Posts Tagged ‘turntable’

Dancecult 3.1: Special Issue on the DJ

Monday, June 20th, 2011

Dancecult 3.1: hands in the air!

Nearly three months after our last marathon issue — which saw a complete overhaul of the design and organisation of the Journal — the team has pulled off our next edition, a Special Issue on the DJ guest edited by Anna Gavanas and Bernardo Alexander Attias.

Deep bows are in order to the Production, Editorial and Copyediting teams for seeing this issue through so soon after the last one, and at that with an impeccable quality of production. There were very few errors behind-the-scenes. In part this is because of the hard work done by the editorial and production teams in creating working manuals and guides for all aspects of the Journal’s production for the last issue. Though we discovered more areas to improve this time around — yep, we’re going to write (yet another) guide! — it means that we are creating a legacy of knowledge for Open Access, OJS-based Journal production that will not only keep Dancecult afloat but will be transferable to other publishing projects.

Our only remaining issue is figuring out a way to upgrade the open source publishing platform, OJS. OJS is a beast and is built like early CMS systems from the late ’90s — the design theme and operational core are not separate elements, the backend interface is clunky, and there are numerous bugs. This means that as we’ve modified the theme, as well as applied bug patches, we remain unable to upgrade the core architecture without completely reinstalling OJS from the ground-up and rebuilding the entire design and modded functionality of the Journal. This is bad news both for security and for updating the system to use newer protocols, design elements, and social media integration. In short, Dancecult needs funding; we cannot continue to do this as a volunteer project as the costs of simply hosting and managing a complex CMS such as this are quickly outpacing our volunteer resources.

So, without further ado, here’s the Table of Contents:

DANCECULT | Journal of Electronic Dance Music Culture
Volume 3 * Number 1 * 2011

with Guest Editors Bernardo Alexander Attias and Anna Gavanas


## Feature Articles ##

The Forging of a White Gay Aesthetic at the Saint, 1980–84
— Tim Lawrence

The DIY Careers of Techno and Drum ‘n’ Bass DJs in Vienna
— Rosa Reitsamer

Rumble in the Jungle: City, Place and Uncanny Bass
— Chris Christodoulou

Headphone–Headset–Jetset: DJ Culture, Mobility and Science Fictions of Listening
— Sean Nye

DJ Goa Gil: Kalifornian Exile, Dark Yogi and Dreaded Anomaly
— Graham St John

## Conversations ##

Off the Record: Turntablism and Controllerism in the 21st Century, Part 1
— tobias c. van Veen and Bernardo Alexander Attias

##From the Floor##

Nomads In Sound vol 2
— Anna Gavanas

Meditations on the Death of Vinyl
— Bernardo Alexander Attias

Turntables of Doom
— Kath O’Donnell

We call it Swedish Techno
— Anna Ostrom

“War on the Dancefloor”: The Reproduction of Power and Pleasure at the Amphi Festival in Cologne
— Johanna Paulsson


Man Vibes: Masculinities in the Jamaican Dancehall (Donna P. Hope)
— Marvin Dale Sterling

Hold on to Your Dreams: Arthur Russell and the Downtown Music Scene, 1973–92 (Tim Lawrence)
— Charlie de Ledesma


With deep bass rumblings,

Graham St John
Executive Editor

tobias c. van Veen
Managing Editor

Git on down'



Dancecult 2 (1): we’re back

Monday, March 21st, 2011

For many moons now I have been toiling away on Dancecult: Journal of Electronic Dance Music Culture as the incoming Managing Editor. Lo, this is volunteer labour, and a hearty dose it has been, from taking over the reins of our Open Access publishing platform, OJS—which is a cranky beast indeed—to completely upending the Dancecult StyleGuide (DSG) so that it conforms—well, almost conforms—to the Chicago Manual of Style 16th ed.. The kind of labour I perform is exemplary of the overeducated precariat: technical server administration; web production; design and layout production and direction; editing and copyediting; technical manual writing and production; human resources; workflow management; all-around tinkering & troubleshooting.

Here’s a slice into a typical Dancecult session—begin with double-espresso and/or late-night wine. Chat with Operations Assistant Neal Thomas as I edit PHP, tinker with TPL, use root SSH to get all CHMOD, manage a CPanel reinstall and transfer, setup MySQL databases and fix CSS, and do all manner of technical support for the Journal as we try to figure out how to upgrade this stubborn beast. At the same time, I am engaged in an email storm with Executive Editor Graham St John and the Copyeditors as we overhaul the DSG, where I act as a a senior copyeditor and the last pair of eyes for every single piece of text you see published. As my mind approaches meltdown, I run next door and meet with Art Director Cato Pulleyblank. We are transferring over the existing workflow to Adobe InDesign, redesigning the entire publication layout, from fonts to margins, styles to protocols, in the process. Cato redesigns Dancecult’s logo with Graham and I’s input, drawing up visual conventions for web promotions and style protocols, throwing down hours of pro bono in the process. And that is still not all. To get this beast underway, I check in with the Production Team, which has been assembled from a call for precarious labour. I check in on Director Gary Botts Powell to see how our new Production Assistants (Luis-Manuel Garcia, Ed Montano and Botond Vitos) are doing with the HTML conversions. From their feedback I improve the HTML production guide which I have writ to explain the rather complex process involved in converting Word’s garble to appropriate XHTML (Transitional, of course). Meanwhile I carry out all of the Journal’s InDesign layout for PDF production, and draw up a Guide for that too—though I doubt anyone else will be touching it for awhile, due to the complexity and attention to detail involved. As the midnight hour flips over into morning, I edit and fix all HTML returned from the newly-minted production crew. Eventually, after a few weeks of such routines, I publish it all on OJS and fix all the broken things. Graham and I celebrate over Skype. It is early afternoon for him, and a late night for me. We virtually clink the beers.

Now that would sound like a lot of self-aggrandizing hype if it wasn’t for the fact that all of us involved do all this unpaid and yet—damn straight—produce an extraordinarily professional Journal. Meanwhile, I watch other academic funding agencies throw down bloatware cash to pay the poorly-trained to pump out some pitiful excuse for a research platform. I’m not sure what my point is here, though I am looking forward to seeing some capitalist renumeration for such a plethora of skillz. Bring on the meritocracy, I say.

* * *

DANCECULT | Journal of Electronic Dance Music Culture
Volume 2 • Number 1 • 2011

Dancecult returns with two themes: the dystopian and remix aesthetics of Detroit and a special section on the Love Parade.

While you read, take a look around. Dancecult has taken a new step forward in the visualization of the Journal, with a complete redesign of our PDF publications and logo. It is also our first edition featuring the volunteer efforts of our Production and Copyediting Teams. Congratulations to all for their efforts.

Graham St John
Executive Editor

tobias c. van Veen
Managing Editor


## Feature Articles ##

Disco’s Revenge: House Music’s Nomadic Memory
— Hillegonda C. Rietveld

Hooked on an Affect: Detroit Techno and Dystopian Digital Culture
— Richard Pope

Maintaining “Synk” in Detroit: Two Case Studies in the Remix Aesthetic
— Carleton S. Gholz

Festival Fever and International DJs: The Changing Shape of DJ Culture in Sydney’s Commercial Electronic Dance Music Scene
— Ed Montano

## From the Floor ##

Nomads in Sound vol. 1
— Anna Gavanas

# Special Section on the Love Parade #

Where is Duisburg? An LP Postscript HTML
— Sean Nye, Ronald Hitzler

Party, Love and Profit: The Rhythms of the Love Parade (Interview with Wolfgang Sterneck)
— Graham St John

Pathological Crowds: Affect and Danger in Responses to the Love Parade Disaster at Duisburg
— Luis-Manuel Garcia

## Reviews ##

Hip Hop Underground: The Integrity and Ethics of Racial Identification (Anthony Kwame Harrison) PDF
— Rebecca Bodenheimer

The Local Scenes and Global Culture of Psytrance (Graham St John)
— Rupert Till

Pink Noises: Women on Electronic Music and Sound (Tara Rodgers)
— Anna Gavanas

Technomad: Global Raving Countercultures (Graham St John)
— Philip Ronald Kirby

Sonic Warfare: Sound, Affect, and the Ecology of Fear (Steve Goodman)
— tobias c. van Veen

Music World: Donk (Dir. Andy Capper)
— Philip Ronald Kirby

Speaking in Code (Dir. Amy Grill)
— tobias c. van Veen


Dancecult: Journal of EDMC launches 1.1

Monday, September 28th, 2009
Dancecult: mixing theory @ the speed of sound

Dancecult: mixing theory @ the speed of sound

:: Fiends I am proud to present the first edition of ::


Including a piece of my own that recaps 10 years of MUTEK:

Convergence & Soniculture: 10 Years of MUTEK

| — > PDF < — | — > HTML < — |

Dancecult 1.1 2009 Contents:


pirate librarians.

Tuesday, August 18th, 2009
capitalizing on the library pirate.

capitalizing on the library pirate.

The rate of piracy and cloning ensures, despite copyright protections, the rapid diffusion of ever new products. Their real economic interest lies in achieving mass use of their products, which requires a certain level of initiation on the part of potential consumers. The example of the first public libraries at the end of the 18th century can help us to understand this apparently paradoxical phenomenon. At first, the opening of the first public libraries was seen by book publishers as a serious threat to their profits. But afterwards, free access to reading led to the massification of the publishing market well beyond the initial portion of readers/consumers to whom publishers sold their books, as they exercised a monopoly based on the cost of production. We now know that the monopolistic control of book readers is no longer exercised on the basis of the costs of production and sales but on control over distribution, of the organization of access to knowledge in general. (Marazzi, Capital and Language 95)

The predicament of the music & film industry today – or rather any industry in which the object can be not only easily digitalized & cloned, but then disseminated  – could perhaps learn something from  book publishers of the 18th century. While the case for sharing one’s property in the 21C usually cite  the ‘home taping’ debates of the ’80s (whether cassette tapes or VCRs), the historical precedent stretches into the history of knowledge itself, and its most pointed moments arise in the production of that which tends towards the intangible: the text. (Music, as film, remains a text in this sense.)