BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Lewis & Clark//NONSGML v1.0//EN BEGIN:VTIMEZONE TZID:America/Los_Angeles BEGIN:DAYLIGHT TZNAME:PDT DTSTART:20180311T100000 RDATE:20180311T100000 TZOFFSETFROM:-0800 TZOFFSETTO:-0700 END:DAYLIGHT END:VTIMEZONE BEGIN:VTIMEZONE TZID:America/Los_Angeles BEGIN:STANDARD TZNAME:PST DTSTART:20181104T090000 RDATE:20181104T090000 TZOFFSETFROM:-0700 TZOFFSETTO:-0800 END:STANDARD END:VTIMEZONE BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20180914T153000 DTEND;TZID=America/Los_Angeles:20180914T163000 LOCATION:J.R. Howard Hall 102 GEO:45.451619;-122.669391 SUMMARY:"The Sound of the Past: Analog Tape Distortion in Golden Era Hip Hop\," Dr. Zed Adams (The New School For Social Research) DESCRIPTION:Public Enemy's 1990 track "B-Side Wins Again" prominently fea tures heavily distorted vocals\, vocals that the have the characteristic sound of live hip hop recordings from the 1970s. In this talk\, I offer a general account of what is aesthetically interesting about the perceptio n of such sounds\, and how hip hop producers such as the Bomb Squad took advantage of this interest in the recordings they produced. My account dr aws heavily upon the work of the aesthetician Richard Wollheim\, especial ly his notion of "seeing-in\," which he introduced to elucidate what fuel s our interest in looking at a scene through looking at a picture of it ( as opposed to merely looking at the scene itself). I end by discussing th e aesthetic significance of distortion in general\, for both auditory and visual artworks. \; \; X-ALT-DESC;FMTTYPE=text/html:
Public Enemy's 1990 track "B-Side Wins Again" prominently features heavily distorted vocals\, vocals that the ha ve the characteristic sound of live hip hop recordings from the 1970s. In this talk\, I offer a general account of what is aesthetically interesti ng about the perception of such sounds\, and how hip hop producers such a s the Bomb Squad took advantage of this interest in the recordings they p roduced. My account draws heavily upon the work of the aesthetician Richa rd Wollheim\, especially his notion of "seeing-in\," which he introduced to elucidate what fuels our interest in looking at a scene through looking at a picture of it (as opposed to merely looking at the scene it self). I end by discussing the aesthetic significance of distortion in ge neral\, for both auditory and visual artworks. \; \;
UID:20180914T223000Z-291886@college.lclark.edu DTSTAMP:20180910T104325Z URL:https://college.lclark.edu/live/events/291886-the-sound-of-the-past-a nalog-tape-distortion-in CATEGORIES:Open to the Public LAST-MODIFIED:20180910T191100Z ATTACH:https://college.lclark.edu/live/image/gid/77/width/80/height/80/cr op/1/src_region/0,0,320,273/74328_Zed_Adams.rev.1536601032.jpg X-LIVEWHALE-TYPE:events X-LIVEWHALE-ID:291886 X-LIVEWHALE-TIMEZONE:America/Los_Angeles X-LIVEWHALE-IMAGE:https://college.lclark.edu/live/image/gid/77/width/80/h eight/80/crop/1/src_region/0\,0\,320\,273/74328_Zed_Adams.rev.1536601032. jpg X-LIVEWHALE-IMAGE-CAPTION:Dr. Zed Adams\, The New School for Social \ ; Research X-LIVEWHALE-TAGS:open to the public|philosophy colloquium series END:VEVENT END:VCALENDAR