#virginia barratt

[ledenews]

Nailers Put Exclamation Point on 2022 With 6-5 Comeback Win

The Wheeling Nailers saved the best for last in more ways than one, as they closed out the 2022 calendar year in thrilling fashion on Saturday night at WesBanco Arena. Wheeling trailed the Reading Royals 5-3 at the end of the second period, but rallied back with three goals in the third for the 6-5 triumph - the team's 19th all-time win on New Year's Eve. P eter Laviolette III started the comeback with his first pro goal, Brooklyn Kalmikov tied the score, then Justin Addamo's second of the night won it with 3:23 remaining. Both teams came out ready to score, as the two sides combined to light the lamp five times on 17 shots in the opening 20 minutes. The Nailers opened the scoring at the 7:01 mark. Carter Johnson delivered a tape-to-tape centering pass, which Justin Addamo slammed into the right side of the cage. Cédric Desruisseaux was the next player to find the twine, as he capitalized on a power play chance by sniping a wrist shot from the left circle. Jordan Timmons put Reading on the scoreboard less than two minutes later, as he deposited the rebound of Garrett McFadden's dipping shot, which rang off the right post. That was followed by two tallies in a span of 11 seconds, as Adam Smith drove home a one-timer from the center point, then Trey Bradley squeezed in a shot from the slot for a 3-2 Wheeling lead through one. The middle frame was all Royals, as they turned what started as a two-goal deficit into a two-goal lead. Charlie Gerard knotted the score at the 3:05 mark, when he broke down the right side, and roofed a wrist shot into the top-right corner. That chased Tommy Nappier from the Nailers net, as Bailey Brkin took over. Reading didn't let up, as Dominic Cormier gave the visitors their first lead of the night, when his right point wrister rang in off of the right post. 1:37 later, Max Newton made the score 5-3, when he flipped in the rebound of Evan Barratt's shot from the left circle. An early goal dictated the third period, as Wheeling flipped the game back in the other direction. That early marker came courtesy of Peter Laviolette III, who grabbed a pass from Tyler Drevitch, and smoked a shot into the right side of the net. Just over the midway mark of the stanza, the Nailers utilized the power play to pull even. Chris Ortiz floated his third assist of the night to Brooklyn Kalmikov, who got the goaltender down, before shoveling a shot into the top portion of the goal. Wheeling wasn't satisfied with just a tie, and with 3:23 to go, Addamo stepped up to put the home side ahead for good. The rookie forward gained the offensive blueline, then whipped the game winning goal in along the ice, as the Nailers were victorious, 6-5. Bailey Brkin earned the win in his Wheeling debut, as he blocked 17 of the 19 shots he faced, after taking over for Tommy Nappier, who made eight saves on 11 shots. Kaden Fulcher took the loss for the Royals, as he gave up six goals on 34 shots. The Nailers will open the 2023 calendar year with six home games in the next two weeks. The first of those is a Frosty Friday on January 6th at 7:10, when they battle the Fort Wayne Komets. That will be followed by a Sunday, January 8th 4:10 tilt against the Kalamazoo Wings, which will be followed by a skate with the odd-numbered players. Wizards & Wands is also right around the corner on Saturday, January 14th. That night will feature a wand giveaway, a wizarding school acceptance letter, quidditch during intermission, a sorting hat station, butter beer, specialty jerseys, and more. Ticket packages and single game tickets are available for the 2022-23 season by visiting wheelingnailers.com or calling (304) 234-GOAL. The Wheeling Nailers, considered one of the top things to do in Wheeling, West Virginia, provide affordable family entertainment for fans throughout the Ohio Valley. Read the full article

[luciadortaabad]

La historia del ciberfeminismo en los años 90 ha estado muy ligada al de la práctica artística del net-art. Existen también otros ciberfeminismos más vinculados a la lucha por la igualdad utilizando la red y como dice la investigadora Remedios Zafra buscando otra manera de "habitar" la red. 

En sus orígenes, el punto de vista predominante era la visión utópica del ciberespacio y la Internet como medio en el que supuestamente existía la ausencia de construcciones sociales como género y diferencia sexual.

En 1992 de manera simultánea, la filósofa británica Sadie Plant empieza a utilizar el término ciberfeminismo al tiempo que desde Australia el grupo de artistas VNS Matrix formado por Julianne Pierce, Francesca da Rimini Josephine Starrs y Virginia Barratt, aporta tácticas de guerrilla de vanguardia a través del net.art y con su Manifiesto ciberfeminista del siglo XXI3​4​ y su lema "el clítoris es una línea directa a la matriz" ["the clitoris is a direct line to the matrix"] subrayando apunta la investigadora Alex Galloway una coexistencia material fundamental entre la máquina y el cuerpo de la mujer.

Sadie Plant considera que la tecnología es fundamentalmente femenina y no masculina y en su principal trabajo sobre el tema, Ceros + Unos (1997) argumenta cómo las mujeres han estado históricamente unidas a la tecnología y han constituido siempre el núcleo laboral de todo tipo de redes. Desde el telar a la máquina de escribir, llegando incluso al descubrimiento de los "virus" informáticos, Plant define la tecnología como un objeto primordialmente femenino. Arguye que las mujeres son máquinas inteligentes, que la robótica es femenina, que el cero (la nada dentro del código binario) siempre ha sido considerado el 0-tro, lo femenino.

El medio tecnológico propicia la incorporación del discurso feminista. Se conforma un sistema de comunicación alternativo, por vías contraculturales, que dan lugar a los discursos no institucionales. Es un sistema en el que se podría posibilitar una disolución de los roles asignados a los géneros, a las identidades consideradas como papeles sociales fijos. El ciberfeminismo fue recibido con optimismo por las mujeres y se convirtió en un territorio de desarrollo cultural y social, en un espacio público de intercambio de ideas políticas.

[bustakay]

Francesca da Rimini and Virginia Barratt, Interruptions, iterations, intimations and perigrinations performance (First Iteration) at History Paintings (2017) by Douglas Maxted & Thomas Moran.

[oldgamemags]

Hyper Magazine #4, March 94 - Longtime artist Virginia Barratt of VNSMatrix asks - when will the game industry acknowledge & support female demographics? We’re slowly getting there.

[@Oldgamemags] [Patreon]

[emmatrinidad]

Woman Art House: VNS Matrix. Hackeando el patriarcado

Woman Art House: VNS Matrix. Hackeando el patriarcado

Verano de 1991: se hace pública la primera página de Internet. Adelaida, Australia: Josephine Starrs, Julianne Pierce, Francesca da Rimini y Virginia Barratt fundan el colectivo ciberfeminista VNS Matrix.   log in: VNS Matrix Consideradas pioneras del ciberfeminismo entre 1991 y 1997, VNS Matrix es un colectivo de artistas y feministas formado por Josephine Starrs, Julianne Pierce, Francesca da…

[codeoil]

samplers in the browser

i’ve been thinking about a few ideas regarding sound projects that take place in the browser.

some previous projects i have done involve a workflow with sampling audio and then building simple javascript keypress events to trigger the samplers.

i’m very inspired by the Patatap sampler: last year in Interactive Media i made an ode to this, called the Baby Generator (bb_gen for short, it can be found here). one part celebration of the ubiquity of the word baby in pop music, one part micro obsession with pop music conventions, one part interactive browser sampler.

this code/project gave me a scaffolding to use to make another browser sampler this September, as part of collab with Virginia Barratt. V wrote a 26 word string/poem, then i sang/recorded/processed a sample for each word, to create a QWERTY stroke soundboard. there’s also a jittering p5 sketch under/over the html + javascript, of all the words at the time of posting this, the link to the project is not live, so here’s a link to a video demo.

i want to extend this idea in the coming assignment, how can sound be used to look at data? 

[mafersin]

VNS Matrix’s Cyber Feminist Manifesto for the 21st Century (1991)

 VNS MATRIX (colectivo australiano) 

JOSEPHINE STARRS

JULIANNE PIERCE

FRANCESCA DA RIMINI 

VIRGINIA BARRATT

Donna Haraway (autora del cyborg)

Técnica: póster, imagenes intervenidas 

Fotografía tomada de: NET ART ANTOLOGY/ RHIZOME 

https://anthology.rhizome.org/a-cyber-feminist-manifesto-for-the-21st-century

“Fue un proyecto en múltiples medios que dio una expresión vívida a la posición política emergente del ciberfeminismo, que vio la nueva tecnología como una oportunidad para alterar las normas patriarcales de la sociedad y divertirse haciéndolo. “ 

Los elementos visibles en la pieza es el hombre que aparece tres veces en el póster, los laterales aplicando la reflexión o una especie de espejo entre ellos, también esta el hombre de en medio en una diferente posición a las anteriores. En el centro está el manifiesto de VNS MATRIX. Los hombres de los laterales tienen una especie de conchas que acortan su cuerpo y un cuerno de unicornio. En el fondo o imagen base, se logran observar las moleculas del ADN. 

Los tonos predominantes son los claros en azul y un matiz de morado. Las fotografías claramente están intervenidas, hacen parecer a una de las esculturas de la cultura griega, quizá por el tono de la piel y su fisionomía. 

¿En que se inspiró la pieza? (5 referencias)

Betty Boop The Old Man Of The Mountain 1933 HD BANNED CARTOON EXPLICIT

Tomo este ejemplo de Betty Boop porque me recordó un poco al leer todo el tema sobre este manifiesto, Boop, fue una de las primeras animaciones que representaban a una mujer sexual por su manera de vestir, pues regularmente su ropa era sensual a tal manera que se lograba ver su ropa intima. Elegí este vídeo porque justamente en el minuto 4:50 el viejo hombre de las montañas intenta seducirla y no dejarla ir por lo que interpreto como un acoso. Y creo que es uno de los puntos que intentan retratar en esta pieza.

La pieza me recordó este capitulo de Phineas y Ferb porque en una de las versiones de las colavoradoras del colectivo dice que todo surgió en la época del verano, el objeto o uno de los inventos de ellos la señalo como la pieza y como el  juego que desarrollaron. 0:37 seg

El fondo de la pieza cuando lo vi, la primer impresión que tuve fue de un “es el intro de “The Big Bang Theory

A esto es cuando me refiero que en los elementos visuales pareciera que los hombres son esculturas de la cultura griega. 

Creo que esta imagen se asemeja demasiado a la pieza, solo que esta ocasión el vaporwave hizo el trabajo. 

Si, a esto me recordó el titulo de la pieza, una marcha, un manifiesto, una lucha. 

¿De qué trata la pieza? 

Cuatro mujeres de procedencia Austriaca, aburridas y con deseos de salir de la zona de confort, comenzaron a intervenir en el cartel del porno o el chick porn, he de confesar que jamas había escuchado ese termino, hasta que  Francesca da Rimini lo dijo, “el porno para chicas”. Así, en 1991 dieron paso al proyecto  Manifiesto ciberfeminista para el siglo XXI. El manifiesto fue diseñado para web, aunque circuló por todos los medios de difusión para ser visualizados en espacios públicos. Dos años antes de que existiera el navegador, su manifiesto fue escrito en folletos, el texto estaba totalmente mapeado en una esfera. El manifiesto se volvió viral a través de los medios de difusión australiana lo que logró traducirse a distintos idiomas.

“ El texto sobresalía de un fragmento esférico de ADN, acompañado de imágenes de un unicornio quimera en una concha. “

Existen distintas versiones sobre este proyecto por parte de las colaboradoras. Da Ramini sólo habla sobre el aspecto personal, para dar paso al proyecto. Sin embargo, Julianne Pierce dice que el manifiesto fue en conmemoración a  Donna Haraway , cuya fundadora del “manifiesto del Cyborg” publicado en 1985

(“ se convirtió en una profética reflexión sobre el significado de ser hombre, mujer, o cualquier tipo de persona, después de la cibernética y la digitalización”)

El objetivo de este proyecto era el robo de los tecnocowboys y reasignar la cibercultura con tendencia feminista. Mas tarde desarrollaron en su juego de PC  All New Gen, en el desarrollan cyberpunks con cabezas de logotipos y cuerpos humanos, específicamente de hombres. El trabajo de VNS MATRIX, se componia de instalaciones, video juegos, vallas publicitarias y videos.

¿Qué me transmite? 

Al navegar por todo este manifiesto, me doy cuenta que en realidad no hay grandes cosas que cambien entre una persona real y una maquina, pues en realidad somos unas maquinas, escribimos, exponemos y la manera en la que podemos citar es tan precisa, que es lo que un ordenador puede hacer, si lo vemos desde la persectiva de los 70′s que es cuando Donna Haraway, describe al cyborg como un ser fusionado y confundido. 

“ Haraway comienza el manifiesto explicando tres quiebres elementales desde el siglo XX, que han permitido a su híbrido: el cyborg, es el quiebre de la división entre lo humano y lo animal, animal-humano y máquina, y lo físico y no físico. La evolución ha difuminado la línea entre humano y animal, impulsado por los movimientos culturales en favor de los animales, las máquinas se encuentran inquietamente más vivas y nosotros aterradoramente inertes”

Miremos desde este punto, las maquinas hacen todo lo que nosotros podemos, pero con excepciones, es increíble que las maquinas nos hayan dejado atras, que nosotros como creadores quedemos en ridiculo ante ellas. Por otro lado, el “Cyberfeminist”, Haraway habla de la informática de la dominación, de la feminización del trabajo, de lo vulnerable que se está volviendo la situación de la mujer en virtud de las nuevas tecnologías, de la ausencia de un topos para la mujer dentro del circuito integrado, de cómo todo ello está afectando a su sexualidad, a su reproducción, a su vida privada y social.

El trabajo de VNS Matrix enfoca y desvía la atención en lo cyborg, ocasionando que respecto al movimiento, frases como “prefiero ser un cyborg a ser una diosa” y “el clítoris es una línea recta hacia la matriz”

https://rhizome.org/editorial/2008/nov/21/viva-cyborg-theory/

¿Qué me transmite a través de la experiencia?

Al conocer este manifiesto, me hace sentir a las mujeres de VNS Matrix decididas en un proyecto que se haría viral, pues la lucha contra el machismo, pero mas bien yo creo que se enfocan al momento de lo digital, para hacer de alguna u otra manera una critica social y política, utilizando la pornografía como representación, pues sus gráficos son demasiado explícitos, su trabajo consistía en instalaciones, vídeos etc... por lo que los vídeos presentaban contenido sensual para la satisfacción personal. 

[prettieronpink]

A Cyberfeminist Manifesto for the 21st Century

VNS MATRIX (JOSEPHINE STARRS, JULIANNE PIERCE, FRANCESCA DA RIMINI, AND VIRGINIA BARRATT)

Digital image of the 1991 manifesto. This version was used as a wheatpaste poster.

[anthonypaulh]

JOY and PAIN - The Troubled Life and Tragic Death of Marvin Gaye

The song “Joy and Pain” forms the perfect epitaph for Marvin Gaye. Ultimately, the hugely troubled, flawed, sensitive soul lived his all too short life, somewhere between the extremes of the classic Frankie Beverley and Maze soul anthem. 

It is often said that fact is stranger than fiction, that with some events you apparently couldn’t make it up. Well, in the traumatic life of the silkiest of soul singers that is absolutely accurate. A complicated, sensitive, and passionate man, Marvin Gaye lived his life overshadowed by his violent father. 

The difficult, violent, explosive relationship with his father underpinned everything that followed in the life of Marvin Gaye. Ultimately, and tragically it would end in father shooting son after their final yet fatal bitter argument on April 1st 1984.

The contradictions of Marvin Gaye’s life started on April 2nd 1939 when he was born in Washington DC as Marvin Pentz Gay. He later added an E to his name , in the early 1960’s to ward off teasing about being Gay and also to distance himself from his father’s surname. 

His father Marvin Gay was a Reverend in a Hebrew Pentecostal church called the House of God. He imparted a very strict upbringing on Marvin junior and his 3 siblings. He was a brutal man, frequently inflicting physical violence on his children and subjecting his wife to regular beatings. Marvin junior attracted the worst of his father’s violence as he took it upon himself to protect his mother Alberta from the worst his father could do. 

Needless to say, this very violent family upbringing, left Marvin Junior scarred for life. He forever craved the love of his father who could never give him that. Despite all of his career achievements and the recognition he earned he never achieved the thing that he needed the most, his father’s love.

Nowadays we all recognise that trauma experienced by any child in their formative years is always going to lead to a troubled adulthood and in fact it is a key factor in addictive behaviour of all sorts. Hardly any wonder then that Marvin would become drug dependent and a manic depressive despite all of his fame.

It was therefore, no surprise that Marvin wanted to escape from his family as soon as possible. His first attempt to break free was in 1956 when aged 17 he enlisted in the US Air Force. But even then, the contradictions that ran through his life surfaced as he faked mental illness to extricate himself from the disciplined air force environment he hated. 

He returned to Washington DC and formed a vocal quartet called The Marquees. But after one failed single they were dropped from their recording contract with Okey records a subsidiary of Columbia. 

One of the few things that Marvin had seen as a positive from his father was the delivery style of his sermon’s in church. Marvin regularly attended and sang at the services from the tender age of 4. He drew on his father’s preaching style as he developed his own stagecraft and he readily acknowledged that it was something that played a key role in his vocal delivery.

As a singer the young Marvin was influenced by Frank Sinatra, Nat King Cole, Ray Charles and Billy Eckstine. But success didn’t come quickly. After the initial failure of The Marquees, he continued working in Washington DC on the club circuit and started writing his own songs. 

Eventually the impresario Harvey Fuqua spotted Marvin and took him under his wing. Harvey would become the father figure that Marvin had always sought and he would shape the rest of his life and career in so many ways.

As it happens Harvey was a very good judge of talent. He had already discovered the likes of Johnny Bristol, Lamont Dozier, Junior Walker and The Spinners. Just as importantly for Marvin, his new mentor was to introduce him to the woman that would he would marry and that in itself would effectively catapult him to International fame.

In 1959 Harvey Fuqua and his group The Moonglows moved to Chicago where they recorded a few unsuccessful tracks for Chess Records. But with little sign of success the group split up and in 1960 Harvey and Marvin moved to Detroit. It would be the most important move of their lives. Hittsville USA was about to become the Sound of Young America and they would be vital cogs in that machine.

On arrival in Detroit, Marvin became a session musician, a drummer. However, his fate was about to be signed, sealed and delivered when he was invited to the home of Berry Gordy over the Holiday Season of 1960. 

Harvey Fuqua had married Gwen Gordy the sister of Berry and he distributed the first record that would become a MOTOWN hit. The record was Barrett Strong’s “Money (That’s What I Want ) and it was released on Anna Records, owned by Harvey and Gwen. Their label was later sold to Berry. Thereafter Harvey Fuqua became a song writer and executive at MOTOWN.

For Marvin, the introduction to Berry Gordy in 1960 would change his life and the history of soul music to boot. He married Anna Gordy, seventeen years his senior, in June 1963. The relationship was intense, passionate and fiery. But they were good for each other and Marvin realised that his marriage kept him close to the ear of Barry Gordy at the “Hit Factory”.

Nonetheless, Berry was always grudging in any praise of his brother in law. He recognised his talent and was especially keen to use Marvin as the leading male vocalist for MOTOWN. He saw Marvin as a cross between a matinee idol and a pop star.

Many studio workers and musicians at MOTOWN recall strenuous arguments between Marvin and Berry. They would often square up to each other in heated squabbles but Berry held the highest cards. Financially Berry called the tune and Marvin sang the songs that Berry wanted (at least to start with). What made things even worse for Marvin was that Berry owned the house that he and his wife Anna lived in. It seemed that Berry controlled his every move.

Undoubtedly, in the early part of his career, MOTOWN wanted Marvin to sing simple, pop songs. Berry Gordy wanted MOTOWN to sell records and not make political and social statements. He didn’t want to alienate the middle of the road, largely white, record buying public. 

Berry Gordy did not want to present MOTOWN as in any way threatening. In many ways he was doing with MOTOWN what Brian Epstein did with The Beatles. Keep it clean, don’t threaten, dress sensibly and get the hits. He was selling pop, upbeat, happy music. Selling was his game and money was the driver. Berry Gordy was a ruthless businessman first, second and third.

The first hits Marvin had on MOTOWN reflected the “safe” music that the company ordered. So in 1962 “Stubborn Kind of Fellow” was typical of the type of material that the business demanded. It was absolutely not the music that Marvin dreamed of making but it was successful. 

As success followed success Marvin worked with the genius in house MOTOWN production team, Holland-Dozier-Holland, and the hits kept coming. So “Can I Get A Witness”, You’re A Wonderful One” and “How Sweet It Is To Be Loved By You “ hit the charts.

Firmly established as MOTOWN’s leading man, Marvin was pushed by Berry to record a series of duets with the leading ladies on the label. Against his wishes, Marvin agreed and although he didn’t really want to cooperate the recordings produced some great moments. 

Firstly he recorded with Mary Wells “What’s The Matter With You Baby ?”, then with Kim Weston “It Takes Two”, and most successfully with Tammi Terrell “Ain’t No Mountain High Enough”, Ain’t Nothing Like The Real Thing”, and “You’re All I Need To Get By”. Later Berry forced him to record with Diana Ross although they never actually recorded anything at the same time because they despised each other.

The Prince of MOTOWN he may well have been but privately Marvin Gaye was in torment. He was deeply hurt at having to play the tunes that Berry called, and he wanted to record his own more contentious, expansive music. He felt a fraud and in fact some of the duets released under his name with Tammi Terrell were exactly that because due to illness some of her vocals were actually performed by Valerie Simpson.

Following her collapse on stage in Virginia in October 1967, Tammi Terrell was never able to perform or record again so Valerie Simpson stood in her shoes. Marvin was spun the line that he should continue recording with Valerie impersonating Tammi as sales meant money which could pay medical bills for Tammi. Marvin reluctantly went along with it out of respect and love for Tammi. When Tammi died from a brain tumour on 1970 Marvin was broken. He spiralled into depression.

By the late 60’s the relationship between Marvin and Berry could  be described as frosty, at best. Typical of the shenanigans was the saga that went on with the classic Norman Whitfield and Barratt Strong tune “ I Heard It Through The Grapevine”. It was recorded by Marvin in February 1967 but MOTOWN rejected it suggesting it be covered by Gladys Knight and The Pips. 

Only when released as an album track on Marvin’s LP “In The Groove” in August 1968 did radio stations give it the airplay that demanded it be released as a single. His classic rendition reached number 1 on the pop and RnB charts in the US and became a world wide smash hit. A victory of sorts for Marvin but the next battle of wills with Berry and “the company” was not long in coming.

In May 1969, Obie Benson of the Four Tops started work on a song he intended be recorded by the “Tops’, called “What’s Going On ?”. It was rejected by the Four Tops because it was a protest song. But their loss was to be Marvin’s gain and it would result in arguably one of the most important MOTOWN albums. 

Anna Gordy persuaded Marvin to try the song “What’s Going On ?” and it soon became clear that “What’s Going On ?” was perfect for him. From the very first run throughs it was his song, tailor made for him. But even though the studio singers, musicians and engineers were convinced he had to record and release the song, Berry Gordy was annoyed that Marvin was contemplating doing so.

As far as Berry Gordy was concerned, if the Four Tops believed the song to be inappropriate then it WAS inappropriate. It was a “protest” song and MOTOWN did not do anything that might rock any boats. Berry Gordy forbade Marvin to record the song. Effectively Marvin subsequently went on strike, refusing to record at all. 

The stand off lasted almost a year, until in June 1970 permission was granted for the single “What’s Going On ?” to be recorded by Marvin for release at an undetermined time. When it was eventually released it was done so without the knowledge or sanction of Berry Gordy. 

The strike period had actually given Marvin time to compose a series of songs he wanted to release on a concept album with “What’s Going On ?” as the title track. The contentious piece of work was to become one of the most important records ever made and certainly the most radical of anything put out by MOTOWN. Marvin openly challenged the existing social order on the album. He sang about civil rights, environmental abuse, intolerance and the record became a clarion call for anyone wanting to question the politics of the time. It was definitely NOT MOTOWN neither musically or lyrically.

As a political record, Berry Gordy did not want Marvin to continue with the album and he did not believe it would be a hit anyway. It was far too serious. MOTOWN was light hearted, fun pop. Marvin was talking about climate change before the scientists talked about it and he sang in a more jazz influenced style than RnB/pop that had proven successful for Hittsville USA. 

The seminal Marvin Gaye album “What’s Going On ?” was released in May 1971, arguably the most important year in the history of MOTOWN. The album became the biggest selling album on MOTOWN to that point and remains a key piece of work. It fused social commentary, politics, jazz , funk and soul to endure well beyond its’ time. It is still one of the most important records ever made.

Following “What’s Going On ? “ was always going to be a huge challenge but throughout the 1970′s Marvin continued to experiment with jazz, gospel, blues, soul and even more with narcotics. He managed to balance spirituality, commerciality, and experimentation with hits such as “Let’s Get It On”, “Trouble Man”, “After The Dance” and “Got To Give It Up”. He eventually divorced Anna Gordy in 1978 after what can only be described as a pained, strained marriage.

The traumatic separation inspired him to record the album “Here My Dear” and it is probably the most bitter record you will ever listen to. Marvin was leaving no doubt that he was in a deep emotional hole. His drug use fuelled terrible and dangerous mood swings as he lurched from one instability to another seeking some kind of stability and solace. 

A short lived second marriage to Janis Hunter lasted only until 1979 with divorce finalised in 1981. Marvin found himself bankrupt financially and emotionally and he attempted to take his own life.

In 1982 with the aid of old friend and mentor Harvey Fuqua,  Marvin made something of a comeback. Exiled to Britain then Belgium it was here that he released the single “Sexual Healing” on Columbia Records. The track was taken from the album “Midnight Love” which certainly had some more than decent high moments. As usual for Marvin, he fused a number of different musical influences from reggae, RnB, soul, funk and synthopop.

The success of the 1982 “comeback” allowed Marvin to clear 2 million dollars in back taxes to the US authorities. Sadly off stage, Marvin could never fend off his personal demons. All that damage that he had been caused as a child, all that trauma, all that baggage. Stage fright, paranoia, drug use and ongoing depression eventually confined the “Prince of Motown” to his Los Angeles home. It was a home that he would lose his life in.

As if somehow predestined Marvin Gaye was shot dead by his father on April 1st 1984. Yes indeed, April fools day. You couldn’t make it up could you ? In a violent argument and fight between his mother and father, Marvin tried to intervene and sadly the whole situation escalated quickly into the final, fatal act of the ultimate tragedy.

The Reverend Marvin Gay was charged with first degree murder but eventually the charge was reduced to manslaughter following the diagnosis of a brain tumour. He was sentenced to a six year suspended sentence and probation. He died in 1998 in a nursing home.

In the final analysis, Marvin Gaye will always be remembered as one of the most important voices ever to be recorded. In the pantheon of male vocal greats, he is right up there in the top echelons. He is in the same company as Frank Sinatra, Sam Cooke, Wilson Picket, Otis Redding, Donny Hathaway, Ray Charles, Nat King Cole, and now Gregory Porter.

 His work remains as relevant today as it was when it was recorded. The sentiment and messages delivered on the “What’s Going On ?” album were years ahead of their time and are probably more important today than ever.  Marvin Gaye has often been imitated but never bettered. 

Nothing in his successful music career however, could compensate him for the love and recognition he craved from his father. His whole life was a battle to achieve the acknowledgement and attachment his father didn't provide. 

In life Marvin Gaye was a restless, troubled, tragic soul. He leaves an incredible body of work and a wonderful musical legacy. Rest in peace Marvin, you will never be forgotten

[captainmactaggart]

Crew Roster for the Stellar Typhoon

***

ORDER OF INFORMATION IN FOLLOWING LIST:

POSITION (No. of) Name - Squadron (Pilot number)---

Crew members not in Squadrons are suffixed with 'N/A'.

***

ADMIN DEPARTMENT (9)

CAPTAIN (1)

Jaws MacTaggart - MacTaggart (1)

FIRST OFFICER (1)

Leslie Kennedy - Kennedy (1)

YEOMAN (1)

Yubin Nakajima - Mori (7)

LOGISTICS OFFICERS (3)

Juyen Nakahara - MacTaggart (2)

Tamara Bateson - MacTaggart (4)

Hoshi Naya - MacTaggart (10)

COOKS (2)

Izzy Rozycki - Geddes (8)

Ashley Capaldi - Geddes (5)

DOCTOR (1)

Haruka Horikawa - Mori (4)

---

OPERATIONS DEPARTMENT (24)

COMMUNICATIONS OFFICERS (6)

Toni Barratt - MacTaggart (3)

Caroline Hudson - N/A

Hope Asante - Geddes (9)

Eiko Takato - Mori (3)

Benny Cooper - N/A

Yoshio Kishiro - MacTaggart (9)

SENSOR SPECIALISTS (6)

Gladys Kelsey - Kennedy (4)

Vienna Goode - N/A

Vikki Scase (VK-5453) - Kennedy (6)

Rin Shioya - N/A

Usagi Midorikawa - N/A

Tarah Carrington - Kennedy (5)

ASTROGATION OFFICERS (6)

Gina Utsumi - Mori (5)

Masa Kameyama - MacTaggart (7)

Fenchurch Hordern - Kennedy (8)

Michaela Southwood - Kennedy (9)

Umi Sato - N/A

Maru Endo - N/A

WATER/WASTE TECHNICIANS (3)

Rika Madono - MacTaggart (6)

Dallas Mackay - Geddes (4)

Bryanna Hibbert - Kennedy (10)

AIR CIRCULATION TECHNICIANS (3)

Tempest Black - N/A

Talia Seagrove - N/A

Zephyrine Tulloch - N/A

---

ENGINEERING DEPARTMENT (25)

CHIEF ENGINEER (1)

Kyoko Mori - Mori (1)

ASSISTANT CHIEF ENGINEER (1)

Alasdair Geddes - Geddes (1)

PRIMARY ENGINE TECHNICIANS (6)

Jenni Fulton - Geddes (6)

Maddi Norton - Geddes (7)

Toshiko Kawazu - Mori (8)

Penny Nash - N/A

Raelyn Prendergast - N/A

Antonia Cornes - N/A

SECONDARY ENGINE TECHNICIANS (6)

Trista Riegert - Geddes (2)

Virginia Lancaster - Geddes (3)

Saffron Sinclair - Geddes (10)

Piper Anthony - N/A

Myrtle Baddeley - N/A

Patricia Allen - N/A

FACTORY SECTOR STAFF (5)

Ronnie Ffarquhar - N/A

Takara Toda - Mori (2)

Emiko Shioyama - Mori (9)

Maki Fujiwara - N/A

Teruko Mita - MacTaggart (8)

RADIATOR TECHNICIANS (3)

Carla Ravenscroft - N/A

Mari Ebara - MacTaggart (5)

Chiyoko Tsukada - N/A

GENERAL MAINTENANCE STAFF (3)

Duffy Williams - N/A

Jocelyn Trueman - Kennedy (7)

Joan Jardine - N/A

---

WEAPONS DEPARTMENT (17)

WEAPONS DEPARTMENT HEAD (1)

Blackmask - Hood-Cat (1)

ELECTRONIC WARFARE SPECIALISTS (2)

Charlotte McGann - Kennedy (2)

Suzie Gillett - Kennedy (3)

MUNITIONS EXPERTS (2)

Taiho Mori - Mori (6)

Rusty - Hood-Cat (10)

PRIMARY GUNNERS (4)

Kitti Gabor - Hood-Cat (2)

Eldridge Harris - Hood-Cat (3)

Bette Crothers - Hood-Cat (8)

Starla Holloway - Hood-Cat (9)

SECONDARY GUNNERS (5)

Larissa Maud-Roxby - Hood-Cat (7)

Adrianne Lindsay - N/A

Kohaku Aono - N/A

Eloise Buttram - N/A

Shigeko Miyauchi - Mori (10)

TRINITY CANNON TECHNICIANS (3)

Sonora Dubin - Hood-Cat (4)

London English - Hood-Cat (5)

Tibby Clark - Hood-Cat (6)

***

[topworldhistory]

1862 - Abraham Lincoln receives the first group of African Americans to confer with a US president 1864 - -16] Confederate General Joe Wheeler besieges Dalton, Georgia 1864 - 2nd day of battle at Deep Bottom Run Virginia: Federal assault 1880 - Construction of Cologne Cathedral completed after it began in 1248 - largest Gothic cathedral in Northern Europe 1959 - 26th NFL Chicago All-Star Game: Baltimore 29, All-Stars 0 (70,000) 1972 - A Catholic civilian is shot dead during an IRA attack on a British Army patrol in Belfast 1975 - Russian composer Dmitri Shostakovich is buried at the Novodevichy Cemetery in Moscow 1988 - PGA Championship Men's Golf, Oak Tree GC: Jeff Sluman wins his only major title by 3 shots from Paul Azinger 2008 - Australian women's 4 x 200m freestyle relay team of Stephanie Rice, Bronte Barratt, Kylie Palmer and Linda Mackenzie swims world record 7:44.31 to beat China and take the gold medal at the Beijing Olympics 2016 - An all-British final in the men's cycling sprint with Jason Kenny beating team mate Callum Skinner at the Rio de Janeiro Olympics

More Historical Events »

from Historical Events | OnThisDay.com https://ift.tt/31yGU8c August 14, 2019 at 09:33AM

[seasaltandpepper]

Week 6 Forum

To what extent do you agree with the notion that copyright enforcement is oppressive, and why?

To what extent do you agree with the critique that the cyborg myth makes on traditional feminism? (For this reading, the writing style can be a little difficult to process unless you come from a certain background. If you are having trouble, doing a search for the article title may lead you to some information on it that is written up in a more accessible way. Do note that you should use these alternate sources only as a guide to help you understand the reading more easily, as they may only represent one particular interpretation of the original text.)

Write a brief constructive critique of the "Cyberfeminist Manifesto for the 21st Century", and comment on how its remix as "Undaddy Mainframe" alters or builds upon its original message. (For this question, you may need to do a bit more independent research into the background and intent behind the works.)

I do not agree that the notion of copyright enforcement is oppressive, the advancement of technology has progressed so quickly that it might be hard for copyright enforcement to catch up. Sometimes it is hard to say who has rights over this art because a tweak and change in the original art can create another piece so who actually claims over the art. With the advancement of technology, sometimes when these artworks are brought into the public, people can recognise if they are copies and call out on them through social platforms.

I agree with her critiques to traditional feminism, Haraway suggests that feminists should move beyond naturalism and essentialism, criticizing feminist tactics as "identity politics" that victimize those excluded, and she proposes that it is better strategically to confuse identities.I believe that as time progresses, we are blurring the lines between genders and like what she mentioned, gender is a social construct. We are assumed to be better at things because of what society says but that may not be the case. With more people standing up for their “rights” and for gender-neutral stands,  we are more open and acceptable to view gender differently.

A cyberfeminist Manifesto for the 21st century was created by VNS MATRIX (JOSEPHINE STARRS, JULIANNE PIERCE, FRANCESCA DA RIMINI, AND VIRGINIA BARRATT) in 1991.

The first thing that caught my attention was the humans with unicorn liked horns on their head and posing with a masculine sense where they raised both their hands up and flexing them. It is a very peculiar piece of art with different elements pieced together. After reading through the description of this piece of art, I got to understand the radical representation of woman in this art.

This project aims to express the political position of cyberfeminism and how the technology can be used to change this behaviour and disrupt patriarchy norms in the society. The woman in the middle seems to be burdened by the globe carrying all the words. The globe symbolises all the erotic cyber practices that men carry out and objectifying women, the woman had to carry all the of it on her shoulders because of the societal cyber climate. While the 2 other unicorn-like humans seem to be men who are showing off their prowess, power and masculinity over the burdened woman.

[cloemarrie]

BOOK BLITZ: S.K.I.E. Series by Caitlyn Mancini

BOOK BLITZ: S.K.I.E. Series by Caitlyn Mancini

Title: S.K.I.E. Series Author: Caitlyn Mancini Genre: YA science-fiction/genetic engineering (futuristic not alien sci-fi) Cover Designer: Renee Barratt from The Cover Counts Hosted by: Lady Amber’s PR Blurb: Selie is starting college in the year 2098 at Ashmore University located within White Sulfur Springs, West Virginia. While technology has advanced to incorporate artificial intelligence…

[cloemichaelsreads-blog]

BOOK BLITZ: S.K.I.E. Series by Caitlyn Mancini

BOOK BLITZ: S.K.I.E. Series by Caitlyn Mancini

Title: S.K.I.E. Series Author: Caitlyn Mancini Genre: YA science-fiction/genetic engineering (futuristic not alien sci-fi) Cover Designer: Renee Barratt from The Cover Counts Hosted by: Lady Amber’s PR Blurb: Selie is starting college in the year 2098 at Ashmore University located within White Sulfur Springs, West Virginia. While technology has advanced to incorporate artificial intelligence…

[sfbenson]

BOOK BLITZ: S.K.I.E. Series by Caitlyn Mancini

BOOK BLITZ: S.K.I.E. Series by Caitlyn Mancini

Title: S.K.I.E. Series Author: Caitlyn Mancini Genre: YA science-fiction/genetic engineering (futuristic not alien sci-fi) Cover Designer: Renee Barratt from The Cover Counts Hosted by: Lady Amber’s PR Blurb: Selie is starting college in the year 2098 at Ashmore University located within White Sulfur Springs, West Virginia. While technology has advanced to incorporate artificial intelligence…

[caseybecker3-blog]

Net Art Anthology

For my Net Art Anthology presentation, I chose a piece called Cyberfeminist Manifesto for the 21st Century. The piece was created in 1991 by a group called the VNS Matrix.

           Four Australian women make up the VNS Matrix: Josephine Starrs, Julianne Pierce, Francesca da Rimini, and Virginia Barratt. According to Barratt herself, "The VNS Matrix emerged from the cyberswamp during a southern Australian summer circa 1991, on a mission to hijack the toys from technocowboys and remap cyberculture with a feminist bent." Their approaches were influenced by concepts of power, sexuality, body forms, punk, guerilla feminism, porn, humor, and music.

           This piece, along with VNS Matrix as a whole, galvanized the cyberfeminist culture in the early 90’s. The timing was particularly important because the internet was coming into the public sphere at that time. Cyberfeminism grew from cyberpunk culture of the previous decade and the beginning of third-wave feminism. The internet’s growing influence and its lack of geographical limits made it the perfect tool of liberation.

Cyberfeminism did eventually fall away after the introduction of the web 2.0. Before the dot com boom, content on the web was placed purposely and thoughtfully by internet artists and programmers. Once anyone could put their opinions on the internet, it became a place for misogyny just as the real world can be, and with much less consequence. However, there are also many websites today created by women and that celebrate feminism. In retrospect, the cyberfeminist movement wasn’t inherently wrong, the ideals it held simply came to life in other ways than the VNS Matrix anticipated.

The interesting thing about this iconic piece of internet art is that it didn’t start out on the internet. The design was originally created as a poster that members of VNS Matrix wheat pasted across the walls of southern Australia. The poster was sent out by fax, mail, left in stacks at art galleries, and plastered on billboards.

It features bulging, sanserif text, without any punctuation marks or capitals, save for “VNS MATRIX” placed directly in the center. The text itself came from a stream of consciousness writing session which took a feminist approach to critical and pornographic texts. The shapes around the bulging text resemble female genitalia.

As a webpage, it is simple. There are no animated or interactive elements. The words simply stand for themselves. The piece’s biting tone and sharp language shed the composure traditionally associated with femininity. (It is worth noting that the C-word is used exponentially more casually in Australia than it is here in the states.)

The piece is a published declaration of meaning behind the cyberfeminist movement: It is a call to action for women of the web to tackle the male-dominated cyberworld of the early 1990’s.