Allgemeine deutsche Bibliothek 40 (1780) (Baumann German Opera)

http://de.wikisource.org/wiki/Allgemeine_deutsche_Bibliothek_%28Musikartikel%29  Index to music articles!

Two concepts that provide new directions for public policy, environmental justice and sustainability, are both highly contested. Each has tremendous potential to effect long-lasting change. Despite the historically different origins of these two concepts and their attendant movements, there exists an area of theoretical compatibility between them. This conceptual overlap is a critical nexus for a broad social movement to create livable, sustainable communities for all people in the future. The goal of this articleis to illustrate the nexus in the United States. The authors do this by presenting a range of local or regionally based practical models in five areas of common concern to both environmental justice and sustainability: land use planning, solid waste, toxic chemical use, residential energy use, and transportation. These models address both environmental justice principles while working toward greater sustainability in urbanized areas.

First Monday

  "...one of the first openly accessible, peer–reviewed journals on the Internet, solely devoted to the Internet...First Monday is indexed in Communication Abstracts, Computer & Communications Security Abstracts, DoIS, eGranary Digital Library, INSPEC, Information Science & Technology Abstracts, LISA, PAIS, and other services."

    This article starts out with an excellent Introductory Note, in which Vladimir Pozner calls Vigo a rebel, and notes that “he used the camera as a weapon, not an anesthetic.” The article by Kracauer starts out with brief summaries of Vigo’s four films, and then discusses Vigo’s “relation to the screen.” The author makes note of Vigo’s indiscriminate treatment of humyns as related to objects when filmed, particularly in the mise-en-scene of “Atalante.” In this film, Vigo not only uses objects as “silent accomplices of our thoughts and feelings,” but also as a way to ponder the situations where their psychological “influence predominates.” Kracauer makes a brilliant observation that “since increasing intellectual awareness tends to reduce the power of objects over the mind, he logically chooses people who are deeply rooted in the material world” for leading roles. On “Zéro de Conduite,” Kracauer makes a few close-reading analyses, particularly about ways in which Vigo can communicate the feeling of isolation using placement of objects. He also observes that objects “participate in childish play.” Essentially, he argues that the role of the objects in his film was satire.

    This article presents a unique micro-perspective on the role of objects in Vigo’s film. It is especially valuable to my thesis because it notes how objects are used for satire, as a method of subversion. Sometimes, objects are also used in combination with mise-en-scene to give off feelings such as isolation, which is especially important because it focuses on the more individual character psychology, something my thesis leaves out but can surely benefit from, by paralleling the isolation of children in school to the institutional oppression of school which indoctrinates children to be competitive, angry, and ultimately anti-social.

full citation: Kracauer, Siegfried; Melnitz, William; Pozner, Vladimir. "Jean Vigo." Hollywood Quarterly. Vol. 2, No. 3 (Apr., 1947). 261-263. University of California Press. <http://www.jstor.org/stable/1209412>.

Fritzsche, Peter. "Nazi Modern." Modernism/Modernity 3.11996 1-22. 1 Dec 2008 .

     The Nazis came to power because of the hopelessness of the German people due to the disastrous condition in which Germany was left following WWI. The people were not happy to see the Nazis in particular; they accepted them because they needed a change. The main goal of the Nazis was to exterminate the Jewish people, yet most Germans did not agree with this agenda.  The Nazis embraced technology and made Germany’s economy more industrialized and more technologically advanced.  Because of this some people, oversimplify the Nazis’ impact on Germany and say that they were modernizers.  The more complex view argues that Nazis were modernists.  As modernists, the Nazis sought racial purification in an attempt to unify and strengthen the German society so that it would be “strong and homogeneous enough to prosper in the dangerous era of world wars” (Fritzsche).  This racial purification in conjunction with increased social programs were measures to promote national health and were seen as modern ways to better German society.  In theory, these practices could have made German society very strong and unified, but these apparent benefits do not justify the mass murders that were made necessary to carry out the racial purification.  This racial purification, ultimately, destroyed German society because the wrath of the world for the murderous injustices Germany was committing.
    The initial background for the argument of this article is that the people were never won over by the Nazis.  This information offers a new perspective.  This lack of all out support by the people may be the reason that Goebbels and the Nazis were so concerned with maintaining public support.  If their support was a given, surely Goebbels would not have spent so many resources on propaganda like Kolberg.  The overarching goals of the Nazis for unity also explain why the public's consensus with the goals of the Nazi Party was so desirable.  In creating a unified German society, surely the Nazis not only wanted unification with race and appearance, but unification with the thoughts and minds of the German people.  The Nazis felt that this unification was key to strength in this dangerous world.  The Nazis' great desire to attain strength for the German society is explained by the way Germany was left crushed following WWI.  Overall, the desire for the unification of German society explains why such a high value was placed on propaganda and therefore, film, its most important medium.

An academic journal from Columbia University, this source is the first on the list to fully support the other side of the argument between song samplers and those being sampled.  McGiverin begins the journal by arguing for the musician’s rights to be compensated for any and all portions of his work that are reproduced in another work.  He then goes on to divide his work into three main portions: the first of which describes sampling and its implications in the music industry, the second applies the 1976 Copyright Act to sampling from phonorecords, and finally the third investigates state common law and rights of publicity in terms of musicians’ control over their original work. 

            A source of this nature is essential for any paper analyzing the issue of sampling in the music industry, seeing as it provides the exact counter-argument of a few of the sources found.  McGiverin continues to refer to an artist’s sampled work as his or her “auditory identity,” giving great importance to the underlying bass lines and riffs that make up the background of a performance.  In doing so, he asserts the value of these otherwise-overlooked aspects of a work.  Seeing that they are often the portion involved in the sampling, they should be given greater significance and, as McGiverin believes, the original artist should be compensated for their use. 

            As mentioned above, this source is arguably the most important, simply because of the point of view that it represents.  Although this paper has been unbiased in theory, the majority of the sources were all either neutral or in support of one side of the argument.  By providing an intelligent and fresh insight into this half of the issue, this source is one of a few to complete the perspective in order to find a well-informed answer to the question concerning the limits and merits of digital sampling in the music industry. 

16 Dec 1792 - Philidor ad
1801 - Robertson ads

phantasmagoria 1803

Creation:

1805  Erster [I] Jahrgang, Nro. 2  p.5-8.

1805  Erster [I] Jahrgang, Nro. 37  p.147-48.

1805  Erster [I] Jahrgang, Nro. 38  p.151-52.

1806  Zweiter [II] Jahrgang, Nro. 6  p.23-24.

1806  Zweiter [II] Jahrgang, Nro. 29  p.116.

1806  Zweiter [II] Jahrgang, Nro. 43  p.172.

Journal of Transport and Land Use The Journal of Transport and Land Use (JTLU) is a free, open-access, and peer-reviewed publication that welcomes articles on topics at the interdisciplinary intersection of transport and land use, including research from the domains of engineering, planning, modeling, behavior, economics, geography, regional science, sociology, architecture and design, network science, and complex systems.

"Galvanism" 14 (1802): 364-68.

The Mirror of Literature, Amusement, and Instruction, 1822–47

Author Fred von Lohmann discusses the role of the 'gatekepers' (such as exhibitors, insurers, distributors, and broadcasters) when filmmakers may have to clear copyright uses in their own works. While fair use is supposed to protect the transformative uses of copyrighted materials, many gatekeepers and large broadcasters and studios are failing to honor the principles of fair use. Instead, we are seeing more of what von Lohmann calls a 'clearance culture' in which full expression is stifled at the hands of media gatekeepers. The content controllers are requiring clearances for every instance of copyrighted material in films, even if it falls under fair use. This is causing many films either to be abondoned during production or distribution or for filmmakers budgets to be severely drained by obtaining clearances.

The rise of internet distribution offers new outlets for filmmakers who can not afford the traditional methods of distribution. von Lohmann identifies two distribution options: video hosting sites such as YouTube or Yahoo Video that can get your film to an audience for free and immediately, as well as by purchasing bandwidth from an ISP and running your film online via a filmmakers' own server.

Internet gatekeepers such as a YouTube or an ISP are more lax than traditional ones due to the safe harbor provisions of the DMCA. In the case of online video content sites, they use a 'notice and takedown' policy to enforce copyright infringement violations. In order for a video hosting site to be free from monetary damages incurred through a copyright infringing video posted by a site user, the host must issue notice to the user that the content requires them to takedown their video, followed by a 'counternotice' option for the user's benefit in the event that a user wants to challenge the takedown. So long as the site removes the copyrighted content in a timely manner and follows this procedure, they will remain exempt from prosecution.

If a filmmaker decides to host his own video by buying a service from an ISP, a similar safe harbor under the DMCA protects the ISP's from any possibly copyright lawsuit. Under this provision, ISP's are not required to follow the 'notice and takedown, counternotice' steps as outlined above. They are viewed as only the 'pipe' in providing access, not an entity that can enforce the content present on computers owned by others and therefore out of its control. As in video content sites, ISP's do not act as middlemen in any copyright lawsuits, therefore leaving the filmmakers or other users to work out their own disputes with copyright owners directly.

Atlantic Journal of Communication is full of communication information and journal ness. We link to boingboing

The Journal is open access. Articles accepted and published in the Journal will be free to read for anyone with internet access. This increases the visibility of scientific communication, both to other researchers and to the public at large. The research will not be held captive by for-profit publishers or buried in stacks of university libraries. All papers accepted for publication will be licensed under Creative Commons Attribution-NonCommercial License 3.0 .

The Journal is free to publish in. Unlike some open access journals, there are no fees for publishing in the journal. The Journal is operated on a volunteer basis with some institutional support from the Center for Transportation Studies at the University of Minnesota. The costs are reduced as there is no paper version of the Journal, which is online-only.

The Journal is peer-reviewed. All scientific articles are reviewed by other researchers in the field for their scientific merit on questions of transport and land use (including originality, accuracy, relevance, importance, and transparency - including comprendibility and reproducability). Reviews, Opinion, and Commentary are reviewed by the editors.