User:Thijshijsijsjss/Gossamery/60-songs-that-explain-the-90s - Revision history

Thijshijsijsjss: Use different date notation

2024-05-22T10:52:20Z

Use different date notation

← Older revision		Revision as of 12:52, 22 May 2024
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	===103: Fugazi, Merchandise===		===103: Fugazi, Merchandise===
	*Listened to on 17-02-~~2024~~		*Listened to on 2024-02-17
	*Listen to it [https://www.theringer.com/2023/8/9/23825198/fugazi-rites-of-spring-minor-threat-emo-embrace-history here]		*Listen to it [https://www.theringer.com/2023/8/9/23825198/fugazi-rites-of-spring-minor-threat-emo-embrace-history here]

Thijshijsijsjss: Use different date notation

2024-05-22T10:52:02Z

Use different date notation

← Older revision		Revision as of 12:52, 22 May 2024
Line 2:		Line 2:

	===108: Portishead, Glory Box===		===108: Portishead, Glory Box===
	*Listened to on 15-02-~~2024~~		*Listened to on 2024-02-15
	*Listen to it [https://www.theringer.com/2023/11/8/23952013/60-songs-that-explain-the-90s-portishead-glory-box here]		*Listen to it [https://www.theringer.com/2023/11/8/23952013/60-songs-that-explain-the-90s-portishead-glory-box here]

Thijshijsijsjss: Add $

2024-05-08T10:39:15Z

Add $

← Older revision		Revision as of 12:39, 8 May 2024
Line 24:		Line 24:
	It's August 2023 and I'm in Samara, Costa Rica, on the phone with my good friend Mats who has been researching cyberpunk as an aesthetic, a medium and a vision. He asks: 'beschouw jij jezelf <i>punk</i>?'		It's August 2023 and I'm in Samara, Costa Rica, on the phone with my good friend Mats who has been researching cyberpunk as an aesthetic, a medium and a vision. He asks: 'beschouw jij jezelf <i>punk</i>?'

	XPUB has some very obvious connections to punk (the DIY mindset and the critical stance towards big corp), and I have found an exploration of punk movements to be very insightful for the course. This podcast episode is about Fugazi. Many anecdotes serve as a reality check, for example their policy of self-distribution, 5,- concert tickets and no merchandise (see even [https://hub.xpub.nl/bootleglibrary/read/333/pdf the bootleg library]), which are policies easily translatable to publishing and design practises (e.g. self-publishing, pay-what-you-can rates, and the tension of creating cutesy stickers to make up for any missed revenue streams). But at the same time, it reminds me of the continued relevance of why these policies are in place. And while a self-published product can sometimes feel small, it is exciting and empowering that I -- a person of a different generation, a different country, a different context all araound -- can find meaning in products that found their existance in a similar way, with similar intent, 40 years later.		XPUB has some very obvious connections to punk (the DIY mindset and the critical stance towards big corp), and I have found an exploration of punk movements to be very insightful for the course. This podcast episode is about Fugazi. Many anecdotes serve as a reality check, for example their policy of self-distribution, $5 concert tickets and no merchandise (see even [https://hub.xpub.nl/bootleglibrary/read/333/pdf the bootleg library]), which are policies easily translatable to publishing and design practises (e.g. self-publishing, pay-what-you-can rates, and the tension of creating cutesy stickers to make up for any missed revenue streams). But at the same time, it reminds me of the continued relevance of why these policies are in place. And while a self-published product can sometimes feel small, it is exciting and empowering that I -- a person of a different generation, a different country, a different context all araound -- can find meaning in products that found their existance in a similar way, with similar intent, 40 years later.

	In [[User:Thijshijsijsjss/Notes_on_SI23\|the current special issue]], we have taken an unexpected turn into game development. In this project, I am reminded again why this is so interesting to me. After listening to this episode and returning to class, I am for the first time trying to apply view the (indie) game industry through the lenses of these mentalities. I absolutely dare not fantasize about graduation projects yet (but there is some potential there...).		In [[User:Thijshijsijsjss/Notes_on_SI23\|the current special issue]], we have taken an unexpected turn into game development. In this project, I am reminded again why this is so interesting to me. After listening to this episode and returning to class, I am for the first time trying to apply view the (indie) game industry through the lenses of these mentalities. I absolutely dare not fantasize about graduation projects yet (but there is some potential there...).

Thijshijsijsjss: Specify a location

2024-05-08T10:38:25Z

Specify a location

← Older revision		Revision as of 12:38, 8 May 2024
Line 22:		Line 22:
	*Listen to it [https://www.theringer.com/2023/8/9/23825198/fugazi-rites-of-spring-minor-threat-emo-embrace-history here]		*Listen to it [https://www.theringer.com/2023/8/9/23825198/fugazi-rites-of-spring-minor-threat-emo-embrace-history here]

	It's August 2023 and I'm in Samara, on the phone with my good friend Mats who has been researching cyberpunk as an aesthetic, a medium and a vision. He asks: 'beschouw jij jezelf <i>punk</i>?'		It's August 2023 and I'm in Samara, Costa Rica, on the phone with my good friend Mats who has been researching cyberpunk as an aesthetic, a medium and a vision. He asks: 'beschouw jij jezelf <i>punk</i>?'

	XPUB has some very obvious connections to punk (the DIY mindset and the critical stance towards big corp), and I have found an exploration of punk movements to be very insightful for the course. This podcast episode is about Fugazi. Many anecdotes serve as a reality check, for example their policy of self-distribution, 5,- concert tickets and no merchandise (see even [https://hub.xpub.nl/bootleglibrary/read/333/pdf the bootleg library]), which are policies easily translatable to publishing and design practises (e.g. self-publishing, pay-what-you-can rates, and the tension of creating cutesy stickers to make up for any missed revenue streams). But at the same time, it reminds me of the continued relevance of why these policies are in place. And while a self-published product can sometimes feel small, it is exciting and empowering that I -- a person of a different generation, a different country, a different context all araound -- can find meaning in products that found their existance in a similar way, with similar intent, 40 years later.		XPUB has some very obvious connections to punk (the DIY mindset and the critical stance towards big corp), and I have found an exploration of punk movements to be very insightful for the course. This podcast episode is about Fugazi. Many anecdotes serve as a reality check, for example their policy of self-distribution, 5,- concert tickets and no merchandise (see even [https://hub.xpub.nl/bootleglibrary/read/333/pdf the bootleg library]), which are policies easily translatable to publishing and design practises (e.g. self-publishing, pay-what-you-can rates, and the tension of creating cutesy stickers to make up for any missed revenue streams). But at the same time, it reminds me of the continued relevance of why these policies are in place. And while a self-published product can sometimes feel small, it is exciting and empowering that I -- a person of a different generation, a different country, a different context all araound -- can find meaning in products that found their existance in a similar way, with similar intent, 40 years later.

	In [[User:Thijshijsijsjss/Notes_on_SI23\|the current special issue]], we have taken an unexpected turn into game development. In this project, I am reminded again why this is so interesting to me. After listening to this episode and returning to class, I am for the first time trying to apply view the (indie) game industry through the lenses of these mentalities. I absolutely dare not fantasize about graduation projects yet (but there is some potential there...).		In [[User:Thijshijsijsjss/Notes_on_SI23\|the current special issue]], we have taken an unexpected turn into game development. In this project, I am reminded again why this is so interesting to me. After listening to this episode and returning to class, I am for the first time trying to apply view the (indie) game industry through the lenses of these mentalities. I absolutely dare not fantasize about graduation projects yet (but there is some potential there...).

Thijshijsijsjss: Change capitalization

2024-05-08T10:37:33Z

Change capitalization

← Older revision		Revision as of 12:37, 8 May 2024
Line 16:		Line 16:
	* The chopchop oracle: presenting a welcome message randomly selected from a pool of diverse samples.		* The chopchop oracle: presenting a welcome message randomly selected from a pool of diverse samples.

	This podcast episode reinforced this already growing interest and fascination. I guess you start to notice more examples, when you start to look for them. Having a character share their name with a book's author, for example, a decently 'common' technique in literature (and in my experience especially in Dutch literature (E.g. Blauwe Maandagen, Grand Hotel Europa, Hedonia, ..., but also		This podcast episode reinforced this already growing interest and fascination. I guess you start to notice more examples, when you start to look for them. Having a character share their name with a book's author, for example, a decently 'common' technique in literature (and in my experience especially in Dutch literature (e.g. Blauwe Maandagen, Grand Hotel Europa, Hedonia, ..., but also Everything Is Illuminated)). Film can do this too (e.g. Curb your Enthusiasm). For a seemingly small thing, this carries a tremendous power in engaging the consumer. What is real and what is fiction? Embracing this ambiguity primes the consumer for a real engaged connection.
	Everything Is Illuminated)). Film can do this too (e.g. Curb your Enthusiasm). For a seemingly small thing, this carries a tremendous power in engaging the consumer. What is real and what is fiction? Embracing this ambiguity primes the consumer for a real engaged connection.

	===103: Fugazi, Merchandise===		===103: Fugazi, Merchandise===

Thijshijsijsjss: Add an example of a book with the narrator sharing their name with the author

2024-03-29T18:52:03Z

Add an example of a book with the narrator sharing their name with the author

← Older revision		Revision as of 20:52, 29 March 2024
Line 16:		Line 16:
	* The chopchop oracle: presenting a welcome message randomly selected from a pool of diverse samples.		* The chopchop oracle: presenting a welcome message randomly selected from a pool of diverse samples.

	This podcast episode reinforced this already growing interest and fascination. I guess you start to notice more examples, when you start to look for them. Having a character share their name with a book's author, for example, a decently 'common' technique in literature (and in my experience especially in Dutch literature (E.g. Blauwe Maandagen, Hedonia, ..., but also		This podcast episode reinforced this already growing interest and fascination. I guess you start to notice more examples, when you start to look for them. Having a character share their name with a book's author, for example, a decently 'common' technique in literature (and in my experience especially in Dutch literature (E.g. Blauwe Maandagen, Grand Hotel Europa, Hedonia, ..., but also
	Everything Is Illuminated)). Film can do this too (e.g. Curb your Enthusiasm). For a seemingly small thing, this carries a tremendous power in engaging the consumer. What is real and what is fiction? Embracing this ambiguity primes the consumer for a real engaged connection.		Everything Is Illuminated)). Film can do this too (e.g. Curb your Enthusiasm). For a seemingly small thing, this carries a tremendous power in engaging the consumer. What is real and what is fiction? Embracing this ambiguity primes the consumer for a real engaged connection.

Thijshijsijsjss: Thijshijsijsjss moved page User/Thijshijsijsjss/Gossamery/60-songs-that-explain-the-90s to User:Thijshijsijsjss/Gossamery/60-songs-that-explain-the-90s: Typo in page title resulted in page being part of a different namespace

2024-02-29T17:46:53Z

Thijshijsijsjss moved page User/Thijshijsijsjss/Gossamery/60-songs-that-explain-the-90s to User:Thijshijsijsjss/Gossamery/60-songs-that-explain-the-90s: Typo in page title resulted in page being part of a different namespace

← Older revision	Revision as of 19:46, 29 February 2024
(No difference)

Thijshijsijsjss: Elaborate on entry on Fugazi

2024-02-29T17:45:14Z

Elaborate on entry on Fugazi

← Older revision		Revision as of 19:45, 29 February 2024
Line 22:		Line 22:
	*Listened to on 17-02-2024		*Listened to on 17-02-2024
	*Listen to it [https://www.theringer.com/2023/8/9/23825198/fugazi-rites-of-spring-minor-threat-emo-embrace-history here]		*Listen to it [https://www.theringer.com/2023/8/9/23825198/fugazi-rites-of-spring-minor-threat-emo-embrace-history here]

			It's August 2023 and I'm in Samara, on the phone with my good friend Mats who has been researching cyberpunk as an aesthetic, a medium and a vision. He asks: 'beschouw jij jezelf <i>punk</i>?'

			XPUB has some very obvious connections to punk (the DIY mindset and the critical stance towards big corp), and I have found an exploration of punk movements to be very insightful for the course. This podcast episode is about Fugazi. Many anecdotes serve as a reality check, for example their policy of self-distribution, 5,- concert tickets and no merchandise (see even [https://hub.xpub.nl/bootleglibrary/read/333/pdf the bootleg library]), which are policies easily translatable to publishing and design practises (e.g. self-publishing, pay-what-you-can rates, and the tension of creating cutesy stickers to make up for any missed revenue streams). But at the same time, it reminds me of the continued relevance of why these policies are in place. And while a self-published product can sometimes feel small, it is exciting and empowering that I -- a person of a different generation, a different country, a different context all araound -- can find meaning in products that found their existance in a similar way, with similar intent, 40 years later.

			In [[User:Thijshijsijsjss/Notes_on_SI23\|the current special issue]], we have taken an unexpected turn into game development. In this project, I am reminded again why this is so interesting to me. After listening to this episode and returning to class, I am for the first time trying to apply view the (indie) game industry through the lenses of these mentalities. I absolutely dare not fantasize about graduation projects yet (but there is some potential there...).

Thijshijsijsjss: Eaborate on portishead entry

2024-02-29T17:17:09Z

Eaborate on portishead entry

← Older revision		Revision as of 19:17, 29 February 2024
Line 5:		Line 5:
	*Listen to it [https://www.theringer.com/2023/11/8/23952013/60-songs-that-explain-the-90s-portishead-glory-box here]		*Listen to it [https://www.theringer.com/2023/11/8/23952013/60-songs-that-explain-the-90s-portishead-glory-box here]

	To try out this podcast, I decided to listen to the episode on Dummy semi randomly. Portishead has made some really great music, naturally, and ~~it's~~ an area of music history that I'm familiar with, but not super ~~doop~~ into. So I thought this would be a good one to try out.		To try out this podcast, I decided to listen to the episode on Dummy semi randomly. Portishead has made some really great music, naturally, and they reside in an area of music history that I'm familiar with, but not super deep into. It is a rich area tough, so I thought this would be a good one to try out. In short: I was very positively surprised!
	~~yada yada gotta go now~~ and ~~will get back~~ to this ~~later~~. ~~Either way~~ I ~~was very positively surprised!~~
			A meandering opening is held together by an anecdote of the narrator: while attending Portishead's 1997 concert in the Roseland Ballroom (NYC), they got so annoyed with a cheering crowdmember, that they beat them up using the saladbar nearby. The anecdote is in and out of focus during this 30 minute introduction, setting the stage of the time with related acts, the personal experiences of the narrator, and their relationship with Portishead's music. We are fed little audo snippets of the event, accompanying little snippets of the anecdote. We learn that the narrator was never there. But still, they were there and they beat up this audience member. It sounds gruesome, but it is told is such a caring manner. More and more, we learn that this all just a fiction. And then, the episode gets introduced and the intro is over.

			I was in awe. The extent to which the narrator developed this fiction, only set the scene. The storytelling, masterfully interwoven with audio segments, making for a seamless* podcast experience.

			In [[User:Thijshijsijsjss/Notes_on_SI23\|Special Issue 23]], I have become increasingly interested in the power of fictionalization. Examples seen in this SI include:
			* ''Documenting through Dialogue'' https://www.metamute.org/sites/www.metamute.org/files/pml/irational-orgs-traum.pdf/
			* [https://solarpunk.cool/zines/map-is-the-territory/ Map is the territory], a digital zine intended as an introduction to the command line in wizardly fashion.
			* The chopchop oracle: presenting a welcome message randomly selected from a pool of diverse samples.

			This podcast episode reinforced this already growing interest and fascination. I guess you start to notice more examples, when you start to look for them. Having a character share their name with a book's author, for example, a decently 'common' technique in literature (and in my experience especially in Dutch literature (E.g. Blauwe Maandagen, Hedonia, ..., but also
			Everything Is Illuminated)). Film can do this too (e.g. Curb your Enthusiasm). For a seemingly small thing, this carries a tremendous power in engaging the consumer. What is real and what is fiction? Embracing this ambiguity primes the consumer for a real engaged connection.

	===103: Fugazi, Merchandise===		===103: Fugazi, Merchandise===
	*Listened to on 17-02-2024		*Listened to on 17-02-2024
	*Listen to it [https://www.theringer.com/2023/8/9/23825198/fugazi-rites-of-spring-minor-threat-emo-embrace-history here]		*Listen to it [https://www.theringer.com/2023/8/9/23825198/fugazi-rites-of-spring-minor-threat-emo-embrace-history here]

Thijshijsijsjss: Add hasty note on portishead episode

2024-02-20T13:04:06Z

Add hasty note on portishead episode

← Older revision		Revision as of 15:04, 20 February 2024
Line 4:		Line 4:
	*Listened to on 15-02-2024		*Listened to on 15-02-2024
	*Listen to it [https://www.theringer.com/2023/11/8/23952013/60-songs-that-explain-the-90s-portishead-glory-box here]		*Listen to it [https://www.theringer.com/2023/11/8/23952013/60-songs-that-explain-the-90s-portishead-glory-box here]

			To try out this podcast, I decided to listen to the episode on Dummy semi randomly. Portishead has made some really great music, naturally, and it's an area of music history that I'm familiar with, but not super doop into. So I thought this would be a good one to try out.
			yada yada gotta go now and will get back to this later. Either way I was very positively surprised!

	===103: Fugazi, Merchandise===		===103: Fugazi, Merchandise===
	*Listened to on 17-02-2024		*Listened to on 17-02-2024
	*Listen to it [https://www.theringer.com/2023/8/9/23825198/fugazi-rites-of-spring-minor-threat-emo-embrace-history here]		*Listen to it [https://www.theringer.com/2023/8/9/23825198/fugazi-rites-of-spring-minor-threat-emo-embrace-history here]