Cassette Tape Research Articles

Life from All Sides

Recent work by the Norwegian writer Karl Ove Knausgaard can be read as an attempt to examine a "whole life from all sides." What for Dolly took shape as a four-hour respite from child-rearing has for Knausgaard become several books, including the six My Struggle novels. In the first two volumes, Knausgaard documents a landscape of encounters and objects (family dinners, cassette tapes, Rembrandt), his relationship with his abusive father, his two marriages, and the birth of his first three children. In volumes three, four, and five, there are more family dinners, white Nikes, and Flaubert; we learn about his childhood, sexual awakening, struggle with alcoholism, and ambition to become a writer. The final volume charts the publication and reception of the first book, including a lawsuit filed by an uncle, unhappy with the portrayal of a brother. The series courses along for nearly 4,000 pages, yet Knausgaard's clarity of voice and his compulsive, convulsive attention to detail means that nothing feels repetitive.

Without Being Taught

Without Being Taught Elizabeth Miki Brina (bio) I am eleven years old. I am lying on my stomach on the living room floor, too close to the television, watching an episode of Beverly Hills: 90210. My father summons me to the dining room table and I can hardly hear what he says as Dylan declares his love to Brenda, or Brandon declares his love to Kelly, while leaning against a motorcycle or sitting in the backseat of a Cadillac convertible, on a cliff's edge, the city of Los Angeles twinkling below them. Somehow the stories of these characters seem so complex, so compelling, even with everyone leading generally pleasant lives and reciprocating love for each other. My father waits until the commercial, as soon as Noxzema promises to dissolve oil without over-drying. "Elizabeth?" he asks again. "This better not take long." I join my parents at the head of the table, with my mother and father on either side of me, with my back turned toward the television, but I can still hear what Brenda or Kelly will say next if I stretch my ears to listen. My mother sits with her knees bent close to her chest, her nightgown pulled around her legs, her toes clutching the cushion of the chair. Her eyes are wet. My father, as usual, reveals nothing. His shoulders are relaxed, his hands clasped. He gets directly to the point. [End Page 147] "Your mother met a man who is very nice to her …" I wake up, just a little, at that moment. And a wakefulness carries through, just a little, beyond that moment. From now on, I start to pay more attention. I start to watch my own life more carefully. But I won't understand most of it, not for a long time. My mother won't let him finish. "No, stop … Just forget it … I don't want you to say anything else." My father doesn't say anything else. My mother wipes her eyes. I ask, "Can I go watch TV now?" ________ His name was Sonny. And we never spoke of him again, not out in the open like that, with all three of us sitting together at the dining room table. I never saw him at the house again after that conversation. I'd had no idea they were even talking about Sonny until many years later. I remember his long hair and thin mustache. I remember he wore a black leather jacket, which I thought was cool. I remember he took me to Chuck E. Cheese and Ground Round for dinner, won giant stuffed animals for me, twisted balloons into silly shapes for me, bought Aerosmith and Guns N' Roses cassette tapes for me, because the music he blasted through his car stereo made me smile at the breeze out the open window and think I was cool. But the most significant detail about him, a detail I hadn't considered as a child, had to be that he spoke Japanese. Sonny and my mother spoke Japanese. They were two of the few people who spoke Japanese in a small suburb of a small city in upstate New York, where people who spoke languages other than English were scattered across miles and surfaced only occasionally. Sonny and my mother found each other at a restaurant, a Japanese restaurant, where he worked as a sushi chef and she worked as a waitress. My father couldn't speak Japanese. He never learned. Not when he was stationed in Okinawa for a year, in between tours of duty in Vietnam and Korea. Not when he met my mother at a night club, just outside the army base in her hometown of Kadena. Not when he asked [End Page 148] her to marry him, and certainly not when he brought her to the United States to live with him. My father never learned, so I didn't either. Even now, I can't truly appreciate the immediate intimacy she must have felt with Sonny—after spending the majority of her years as wife and mother fumbling for words—to finally be able to converse with someone with ease and grace...

Punk is Dead: Notes Toward the Apocalyptic Tone Adopted by Punk Rock

Punk is Dead:Notes Toward the Apocalyptic Tone Adopted by Punk Rock George C. Grinnel (bio) Philosophy, which once seemed passé, remains alive because the moment of its realization was missed. Theodor Adorno Negative Dialeics I wonder which came first in 1979: Dick Hebdige's foundational analysis of the rise of punk rock, Subculture: The Meaning of Style, or the pronouncement by Crass, "Yes that's right, punk is dead," in their song "Punk is Dead"? The two events stand as memorials erected to mark the demise of punk even as they create some of the conditions that would prove essential for the survival of punk beyond its death. What does the pronouncement of death mean for punk culture and how might it be thought as a productive force that organizes the subculture in certain ways? What kinds of meaning and effects does it generate, and what ways of thinking and acting does it make more or less conceivable? Such questions become all the more pressing when one considers that punk has never quite ended, even if the death of punk has been proclaimed anew repeatedly since that time. Punk is powerfully attached to this rhetoric and its conceptual promise to do much more than simply pronounce its own demise. To what ends do punks speak about the death of punk? What [End Page 53] desires does this tone represent? What does this apocalyptic rhetoric accomplish? It might appear that to speak of the death of punk is an act of bad faith on my part or, worse, a failure to appreciate all of the ways it continues to inspire vibrant and strange expressions of music, community, and ethics. Punk remains alive and well globally in all sorts of local manifestations, and its effects continue to include the creation of identifiably punk music, even if what that sounds like changes for different times and places. It remains dangerous to be punk for some more than others, as the experiences of Pussy Riot in Russia show. Punk remains much more than music. It is an incubator, "a mechanism and a set of guiding principles" (Biel 3), that is as lively today as it ever was, with the audacity of Do It Yourself culture emboldening individuals to create the culture they want in creative and thoughtful ways that aspire to avoid exploitation and profit, appreciate community and strangeness, celebrate rebellion and newfound rituals, risk screwing up, and following one's ideals. Punk has perhaps never looked less like a dead end. Punks like Shawna Potter support others to confront harassment and intimidation and create positive environments with her book Making Spaces Safer as well as her activities fronting the band War on Women; David Norman releases hand-dipped diy cassette tapes and continues the tradition of truly independent non-commercial music distribution with Zegema Beach Records; and Reid Chancellor is expanding what it means to say "punk rock saved our lives" with his graphic novel Hardcore Anxiety: A Graphic Guide to Punk Rock and Mental Health. So, the question is not where did it go? How did it die? Punk never left, and it still provides a home for so many who might not find one elsewhere. Why, then, does punk so urgently and continually assert its demise? From the beginning, there has been nothing but the end of punk. Crass is correct: punk was dead by 1979. In the uk, it had become mainstream with its dissident visual economy sublimated into fashion while its anti-commercial protest music became profit-generating discord for major record labels. Yet punk died too young and was never quite finished by this death. What continued in Europe, Canada, and the United States, and eventually all over the globe during the next forty years, distinguished itself from the birth and death of punk in the uk. When punk emigrated—if a spatial metaphor can be allowed for a transformation that involved much more than simple relocation and certainly none of the permanence this term might suggest—it was no longer rooted in the confrontational mode Dick Hebdige documented as a "resistance in which experienced contradictions and objections to ruling ideology are obliquely represented in [End Page...

Junkfood Activism: How Stepford Became Shorthand for a Certain Kind of Woman

Junkfood Activism:How Stepford Became Shorthand for a Certain Kind of Woman Britt Tisdale (bio) On Ira Levin's. The Stepford Wives (Random House, 1972). Stepford /ˈstɛpˌfəd/adjective (informal, derogatory) 1 blandly conformist and submissive: aStepford employeenoun 2 Stepford wife, a married woman whosubmits to her husband's will and ispreoccupied by domestic concernsand her own personal appearance. The year was 1972. Nixon was president; Watergate was scandalizing; the Olympics were held in Sapporo, Japan, and Munich, Germany, where eleven Israeli athletes were taken hostage and killed. The Godfather and Clockwork Orange headlined theatre marquees, and the playlist—by then, the cool kids had abandoned 8-tracks for cassette tapes—glittered with ABBA and Ziggy Stardust. That year, The National Book Award skewed grotesque to Flannery O'Connor's The Complete Short Stories with E.L. Doctorow's The Book of Daniel among the finalists. Children's literature welcomed Roald Dahl's Charlie and the Great Glass Elevator which I wouldn't love until years later. In October of '72, the "New and Novel" column of The New York Times devoted exactly two paragraphs to American novelist and playwright Ira Levin, best known for jump-starting the horror genre with A Kiss Before Dying and Rosemary's Baby. [End Page 201] Adjacent to a glowing ad for the Doctorow book, The Times called The Stepford Wives "a little ambush of Women's Lib, life and the pursuit of happiness," in a catch-all column for books deemed worthy of mention, but not a stand-alone. On other "Best Of" lists, Wives was nowhere to be seen. In the forty years following, however, Stepford entered the English lexicon, and spawned two major motion pictures plus three television sequels including Revenge of the Stepford Wives, The Stepford Children, and The Stepford Husbands. A short novella by today's standards and a blip on the radar at its release, how did The Stepford Wives become an enduring cultural touchstone? The novel endures in our national consciousness not due to its artistic merit, but because it captures the zeitgeist, providing useful shorthand to a culture as much—some would say, more—in fear of corruption and subjugation today as it was in 1972, functioning exactly as Levin intended. My tattered first edition copy cost me $2 at a library book sale. The yellowing jacket shows rows of disembodied wife heads, their bouffant hairdos tinged pastel. Protagonist Joanna Eberhart's floating head is smack in the middle, her expression the 1970s version of, wtf? Levin's black-and-white author photo peers menacingly from the back cover, his face half-hidden in shadow. The front flap copy is prescient. It is one of those rare novels whose very title may well become part of our vocabulary. For, after reading it, you will never forget Stepford and the horror it contains; and there is a certain kind of woman who, from now on, will be known as a Stepford Wife. The novel is a satirical thriller following photographer and feminist Joanna Eberhart as she moves with husband Walter and their two young children from New York City to idyllic Stepford, Connecticut (based on Wilton, Conn., where Levin lived in the 1960s). Joanna is increasingly disturbed by Stepford's zombie-Barbie-like housewives, as well as the influential Men's Association helmed by ex-Disney animatronics engineer—think: Hall of Presidents—"Diz" Coba. Fearing the women of Stepford are being poisoned or brainwashed, Joanna digs into the library's archives in hopes of solving the mystery. Turns out, the housewives were former professionals and activists leading the now defunct Stepford Women's Club and League of Women Voters. When even her independent friend Bobbie turns robot-June-Cleaver, Joanna has had enough. The quintessential Final Girl of the horror genre, she attempts escape. The story ends with a butcher knife wielded by Bobbie, and Joanna's implied robo-wife conversion; afterward, she glides through the grocery store—Nicole Kidman is hair-raising in the second film adaptation—"looking terrific in a tightly belted pale blue coat." She insists, "Housework's enough for me. I used to feel I had...

Turbotronic: Case Study of Lenhart Tapes and Mirjana Raić

Turbotronic has been a trend in the Serbian popular music since 2010, when Lenhart had his first performance at Improstor in Novi Sad. Continuing with his work, an entire circle of audience has been created around Lenhart, as well as other artists who deal with a certain kind of improvisation of music. This direction gets the name Turbotronic, somehow unplanned, according to the same name reportage of the Vice Portal. Nowadays Turbotronic includes several different groups dealing with the mixing of various music genres - from rap, through pop, to turbo-folk. However, Lenhart Tapes is a founder and a key figure in turbotronic. Lenhart is a musician who deals with the mixing of various audio content from an audio cassette tape. Since 2014, Lenhart has begun cooperating with Mirjana Raić, who joins him primarily by singing traditional music in his compositions. So far, Lenhart and Mirjana recorded around ten songs and had several joint appearances.
 In this paper I have several goals. Primarily, I will present the development and key features of Turbotronic as an alternative music genre. Then, my further analysis will be directed to mentioned individuals - Vladimir Lenhart (Lenhart Tapes) and Mirjana Raić. Through the concepts of musical biography, musical legacy, improvisation and construction of socio-cultural otherness with music, which I will consider primarily thoroughly, my key goal is to decode the message that these artists send to the wider audience through their music. The paper is based on the data derived from interviews I conducted with Lenhart and Mirjana on several occasions, but also on personal observation and participation in their rehearsals and concerts.

Indigitization

Indigitization is a British Columbia-based collaborative initiative between Indigenous communities and organizations, the Irving K. Barber Learning Centre (IKBLC), the Museum of Anthropology (MOA), the UBC iSchool at the University of British Columbia (UBC), and the University of Northern British Columbia (UNBC) Archives and Special Collections, to facilitate capacity building in Indigenous information management. This project is committed to clarifying processes and identifying issues in the conservation, digitization, and management of Indigenous community knowledge. It does so by providing information resources through the Indigitization toolkit and by enabling community-led audio cassette digitization projects through grant funding and training. Indigitization seeks to grow and work with a network of practitioners to develop effective practices for the management of digital heritage that support the goals of individual communities.

Photothermally modulated magnetic resonance using a light access microwaves cavity: Influence of skin depth and of photo-injected carriers

This study reports on the modulation frequency dependence of the photothermally modulated magnetic resonance signal of a set of magnetic samples in the form of foils, layers, and thin films: 50μm Fe and Ni foils; 5μm magnetic layer of γ-Fe2O3 in a cassette tape; and 150nm Co and Permalloy films deposited on glass and Si (111) substrates, besides the naked Si substrate. It is shown, both by analytical calculation and by measurements, that the skin depth of the microwaves deeply influences the signal behavior by selecting the portion of the sample that is probed. Clear differences in the frequency dependence are observed between the metallic Ni and Fe foils and the dielectric γ-Fe2O3 cassette tape. Furthermore, the thermal mismatch between the magnetic films (Co and Permalloy) and substrates (glass and Si) also plays a crucial role, once the modulation of the temperature is strongly dependent on the substrate thermal parameters at low modulation frequencies. The non-resonant signal from the diamagnetic Si is also analyzed. It is produced by the absorption of microwaves by the photo-injected free carriers and presents characteristic behavior in the investigated frequency range.

I COULDN'T MAKE A PIECE AS BEAUTIFUL AS THAT: A CONVERSATION WITH ALLISON CAMERON

AbstractThe composer Allison Cameron (b. 1963) lives in Toronto. Her music has been widely performed at festivals such as Emerging Voices in San Diego, Evenings of New Music in Bratislava, Festival SuperMicMac in Montréal, Newfoundland Sound Symposium, New Music across America, Bang on a Can Marathon in New York, New York, and Rumori Dagen in Amsterdam. A dedicated performer of experimental music in Toronto, Allison co-founded the Drystone Orchestra (1989) and the Arcana Ensemble (1992). She has been improvising since 2000 on banjo, ukulele, cassette tapes, radios, miscellaneous objects, mini amplifiers, crackle boxes, toys and keyboards, in collaboration with Éric Chenaux, the Draperies, Ryan Driver, Dan Friedman, Mike Gennaro, Kurt Newman, John Oswald, Stephen Parkinson and Mauro Savo, among other musicians. In that same year she became Artistic Director of Toronto's experimental ensemble Arraymusic, a position she held for five years. In 2007, she founded the Allison Cameron Band with Eric Chenaux and Stephen Parkinson, and in 2009, the trio c_RL with Nicole Rampersaud (trumpet) and Germaine Liu (drums). Allison has experimented with graphic and notational scores that will soon be gathered and published as a collection. Additionally, she is the winner of the 2018 KM Hunter Award for music in Ontario.

Role of Multimedia in Education

This can present a challenge to educators wishing to engage students in the classroom while still providing required content in order to enhance learning outcomes. In Teaching and learning communication skills, we have a lot to choose from the world of technology: TV, CD Rom, Computers, the Internet, Electronic Dictionary, Email, Blogs and Audio Cassettes, Power Point, Videos, DVD’s or VCD’s. The last two decades have witnessed a revolution due to onset of technology, and has changed the dynamics of educational institutes, and has also influenced the educational system and the way people interact and work in the society. This rapid rising and development of information technology has offered a better pattern to explore the new teaching model. Using multimedia to create a context to teach communication skill has its unique advantages. As a result technology plays a very important role in teaching communication skill.

HERITAGE OF THE ANTI-COMMUNIST CIVIL RESISTANCE IN THE POLISH PEOPLE’S REPUBLIC OF THE YEARS 1968–1989. INTRODUCTION TO THE CLASSIFICATION OF COLLECTIONS

2018 we are commemorating the hundredth anniversary of Polish independence regained after the years of partitions of Poland. Special celebrations are on all over the country; many events are planned to be continued up to 2021 in line with, inter alia, the programme of the Ministry of Culture and National Heritage named Niepodległa 2017– 2021. The article presents the results of research on the material artefacts left behind by the not easily defined historic formation of the years 1968–1989, which can be generally described as an anti-communist civil resistance in the Polish People’s Republic. The actions taken by the resistance started from the so-called March events as well as the foundation of the “Ruch” Organisation. It was followed by: the Workers’ Defence Committee, the Committee for Social Self-Defence “KOR”, the Movement for Defence of Human and Civic Rights, the Confederation of Independent Poland, the Movement of Young Poland; next came: the Independent Self-governing Labour Union “Solidarity”, the Independent Students’ Association, and many smaller organisations or parties, up to the negotiations of the so-called Round Table. The opposition to communist regime was a major factor in the process of regaining by Poland its full independence, restoration of market economy, and putting an end to censorship that had been affecting the freedom of speech. The huge amount of published prohibited materials from this historic period, the so-called second circulation, remained: books, periodicals, leaflets, photos, posters, stamps, badges, cassette tapes, as well as printing machines, duplicating machines, broadcasting equipment, and other material remains. They are presently collected by Polish museums, some of them still in the process of organisation; they are also in possession of associations and foundations as well as private owners who often create remarkable collections, e.g. Krzysztof Bronowski’s “Muzeum Wolnego Słowa” (Museum of Free Speech) containing 700 000 items that arouse interest of foreign museums. Information about the individual oppositionists, events, underground prints and organisations published in the Internet also adds to the legacy of anticommunist resistance; among the available sources are: mentioned above “Muzeum Wolnego Słowa”, Dictionary Niezależni dla Kultury 1976–1989 by the Association of Free Speech, or collection of the “Karta” Centre. The author of the article attempts to classify these collections after interviewing the representatives of relevant institutions and organisations or private owners.

Perusahaan Rekaman Lokananta, 1956-1990-An dalam Penyebarluasan Seni Pertunjukan Jawa Surakarta

This article examines on the role of Lokananta in disseminating Javanese performing arts of Surakarta during 1956-1990. It is focused on records production either in vinyl or tape cassettes and its distribution. This article composed using historical method and utilize wide range of historical sources, such as archives, newspapers, vinyl and cassette covers, articles, books, and oral history. The results showed that during 1957-1971, Lokananta has produced vinyl records which were classified into National Music, Regional Entertainment, and Regional Theatre Music. In that period, Lokananta production was dominated by recording of National Music and Music-Theatre of Central Java. During 1971-1985 Lokananta produced many music and theatre records of Central Java printed into cassette tape. In 1985-1990’s, Lokananta produced and made reproduction on cassette recordings. Quantitatively, production and reproduction recording number has drastically decreased compared to the previous period. Records vinyl and tape cassettes sale, as well as the distribution via Radio Republik Indonesia and private broadcasts, proved that Lokananta has been instrumental in disseminating Javanese performing arts of Surakarta.

13 Things Pediatricians Should Know (and Do) About 13 Reasons Why.

In the spring of 2018, the second season of the controversial Netflix show about a teenager’s suicide premiers. In this article, the authors turn to the literature and their own experiences to highlight 13 things pediatricians should know about 13 Reasons Why . In 2017, Netflix released the television show 13 Reasons Why . The show revolves around a teen-aged girl that kills herself. In lieu of a suicide note, she leaves behind a series of cassette tapes that tell the story of why she took her own life, with each person who receives the tapes identified as 1 of the 13 reasons. In the final episode, there is a flashback to the girl graphically committing suicide on screen by cutting her wrists in the bathtub. Because of the success of the first season, Netflix announced a second season will premier in the spring of 2018. As per Netflix format, the entire season becomes available for viewing at the same time, and the first season remains available indefinitely. In … Address correspondence to Michael B. Pitt, MD, Department of Pediatrics, University of Minnesota Masonic Children’s Hospital, 2450 Riverside Ave, M657, Minneapolis, MN 55455. E-mail: mbpitt{at}umn.edu

“Two Birds with One Stone”: Transmedia Serialisation in <em>Twin Peaks</em>

“Two Birds with One Stone”: Transmedia Serialisation in <em>Twin Peaks</em>

Letters, cassette tapes and zines: The circulation of Brazilian heavy metal as a gift system

Abstract The article addresses cultural exchanges in the Brazilian metal scene and the social practices around materialities such as letters, cassette tapes and fanzines. The exchange of items between headbangers contributed to the globalization of metal and continued over the 1990s and 2000s, in peripheral territories, like Brazil, even with the presence of the Internet. The article is based on a questionnaire administered via social network groups dedicated to Brazilian metal and collectors of cassette tapes and fanzines. The circulation of metal in Brazil is explained from the paradigm of the gift, proposed by Marcel Mauss and others. Our purpose is to highlight the construction of identities and social bonds offered by this cultural exchange.

‘If you got a tape on, you’re committed’: The revival of cassette tapes in Toronto’s New Wave of Traditional Heavy Metal scene

Abstract At the height of music digitization and dematerialization, we still find collectivities of people who use obsolete forms of music media not out of necessity, but as a conscious and meaningful choice. This article focuses on a case study of a surprising revival of cassette tapes in the New Wave of Traditional Heavy Metal (NWOTHM) scene in Toronto, Canada. I consider two broad questions. First, if the music of the bands in the scene can be easily downloaded or ripped off of a CD, and conveniently stored on computers and other devices, what is the appeal of cassette tapes for their consumers? And second, what new meanings have been ascribed to cassette tapes in the Toronto NWOTHM scene – has the main function of cassettes as a music storage medium changed entirely? In this article, I (1) propose that Toronto NWOTHM scene members have rekindled an attraction to physical media formats to close the tangibility gap between music and listener; (2) suggest that subjective media associations between various time periods and/or music genres foster the historically informed consumption of cassettes; (3) demonstrate these two points in the traditional heavy metal subculture in Toronto and (4) outline new meanings that cassettes have undertaken in this context, such as souvenir, materialization of subcultural capital and symbol of commitment.

Interview with Robyn Holmes 2016 ASRA Award Recipient

In 2016, Australian academic and musicologist Robyn Holmes received the Australasian Sound Recordings Association ASRA Award for excellence in the documentation and the dissemination of Australian music. Robyn talks to ASRA Board Member, Melinda Barrie, about her long and varied career in the field of music performance, teaching, and online distribution of Australia’s sound culture. She recalls her diverse interest in sound from the classical to new music, and how she has never forgotten her first day of teaching when an audio cassette - which was relatively new technology at the time - unravelled itself and she had to revert to using vinyl records. However, it was not long after this early experience that Robyn recognised the potential of audio recordings and the power of collections in teaching and learning. It is these early interactions with analogue sound media which can be credited with stimulating her lifelong passion and advocacy for Australia’s recorded sound heritage.

‘What is Pop Art?’ A Revised Transcript of Gene Swenson’s 1963 Interview with Andy Warhol

In March 2016 I came across a set of cassette tapes in the archive of critic and curator Gene Swenson, best remembered today for his defining interviews with the Pop artists, published in ARTnews in November 1963 and February 1964 as a two-part series titled ‘What is Pop Art? Answers from 8 Painters’. The cassette tapes contain recordings of Swenson’s original conversations with the Pop artists: raw material that, as it turns out, was heavily edited and reconfigured for publication, at points altering the meaning of the artists’ words by excising controversial and explicitly queer content. In what follows, I offer a partial transcription of the recording of Swenson’s original conversation with Andy Warhol. Warhol’s then-new studio assistant Gerard Malanga joined in for the conversation, along with two other friends named ‘John’ and ‘Rory’.1 The entire conversation runs 90 minutes, I transcribe here approximately 45 minutes. Bracketed ellipses indicate stretches of recorded conversation that are not included in this transcription, mostly inaudible banter. Swenson begins the interview by asking Warhol, ‘What do you say about homosexuals?’ – signaling from the outset the extent to which the published version was heavily redacted. Warhol’s response to Swenson’s question shapes his subsequent reflection on the interview’s chief question ‘What is Pop Art?’ For an analysis of this conversation, and of its implications for reconsidering the importance of Swenson’s queer practice, see Jennifer Sichel, ‘“Do you think Pop Art’s queer?” Gene Swenson and Andy Warhol’, published in this issue of Oxford Art Journal, pp. 59–83.

Learning With Sound Recordings: A History of Suzuki’s Mediated Pedagogy

This article presents a history of mediated pedagogy in the Suzuki Method, the first widespread approach to learning an instrument in which sound recordings were central. Media are conceptualized as socially constituted: philosophical ideas, pedagogic practices, and cultural values that together form a contingent and changing technological network. Suzuki’s early experiments in the 1930s and 1940s established central ideas: the importance of repetition in learning, the recording as teacher, a place for mothers in assisting learning, and the teachability of talent. Suzuki also refined approaches to learning through specialized modes of listening as he examined tens of thousands of student graduation tapes. During the 1960s, Kendall published the first translation of the method in the United States, and his correspondence with Suzuki along with writings for teachers provide a window into evolving pedagogic practices. The method’s mediated pedagogy changed radically in the 1970s as cassette tapes allowed students to be easily recorded for the first time. The article also considers cultural values and the contingency of media through the vastly different acceptance of recordings in the Japanese and US contexts, including efforts by Kendall during the 1980s to eliminate Suzuki’s controversial practice of advanced recitals played to recorded accompaniment.

Locating Replacement Azimuth Screws for Tascam Compact Cassette Decks

Locating Replacement Azimuth Screws for Tascam Compact Cassette Decks

Curriculum as playlist: Responses of synopsis and expansion

ABSTRACTDo you remember boom-boxes with two decks so a personalized playlist could be recorded onto a cassette tape? Perhaps you received a playlist from a friend, family member, or lover? In this project, 14 colleagues first compiled and shared their curriculum playlists—their favorite texts/performances about curriculum including some of their own texts/performances. Then, they composed responses, expressed in music, dance, poetry, narrative, ruminations, and drama, that annotate, trouble, riff on, and respond to one another's playlists in order to investigate how the art of (re)mixing offers metaphorical possibilities for artfully making curriculum (poiesis). How might the art of mixing be a way of mediating understandings of scholarly lives contingent on histories, politics, and psychologies of knowledge?