'World Invasion' is a form of street art inspired by the 1970's video game with the same title. This book documents a selection of the best invasions so far by each country, including specific details of each invasion and close-ups of some of the best invaders, accompanied by maps, essays and bonus materials including details of arrests, close escapes and other invasion-related paraphernalia. The most heavily invaded countries are accompanied by a written introduction by the original Invader himself.
Although the game of space invaders has barely evolved, the mythology and concept has spread and mutated, one such mutation being the street-art of Invader, an anonymous artist who has, since 1998, 'invaded' 27 cities worldwide, including Tokyo, Berlin, New York and London.
A new methodology in the humanities and social sciences
Author: Nick Hall
Category: Social Science
Hands on Media History explores the whole range of hands on media history techniques for the first time, offering both practical guides and general perspectives. It covers both analogue and digital media; film, television, video, gaming, photography and recorded sound. Understanding media means understanding the technologies involved. The hands on history approach can open our minds to new perceptions of how media technologies work and how we work with them. Essays in this collection explore the difficult questions of reconstruction and historical memory, and the issues of equipment degradation and loss. Hands on Media History is concerned with both the professional and the amateur, the producers and the users, providing a new perspective on one of the modern era’s most urgent questions: what is the relationship between people and the technologies they use every day? Engaging and enlightening, this collection is a key reference for students and scholars of media studies, digital humanities, and for those interested in models of museum and research practice.
Punk Rock, Ronald Reagan, and the Real Culture War of 1980s America
Author: Kevin Mattson
Publisher: Oxford University Press, USA
"After the blast, Kurt Cobain's body slumped. Next to his corpse lay a piece of paper with his last words. At the time the bullet seared his head, Cobain was a rock star, his grizzled face graced the covers of slick music industry magazines, his songs received mainstream radio play, his band Nirvana performed in huge arenas. But he had been thinking an awful lot about what he called the "punk rock world" that saved his life during his teen years and that he had subsequently abandoned for stardom. He first encountered this world in the summer of 1983, at a free show the Melvins held in a Thriftway parking lot. After hearing the guttural sounds and watching kids dance by slamming against one another, he ran home and wrote in his journal: "This was what I was looking for," underlined twice. As he dove into this world, he recognized its blistering music played in odd venues, but also a wider array of creativity, like self-made zines, poetry, fiction, movies, artwork on flyers and record jackets, and even politics. This too: how all of these things opened up spaces for ideas and arguments. Now in his suicide note he reflected on his "punk rock 101 courses," where he learned "ethics involved with independence and the embracement of your community."2 There are people who can recount where they were when Cobain's suicide became news. I was in Ithaca, NY, finishing up my dissertation... but my mind immediately hurled backwards to growing up in Washington, D.C.'s "metropolitan area" (euphemism for suburban sprawl). I started to remember the first time I entered this "punk rock world." Around a year or two before Cobain went to the Thriftway parking lot, I opened the doors of the Chancery, a small club in Washington, D.C., and witnessed a tiny little stage, maybe a foot and a half off the ground. Suddenly, a small kid about my age (fifteen), his hair bleached into a shade of white that glowed in the lights, jumped up. I remember it being brighter than expected (unlike my earlier, wee-boy experiences in darkened, cavernous arenas where bands like Kiss or Cheap Trick would play to me and thousands of stoned audience members). This kid with the blond hair might have said something, I don't remember, what I recall is that his band broke into the fastest, most vicious sounding music I had ever heard. Suddenly bodies started flying through the air, young men (mostly) propelling themselves off the ground into the space between one another, flailing their arms, skin smacking skin. Control was lost, for when a body moved in one direction, another body collided into its path. When someone fell over, another would pick him up. The bodies got pushed onto the stage, making it hard to differentiate performer from audience member. At one moment it appeared the singer had been tackled by a clump of kids, and he seemed to smile. Sometimes, I could even make out what the fifteen-year old was shouting, especially, "I'm going to make their society bleed!" Overwhelmed, I rushed outside to clear my head"--
It's been barely four years since B]ro Destruct, trailblazers of modern Swiss design, published their first ever collection of works at dgv. Best-known and -loved for their ostensibly digital design solutions with a generous touch of craftsmanship, relaxed cleverness and humour, this Bern-based design collective has since realised a multitude of fascinating projects for clients of all shapes and sizes and assembled the resulting highlights in this book. B]ro Destruct II follows its predecessor in layout, structure and the healthy mix of commissioned and free designs. In content, too, the volume shows a consistent continuation, development and refinement of the distinctive B]ro Destruct style, providing an in-depth peek at the collective's experiments, work methods and background through a number of case studies. In addition, internal projects like Typedifferent, the Los Logos website, B]ro Discotec, B]ro Discount and Rainbow are exhaustively documented. With their "instinctive graphics" B]ro Destruct prove that it's possible to become both more complex and focussed, older and fresher, wiser and punkier at the same time. Still inspired by literally everything that surrounds them, they have retained their cheeky freedom to (every once and again) dabble in a little cultivated nonsense.
New York magazine was born in 1968 after a run as an insert of the New York Herald Tribune and quickly made a place for itself as the trusted resource for readers across the country. With award-winning writing and photography covering everything from politics and food to theater and fashion, the magazine's consistent mission has been to reflect back to its audience the energy and excitement of the city itself, while celebrating New York as both a place and an idea.
Covers writers who have made significant contributions to British, Irish, and Commonwealth literature from the fourteenth century to the present day. Includes in-depth critical and biographical analysis.
Photographies des mosaïques à l'effigie des Space Invaders réalisées par Invader et qui couvrent les murs de quelques grandes métropoles du monde. Publié à l'occasion d'une exposition présentée à Paris, printemps 2005.
The burgeoning postmodern condition forces a reevaluation of the novel as a form; contemporary formlessness has created a new and seemingly endless range of interpretations under which the forms of the past coalesce. Martin Amis, whose novels and stories «live» this phenomenon and inform this study, has discovered an art form in the literature of decay, where traditional fictional elements, such as time, voice and motivation, have been corrupted by the twentieth century and the revitalized anti-novel. Style has overcome story in the world of Martin Amis - and perhaps in the «real» world as well.
Hearing Before the Subcommittee on Oceanography and the Great Lakes of the Committee on Merchant Marine and Fisheries, House of Representatives, One Hundred First Congress, First Session, on H.R. 980 ... May 4, 1989
Author: United States. Congress. House. Committee on Merchant Marine and Fisheries. Subcommittee on Oceanography and the Great Lakes