標(biāo)題: Titlebook: Bodies, Noise and Power in Industrial Music; Jason Whittaker,Elizabeth Potter Book 2022 The Editor(s) (if applicable) and The Author(s), u [打印本頁] 作者: encroach 時(shí)間: 2025-3-21 18:42
書目名稱Bodies, Noise and Power in Industrial Music影響因子(影響力)
書目名稱Bodies, Noise and Power in Industrial Music影響因子(影響力)學(xué)科排名
書目名稱Bodies, Noise and Power in Industrial Music網(wǎng)絡(luò)公開度
書目名稱Bodies, Noise and Power in Industrial Music網(wǎng)絡(luò)公開度學(xué)科排名
書目名稱Bodies, Noise and Power in Industrial Music被引頻次
書目名稱Bodies, Noise and Power in Industrial Music被引頻次學(xué)科排名
書目名稱Bodies, Noise and Power in Industrial Music年度引用
書目名稱Bodies, Noise and Power in Industrial Music年度引用學(xué)科排名
書目名稱Bodies, Noise and Power in Industrial Music讀者反饋
書目名稱Bodies, Noise and Power in Industrial Music讀者反饋學(xué)科排名
作者: largesse 時(shí)間: 2025-3-21 20:55
Jason Whittaker,Elizabeth PotterOffers a multi-disciplinary perspective on the key aspects of industrial music.The book includes analysis and interviews with artists, bands and video makers involved in the scene.First book on indust作者: transplantation 時(shí)間: 2025-3-22 04:23
Pop Music, Culture and Identityhttp://image.papertrans.cn/b/image/189526.jpg作者: 哀悼 時(shí)間: 2025-3-22 05:19 作者: 加花粗鄙人 時(shí)間: 2025-3-22 11:00
https://doi.org/10.1007/978-94-011-7176-2der Michael Gira’s lyrics and imagery emphasized the dissolution of individuality when subjected to the harsh conditions of New York City in the early 1980s. However, as the music of Swans changed alongside Gira’s literary and socio-cultural interests—as well as his aspirations to breach the mainstr作者: 樂器演奏者 時(shí)間: 2025-3-22 15:45
https://doi.org/10.1007/978-1-4613-1131-7ting from various regions in the Middle East and North Africa (MENA). The purpose of . was to shine a light on women artists existing within regimes characterised by censorship, obscurantism, and gendered discrimination, and to produce an artistic statement of defiance to these paradigms of control.作者: harrow 時(shí)間: 2025-3-22 18:54
L. G. Blomberg,M. Demirbüker,M. Anderssonolence, and torture are staples of industrial music, but clipping. presents them in a distinctly Black American context. This chapter traces the relationships of exertions of power and Black bodies throughout these two albums and music videos to examine an as-of-yet unexplored perspective on the hor作者: 友好關(guān)系 時(shí)間: 2025-3-22 23:20
Lipid Analysis in Oils and Fatsthe USA which corresponded to reconfiguring the body as part of subcultural practices that had their origins in body modding practices in the gay community of the late 1970s. Body modding fetishism, especially around routines such as extreme body piercing and scarification, offered a different appro作者: Deduct 時(shí)間: 2025-3-23 04:09 作者: 暗語 時(shí)間: 2025-3-23 08:44
John Katsaras,V. A. Raghunathanand released on a local indie label as .. SPK emphasized the grotesqueries of the body, with images of deformed and mutilated bodies adorning their album art (including .). Their inclusion of these bodies was to question conventional standards of beauty, display the physicality of mental disorders, 作者: aristocracy 時(shí)間: 2025-3-23 12:09
Conformations of Fluid Lipid Membranes,oyment of music and the embrace of discomfort and therefore allow insight into a politics beyond the limits of the conventional human subject. Using Elaine Scarry’s 1985 book . as a key point of reference, combined with Georges Bataille’s writing on inner experience, this analysis considers albums s作者: aesthetician 時(shí)間: 2025-3-23 16:10 作者: majestic 時(shí)間: 2025-3-23 18:08 作者: Condescending 時(shí)間: 2025-3-23 23:43 作者: 搖曳 時(shí)間: 2025-3-24 04:32 作者: 網(wǎng)絡(luò)添麻煩 時(shí)間: 2025-3-24 07:22 作者: Carcinogen 時(shí)間: 2025-3-24 12:18
Introduction: Assemblages and Interventions,date in the second decade of the twenty-first century and conceptualizing some of the main concerns of the collection with regard to themes of biopower, noise, and the role of marginalized bodies in the production of such music.作者: 藝術(shù) 時(shí)間: 2025-3-24 17:41 作者: gimmick 時(shí)間: 2025-3-24 21:52 作者: keloid 時(shí)間: 2025-3-25 00:10
Book 2022s, song writing, performance and audience reception. ??..The chapters havebeen carefully selected to produce a diverse and intersectional perspective, including work on Black industrial musicians and Arabic and North African women’s collaborations. Rather than providing historical context, the contr作者: Entropion 時(shí)間: 2025-3-25 07:09 作者: Etching 時(shí)間: 2025-3-25 11:32
,“My Body Disgusts Me”: Swans, Biopolitics, and the Hangman’s Noose of Success, yearning croon that seeks a form of divinity alongside celestial imagery and waves of monumental sound suffused with weathered optimism. Essentially, Swans represents an interdisciplinary study in biopolitics as described in Michel Foucault, specifically how the individual confronts expectations of作者: 事與愿違 時(shí)間: 2025-3-25 15:25
: Industrial, Hip-Hop, and the Diasporic Condition,ressive, resistant, and distinctly localised ways. The union of industrial and hip-hop genres creates a vehicle that is philosophically primed for mobilising voices against oppressive forces. . generates and draws on these synergies to tell experiential life stories that render visible counter-hegem作者: 手段 時(shí)間: 2025-3-25 19:33
,“The Odds of the Body”: Clipping. and Escaping the Power Hold on the Black Body,the film . (“The Show”), and the anxiety of the human as caught in a machine in “Wake Up.” The music video for “Inside-Out” features Daveed Diggs walking at night in Los Angeles with revolving images for his head: roses, skulls, smoke, bullets, a white man’s face, and police lights. In this chapter,作者: 公豬 時(shí)間: 2025-3-25 22:14 作者: 放逐某人 時(shí)間: 2025-3-26 02:45
Chance Meeting: Disembodied Voices in the Work of Nurse with Wound and Cabaret Voltaire,object into a new form is reminiscent of Magritte’s hypnotically impossible images and Duchamp’s absurd readymade sculptures’ (Bowe, Untitled review of .. ., 19 July 2018); ‘[l]ike his Dadaist heroes, Stapleton makes arresting sequences out of utter chaos’ (Linhardt, Untitled review of .. ., 10 Janu作者: 充滿人 時(shí)間: 2025-3-26 05:11
The Last Attempt at Paradise: Early Industrial Culture in Kansas, of relating to and resisting a state that had become shorthand for American Values, despite the proliferation of military bases and nuclear arsenals. Drawing from Burroughs’ cut-ups and first-wave industrial bands, many Kansan experimental artists used noise-and-tape loops to undermine perceptions 作者: 過渡時(shí)期 時(shí)間: 2025-3-26 11:58
Industrial Music and Inner Experience: Aural Abrasion as a Window to Post-Subjectivity,subject, in the classical humanist sense of the word, and towards a mindset which embraces the potential for difference and the celebration of what it means to be posthuman..Industrial music, therefore, is a gateway to a radical politics of the future; by moving beyond the fragility of the subjectiv作者: 狂怒 時(shí)間: 2025-3-26 16:23
The Occultural Side of Industrial: From Its Origins to Industrial Black Metal,f both industrial and black metal by adopting a more esoteric type of Satanism. This chapter will explore the esoteric concepts behind different projects, probe the interrelated networks of initial industrial esoteric associations in earlier projects and bands and their influence in the evolution of作者: NEXUS 時(shí)間: 2025-3-26 16:57 作者: 初次登臺(tái) 時(shí)間: 2025-3-26 21:14 作者: 組成 時(shí)間: 2025-3-27 02:52
https://doi.org/10.1007/978-1-4613-1131-7ressive, resistant, and distinctly localised ways. The union of industrial and hip-hop genres creates a vehicle that is philosophically primed for mobilising voices against oppressive forces. . generates and draws on these synergies to tell experiential life stories that render visible counter-hegem作者: ornithology 時(shí)間: 2025-3-27 09:15
L. G. Blomberg,M. Demirbüker,M. Anderssonthe film . (“The Show”), and the anxiety of the human as caught in a machine in “Wake Up.” The music video for “Inside-Out” features Daveed Diggs walking at night in Los Angeles with revolving images for his head: roses, skulls, smoke, bullets, a white man’s face, and police lights. In this chapter,作者: 射手座 時(shí)間: 2025-3-27 12:47
Lipid Analysis in Oils and Fatsh and the body-experimentation and transhumanism of Throbbing Gristle and Psychic TV. A particular example of this is that of Coil, who moved from profoundly disconcerting analog effects on their debut album, ., as a reflection on sodomy and queer identity in the time of AIDS through electronic medi作者: 松軟 時(shí)間: 2025-3-27 16:17 作者: Benign 時(shí)間: 2025-3-27 17:58 作者: opprobrious 時(shí)間: 2025-3-27 22:00 作者: paragon 時(shí)間: 2025-3-28 04:31
https://doi.org/10.1007/978-1-4615-4929-1f both industrial and black metal by adopting a more esoteric type of Satanism. This chapter will explore the esoteric concepts behind different projects, probe the interrelated networks of initial industrial esoteric associations in earlier projects and bands and their influence in the evolution of作者: 枯燥 時(shí)間: 2025-3-28 08:00 作者: 兇猛 時(shí)間: 2025-3-28 12:08 作者: ABOUT 時(shí)間: 2025-3-28 17:20 作者: paroxysm 時(shí)間: 2025-3-28 21:23 作者: 烤架 時(shí)間: 2025-3-29 00:03
,“The Odds of the Body”: Clipping. and Escaping the Power Hold on the Black Body,olence, and torture are staples of industrial music, but clipping. presents them in a distinctly Black American context. This chapter traces the relationships of exertions of power and Black bodies throughout these two albums and music videos to examine an as-of-yet unexplored perspective on the hor作者: Bureaucracy 時(shí)間: 2025-3-29 06:59
All Too Human: Industrial Bodies and Anti-bodies in the Time of AIDS,the USA which corresponded to reconfiguring the body as part of subcultural practices that had their origins in body modding practices in the gay community of the late 1970s. Body modding fetishism, especially around routines such as extreme body piercing and scarification, offered a different appro
