway out. The choice is ours. For individuals interested in making other arrangements, it's time to start acquiring myriad requisite skills. Painful though it might be, it's time to abandon the cruise ship of empire in exchange for a lifeboat.
The Bicocca quarter has been synonymous with industry ever since Pirelli pumping out tires there at the beginning of the twentieth century. Pirelli itself has been the promoter of the area's redevelopment project, assigned to the Gregotti Associati International studio and including many culture-related architectural interventions. Developers have been attempting to convert postindustrial areas into fruitful social nodes all over the world. The cheap real estate and governmental support making it easy for them to try and make a few bucks. Mission by carola annoni, ines coelho Look at this mission also on Check-in Architecture website http://www.checkinarchitecture.com/mission/98 , on Minispace http://www.minispace.com/it_it/projects/check-in-architecture/missions/single/Post-Industrial-Chic---Bicocca/98/ or on Google Earth http://www.checkinarchitecture.com/index/earth/mission/98.kml
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...say, or Sheffield, or Liverpool. Any city in the UK, in fact, that has attempted, or is, attempting, after a period of post-industrial decline, to get back on its feet using enhanced cultural provision as a principal crutch. Since the New Labour landslide...
Source Info
New Statesman
http://rss1.mediafed.com/feed/newstatesman/arts_and_culture/?link=a0ac52d80f72d8b90f6f165fa5f6ceaa
In 1976 four young men from ruined, post-industrial Manchester, England went to see the Sex Pistols. They formed a band, Joy Division. Three years later it was a matter of art, life and death. Now thirty years later, they are enjoying a larger audience and more influence than ever before with a profound legacy that resonates fiercely in today's heavily careerist music industry and over-mediated pop culture.
Ep. 1 ICONS AND OPPORTUNITIES Disclaimer: This video remains the property of ABC TV and is available to download from: http://www.abc.net.au/tv/notquiteart/ Why do we spend far more money building sterile palaces to dead artists and their artifacts than supporting living ones? Presenter Marcus Westbury travels to his home town of Newcastle, Australia where the cultural vision looks a lot like a real estate development. He then takes a trip to the Scottish city of Glasgow, where DIY culture has transformed an post-industrial casualty to a hub of happening culture in Europe. Marcus puts forward the question of whether you can buy culture by building an iconic building or even franchising a McLouvre or McGuggenheim? Or is culture a messy, dirty thing that comes from the bottom up, refuses to behave, is borderline illegal and breaks a lot of occupational health and safety rules?
Ep. 1 ICONS AND OPPORTUNITIES Disclaimer: This video remains the property of ABC TV and is available to download from: http://www.abc.net.au/tv/notquiteart/ Why do we spend far more money building sterile palaces to dead artists and their artifacts than supporting living ones? Presenter Marcus Westbury travels to his home town of Newcastle, Australia where the cultural vision looks a lot like a real estate development. He then takes a trip to the Scottish city of Glasgow, where DIY culture has transformed an post-industrial casualty to a hub of happening culture in Europe. Marcus puts forward the question of whether you can buy culture by building an iconic building or even franchising a McLouvre or McGuggenheim? Or is culture a messy, dirty thing that comes from the bottom up, refuses to behave, is borderline illegal and breaks a lot of occupational health and safety rules?
Ep. 1 ICONS AND OPPORTUNITIES Disclaimer: This video remains the property of ABC TV and is available to download from: http://www.abc.net.au/tv/notquiteart/ Why do we spend far more money building sterile palaces to dead artists and their artifacts than supporting living ones? Presenter Marcus Westbury travels to his home town of Newcastle, Australia where the cultural vision looks a lot like a real estate development. He then takes a trip to the Scottish city of Glasgow, where DIY culture has transformed an post-industrial casualty to a hub of happening culture in Europe. Marcus puts forward the question of whether you can buy culture by building an iconic building or even franchising a McLouvre or McGuggenheim? Or is culture a messy, dirty thing that comes from the bottom up, refuses to behave, is borderline illegal and breaks a lot of occupational health and safety rules?
"Venimos de Marte, ¿de Marte de quién?". "Los marcianos llegaron ya y llegaron bailando el ricachá. Ricachá, ricachá, ricachá así llaman en marte el cha cha cha". Dr. Octagon says: "Earth people, New York & California, I'm from Jupiter". A very strange pick up truck with sixteen hydraulic systems has been sighted close to the San Ysidro border. Images of extraterrestrial phallic creatures drinking beer or in revolutionary outfits can be seen in Tijuana. 39 earthlings got black Nike sneakers before crossing the gate to heaven in Rancho Santa Fe, San Diego. Others haven't been that lucky and have been deported. The dystopian deconstruction of modernism is what we call desmothernismo from the word desmadre in our mother tongue. Salvador Chava Muñoz (radical bed dance world champion four years in a row) from San Ysidro altered the shape and the function of his car to an extreme where it is hard to recognize it at all. His research locates him in the avant garde of low rider culture. The Chevy Impala is the classic and revered mechanic icon and fetish of cold war post industrial America. The tradition dictates not to worship other makes. You shall alter the function but not the shape of the Chevy Impala. Nobody is a prophet in its own planet. Pablo Ruiz Picasso had to leave Spain and settle in Paris in 1904 in order to break with tradition and the original form. As an outsider he was free to break Brunelleschi's laws of perspective and the notions of French good painting. He finally developed cubism and simultaneity in the picture plane. Picasso was an alien. The other most influential artist of the twentieth century had to migrate not to Paris but from it. After producing several canvases in the current mode of Fauvism, Marcel Duchamp turned toward experimentation and the avant-garde, producing his most famous work, Nude Descending a Staircase, number 2 in 1912; portraying continuous movement through a chain of overlapping cubistic figures, the painting caused a furor at New York City's famous Armory Show in 1913. Marcel Duchamp finally settle in New York and became a U S citizen in 1955. Duchamp was an alien. Aliens have played an essential role even in the development of nationalistic art. The influence of Edward Weston and Tina Modotti was essential in the developing of a Mexican renaissance after the Mexican revolution. A second renaissance is happening there right now with the new arrival of artists from Europe, Cuba and the U.S. Salvador Muñoz is an alien. He came from Jalisco to California. As an outsider from the low rider community he was able to free himself from the classicism of the Chevy Impala. He is a self taught iconoclast. He transformed a 1973 Nissan pick-up truck into "Wicked Bed". The bed of the truck rises and spins opening itself in four independent parts. The doors shut out and spin fast while the hood jumps off and spins too. The front of the truck separates itself from the back and drives around independently while the rest of the car dances. Like some sort of doctor Frankestein he has given life to this aggresive irrational machine. The future is happening and is out of control like a mutated virus. Technology has been appropiated and used in seductive unexpected ways. It has become a tool of culture jamming and resistance in the streets. Barrio ballet mechanique. Desmothernismo. Cultural exchange is essential in the development of new forms of art and expression. Migration implies cultural exchange. Therefore it is an essential factor in the development of a cosmopolitan avant garde. This certainly locates California in a privileged position to become an important cultural center. Take me to your leader!! We come in peace. Guess what? We don't need any leaders.
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...that summer was the centre of the western world. It would be a brave Mancunian who made that case today. But after its post-industrial nadir - culminating in the Arndale bombing in 1996 - Manchester's renaissance has proved Britain's most remarkable urban...
Source Info
Guardian Unlimited
http://www.guardian.co.uk/britain/article/0,,2183046,00.html?gusrc=rss&feed=11
My critique of popular culture. The video serves two purposes. My first goal was to draw upon the Frankfurt School's idea of Culture Industry (which Rage so eloquently articulates in "No Shelter"), and create a connection between consumption (pop culture), a militaristic foreign policy, and terrorism. I had been grappling with the concept of subversion. In postindustrial capitalism, a subversive idea poses no real threat to the status quo. Something that is anti-establishment can only reach critical mass by way of the market, therefore it's growth is its own undoing. Take for instance Rage Against the Machine. Its message is clearly anti-capitalist, anti-imperialist and anti-American in the hegemonic sense of the term. Theoretically, Rage could serve as a catalyst for revolution, raise class-consciousness and open the eyes of the disenfranchised. Yet, as Rage's message picks up steam, its channels of distribution begin to change. Rage is now a music video, a poster, a product of the culture industry. The market appropriates Rage's message, repackages it and sells it devoid of its initial subversiveness. The classic example of this is the commodification of the iconic image of Che. What once was the face of revolution is now no more than a hat, or t-shirt; a testament to globalization as it is most likely made in China. Onto my second goal. I was left a bit disillusioned, having realized that no counter-cultural or anti-estabilshment movement can withstand the all mighty market. It occurred to me that something could only be subversive if it works in the reverse manner of the market. I would reappropriate existing products of the culture industry and use them against itself. This entire video is all footage from television and film which I downloaded off of Limewire or off the web. ¬ î√
From Soul Jazz (UK): A Certain Ratio was one of the first groups to sign to the legendary Factory Records in Manchester. Whilst many people credit New Order and The Happy Mondays as the groups who brought Dance music into the sound of Manchester (later Madchester!), it is in fact ACR who were there in the beginning. Formed in 1978, the initial line-up comprised Simon Topping (vocals), Martin Moscrop (guitar and trumpet), Peter Terrell (tape loops) and Jeremy Kerr (bass). Their debut seven-inch "All Night Party" was Factory Records fifth release. Soon after this Donald Johnson joined on drums. After a cassette only release "The Graveyard and The Ballroom" containing early versions of future ACR classic tracks like "Do The Du" and "Flight". After this came "Shack Up". This single originally came out in Belgium, on a new Belgium subsiduary, Factory Benelux, and consequently was only available on import. This release became an underground dance record in New York (Billboard chart position 52!). This would lead to their first gigs in New York at places like Danceteria and The Roxy. On their first gig in New York they were supported by a young Madonna! "Shack Up" had originally been recorded by Banbarra in the US and had been a Northern Soul/Funk favourite in the UK. Unlike many bands of this period, ACR were happy to mix the two traditions of their collective Manchester upbringing (Punk and Northern Soul). "Shack Up" manages to be one of Punk's funkiest ever products dancefloor material, sly humour, and Northern post-industrial alienation all in one go! ACR was the first UK band after Punk to record in America. This signified a shift in focus of many UK bands as they started to look towards American music and culture for inspiration. The album "To Each" was recorded in New Jersey in 1980. Produced by Martin Hannett, the sound was a mix of urban US Funk/Dance music rhythms with a cold, isolated Northern sound that made it sound unique. It was here that ACR came into closer contact with their influences. After completing the LP they invited New York group ESG (who they had recently played with) to use their remaining free studio time to record some material. This resulted in the first ESG release, which came out on Factory in the UK and 99 Records in the US. These tracks were the revolutionary "Moody", "UFO" and "You're No Good". It was while in New York that ACR first came across new musical styles. ACR first heard Nu Yorican Latin percussion Street music in Central Park. The following day ACR brought Bongos, Whistles, Congas and a Cuica and didn't look back! By the time of their next album "Sextet", ACR had all the ingredients of their sound in place. "Gum", "Knife Slits Water" "Skipscada" are from this album. At this time ACR would end their live sets with a ten-minute percussion workout (that would become Si Firmo O Grido) and had also taken to wearing Brazilian Football gear on stage! By the time their next album "I'd like To See You Again" was released, Factory Records had in a sense come round to ACR's musical philosophy. Rather than ACR falling in line with Factory's grey-trenchcoat set, the opposite was true. The front cover of "I'd Like To See You Again" showed the band standing in Factory's new pride and joy, the Hacienda night-club. Factory was re-inventing itself as purveyors of Dance culture, with Joy Division changed into the more dance-orientated New Order (after the death of singer Ian Curtis) and The Happy Mondays, Madchester and rave culture still to come. At this time ACR were still moving into new areas such as the arch Disco/Funk of tracks like "Touch". Shortly after this Simon Topping decided to leave the group to study Congas in New York. Tony Quigley was brought in on Saxophone and Andy Connell on keyboards. Tony was also a member of Manchester Jazz/Funk group Kalima, and this led to many ACR members also moonlighting in Kalima. Many new Manchester dance bands sprang up at this time. Simon Topping went on to form T-Coy with Mike Pickering who would later find fame in M-People. Andy Connell would also later find worldwide success with his pop group Swing Out Sister! At this period the once mighty Factory Records was beginning to fall apart. After ACR recording one more record for Factory (Force), Factory closed under the weight of crippling costs from The Hacienda and New Order and Happy Mondays recording costs (The Mondays ran up a bill of a quarter of a million pounds in the Bahamas!). More info and purchasing can be found at... http://www.souljazzrecords.co.uk/releases/?id=152
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...a culture, a range of likelihoods. This goes against the typical librarian here’s-your-resource grain, but as we go from a post-industrial culture towards a pure information culture, just saying “No that email isn’t really from an eBay user.” doesn’t really...
Source Info
librarian.net
http://www.librarian.net/stax/1729
Excerpt
...skyrocketed. And it continues to grow at an ever expanding rate. This has done a great deal to enrich our current post-industrial civillization, and the humble coffee bean has proven itself to be a for all manners of high culture. Remember...
Source Info
Samizdata.net
http://www.samizdata.net/blog/archives/2006/03/coffee_and_the.html
It is an essay discussing the rise of countries like china in the new century and how their economic influence produces issues of social justice, production problems, and different system in societies.
http://www.ghandchi.com/427-AlternativeIncomeEng.htm
Information about how society deals with the changing culture brought forth by industrialization.
http://evatt.org.au/news/99.html
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