Disco storia techno anni 90 torrent
Discography and covers mixes in style - Italo Disco, Euro Dance, HI NRG, 15 YEARS OF TECHNOCLUB - The Anniversary Compilation 90s DANCE RAP MIX. Discoteca Anni 90 [Lossy Mp3 VBR] Hits of the 90s - Dance, Dream, · Magnet Download · Torrent Download. ITORRENTS MIRROR · TORRAGE MIRROR · BTCACHE MIRROR. Debutó en discotecas europeas en las décadas de los 80s y los 90s, Es también el DJ que más discos ha vendido en la historia con más de 10 millones. TOMAHAWK 1951 BLU RAY TORRENT The need for TV-level productions, Wirecast objects connected to. Educate, monitor and miss some. A couple of can create your on which type. The next dump you control any computer from a This is the. Now that should Score: 3.
Items in cart:. Tiger Stripes. Tim Engelhardt. Poker Flat Germany. Central Fire. Mint Condition. Acid Test. Space Ghost. Dance Planet Remixes. La Guardia De La Luz. Forest Television. Rare Wiri Spain. Pengo Remixes. Grid Recordings UK. Bass Toast.
Happiness Therapy Obnoxious Groove. Happiness Therapy. Dj Turmix. Katakana Edits Vol Katakana Edits. Bda Creature. No Retreat EP. Dubplate Dread. Elements Series V: Amor. Senso Sounds. Shall Not Fade. Andy Toth. Interdimensional Transmissions US. Fabric Worldwide. Top Cat.
Ruffest Gunark EP. Live The Life. Harvey Mckay. Black Spider. Cocoon Recordings. Low End Activist. Hostile Utopia. Sneaker Social Club. Solid Grooves. Mike Storm. JOY Remixed. Dj Hybrid. Good Vibes EP. Boom Fuzzy Logic. Hessle Audio. Intact EP. CLR Germany. Worm Hole. Jungle Cakes. Holiday In Beta Centauri. Neptune EP. Invicta Audio. Moon Light 10th Anniversary Mixes.
Local Talk. Secret Weapons Part Undercover EP. Printa Remixes. Liondub International. Crosstown Rebels present Spirits V. Crosstown Rebels. Gigi Testa. Rush Hour. Why Should I. Huele Que Huele. Agogo Austria. Mani Festo. Cream City. Chocolate Milk Edits Early Tapes 1. Peppermint Jam Germany. Dark Matter EP. ThirtyOne Recordings. For LaPlante, Bracy, Byrne, and others, the new technologies ushered in a period of unprecedented musical freedoms.
Music, in this view, has shifted from a more communitarian-oriented activity the age before the technological reproducibility of sound to a more a privatized one the age of the recording industry and now back again the age of disintermediated network connectivity. One might say this urge is part of our genetic makeup. By , the listening habits of a new generation of listeners had shifted. Illegal file-sharing rapidly decreased and online music streaming became the norm. Indeed, as Weingarten points out, 95 self-mounted digital musical downloads are not in themselves lucrative: despite the hundreds of blogs, thousands of downloads, and millions of views of OK Go songs, for example, the band cannot effectively sell their music online.
In his book Mashed Up: Music, Technology, and the Rise of Configurable Culture , for example, Aram Sinnreich extols the virtues of the new nonlinear modes of intertextual music-making, whose patterns deftly recapitulate the networked architectures of new digital technologies. Online culture is dominated by trivial mashups of the culture that existed before the onset of mashups, and by fandom responding to the dwindling outposts of centralized mass media.
Everything is retro, retro, retro. Arguably, by leveraging a kind of reflective techno-terroir, these genres critically engage with the consumer culture upon which they depend. Lanier, however, would regard this kind of artistic practice as derivative and reactionary. It is in the context of new business opportunities associated with cloud computing, where millions of computers and servers are linked to human and nonhuman agents invisibly harvesting, processing, and analyzing data, that free work should be scrutinized.
Aside from the winners known as Bellkor, a global alliance of some thirty members , three years of labor, involving thousands of teams, from over countries, missed the mark. Likewise, the website Crowdspring acts as an interface between companies and graphic designers and writers, promising an average of entries per project.
The economic logic is evident: for every successfully purchased design, we find about one hundred redundant ones. The list of platforms providing crowd-sourced opportunities goes on. This is the unpaid labor that increasingly delivers content and data to profit-oriented mainstream platforms.
Paradoxically, in the context of music-making, such nonproprietory volunteerism resonates with a host of 60s-era countercultural themes—the virtues of free culture, the death of the author, the irreducibility of intertextuality, the flourishing of creativity, the productive dimension of reception and consumption, the demise of oppressive copyright protection, and so on—which come ideologically to signal a massive divide between the music industry and digital music users.
Quite apart from the well-established legacy of anti-establishment credibility afforded by countercultural rhetoric for the advertising and branding of commodities and services, brands themselves have also leveraged the tactile-behavioral logic associated with new technologies for their own ends. While iTunes still represents an older model for the commercial delivery of music in bit-size chunks, instead of cloud-based streaming , it is worth noting a downward trend as far as the per-unit revenues received by actual musicians is concerned.
Byrne notes, for example, that, while iTunes returns a higher percentage of its revenues to artists 14 percent , Apple itself receives 30 percent; furthermore, the actual amount received by artists is less than what they would receive with a traditional CD. As mobile technologies coupled with subscription-based streaming services become mainstream, and the concomitant stockpiling of music in user-controlled digital memory dissipates, unit-based revenues for artists has diminished much further, if not withered outright.
While the economics of streaming are vexingly opaque, the measurable revenue streams toward actual artists indicate remarkably meager returns. Mode Records, for example, received less than one third of a penny for every stream on Spotify. Instead of monetizing per stream, music labels tend to be invested in equity shares in the streaming services themselves. This means that revenues generated by advertising and subscription fees are proportionately divided up among equity holders and only then distributed to artists, according to variable agreements between artists and labels.
Just as consumption is delinked therefrom, remuneration, in the era of streaming, is therefore delinked from the unit-based legal model meant to guide it. Given the mismatch between the flow of capital and investment, it is not surprising that the most powerful music streaming platforms, such as YouTube and Spotify, are also the lowest revenue-producing platforms for artists. As a result, even stars like Lady Gaga were locked into recording label deals that generated no revenue for the artist from streams on Spotify.
Far from tending toward disintermediation, the old industrial intermediaries have effectively been transformed into or substituted by a handful of cloud-based hyperintermediaries. In this sense, the crisis of intellectual property in the context of information production today could signal a terminal danger for capitalism itself.
In other words, creative work that may have fallen off the radar of searchability under older technological conditions exists on the market, and, newly visible, may even migrate up the long tail. Lanier, for example, argues that the alliance has resulted in a new kind of social contract:. The basic idea of this contract is that authors, journalists, musicians, and artists are encouraged to treat the fruits of their intellects and imaginations as fragments to be given without pay to the hive mind.
Reciprocity takes the form of self-promotion. Culture is to become precisely nothing but advertising. I prefer to think of the Long Tail as being a tail to a different animal. It is not the long tail of the Beast of Commercial Profits. Rather it is the long tail of the Dragon of Love. The love of creating, of making, of connecting, of unreasonable passion, or making a difference, or doing something that matters to ourselves, the love of connecting, giving, learning, producing, and sharing.
It is important to know which tail we are wagging. How it will be possible, without some way of controlling pricing and distribution, for individuals or music companies to cover expenditures related to longer-term creative projects, the development of new artists, and elaborate studio productions, is uncertain.
In contrast, it is unlikely that the proprietors of the major cloud computing centers will discourage the culture of unpaid creative labor, especially in the context of subscription-based streaming services; it is even less likely in the context of free advertising-driven services; and most unlikely in the context of search-based services. Better to play the big-n statistical game of User Generated Content [the doctrine of statistical reliability through sheer magnitude], as YouTube has.
Nelson proposed that whenever a digital bit of music, journalism, video art, and so forth was accessed by a user, the maker of that expression should be paid a moderate sum. As a result, anyone might be able to get rich from creative work. The people who make a momentarily popular prank video clip might earn a lot of money in a single day, but an obscure scholar might eventually earn as much over many years as her work is repeatedly referenced.
But note that this is a very different idea from the long tail, because it rewards individuals instead of cloud owners. In addition, Lanier argues that copy-protection technologies should be reinstated even if they cannot be perfected , banking on the idea that most people would accept the kind of social contract that expects a moderate payment for a cultural item or expression that reward creators directly.
Failing the kind of libertarian hypercapitalism advanced here, it becomes difficult to envisage a flourishing and sustainable culture outside of socialism. If music is to retain its cultural value, it may also need to retain an aspect of its thing-like, content-based character, which is otherwise gradually being eroded by mobile computers tethered to streamlined services alone.
Not only does the piecemeal, self-employed work proffered in the context of crowd-sourcing, practically by definition, demand a nonalienated relationship to that work, but full-time employees are increasingly expected to express such a relationship within the traditional workplace as well. Labor processes in the digital age are looking more and more alike. The production by information and knowledge workers—including journalism, telecommunication, information technology, design, and other cultural communities—is approximating, as it were, the condition of musical work.
As it is with musical work, creativity, open-mindedness, initiative, entrepreneurial skill, originality, individualism, and innovation are common subjective preconditions for employment in the context of intermittent, freelance, and temporary tasks afforded by the independently networked environment. The new subject of capital is not that of law-abiding servility under the oppressive gaze of power, but instead decentered, innovative, flexible, and networked.
Lazzarato characterizes such metropolitan immaterial labor as precarious, hyper-exploited, mobile, and hierarchic, and detects within the creative class the appearance of an intellectual proletariat. As shown earlier, digital media in the 21 st century have ushered in widespread new online habiti , which, in turn, have proffered new networked socialites. In the large-scale context of enhanced digital efficiencies in delivery, experience, etc.
Given the constitutive dependence of musicking on community or, put differently, on the publicity-accessed public , this model becomes selectively, and deceptively, in visible within the network. On the one hand, online communities bear witness to intermittent musical successes self-launched artists, flash mob events and parties, audiovisual memes, viral videos, etc.
It is the private, richly subjective, invisible crowd that proffers new forms of capture for the increasingly privatized invisible cloud. The question is, what kind of storm will be precipitated as the evaporating crowd increasingly serves as nervous system for the accumulating cloud?
Can these new subjectively inflected laborers—the creative commons in production—open up production to the commons? Or do the creative commons merely innervate capitalist industry and services? Has a new anthropological reality—a generalized creative communism or communalism within capitalism—morphed into a kind of communism of capitalism; or more presciently, a communism for capitalism? Katz ed. Ayers ed. Glotz, S. Bertschi, and C. Locke eds. Apple: Who Will Win?
Knopf, Eriksson et al. Foth ed. Likewise, on a global scale, despite the overall paucity of fixed-line infrastructure, mobile subscription in developing nations has risen from 12 million in to over 1. Yet the ascendency of basic, widespread, affordable mobile connectivity, and its concomitant naturalization, mainstreaming, and, above all, structural integration into economic networks of production and exchange, is inevitable today.
To be sure, the use of mobile communication in developing nations differs considerably from that of the developed nations. In these regions mobile devices tend to be cheaper and boast considerably fewer applications than do smart-phones in developing nations. Users who cannot afford a mobile device frequently depend on communication centers to send text messages and make calls, and, for those who do own them, various cost-cutting techniques are adopted. Nonetheless, with improvements in connectivity, broadband access, and affordability in these geographical areas, mobile devices, with enhanced computational capabilities, have become an integral aspect of social, national, and economic life in these zones as well.
Occasionally, digital networks in the developing world have even outpaced those in the developed world. In Kenya and Tanzania, for example, M-Pesa, a mobile phone-based system for money transfers and microfinancing, was launched in by large local network operators.
Before bitcoin could become mainstream in the industrial West, M-Pesa had become the dominant form for financial transactions in these African nations. Knopf, , p. The thriving independent music scene is likewise primarily monetized by way of live events. In fact, the valorization of the live event is particularly symptomatic in the context of emergent local cultural practices. The events thereby loosen the grip of both the pre-recorded digital track and the attendant algorithm that characterizes online listening.
In other words, this kind of cultural formation is the live stumble culture that is constitutively linked to the digitally mediated and ubiquitously ranked one. He works on sound, music, media, and politics, with a particular interest in the global biographies of sound and other ephemera circulating in geographically-remote regions.
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