Vinyl

This article reviews a recent wave of literature on the resurgence of vinyl records, examining what it has claimed about vinyl's capacity for tangibility and the contrast to digital media, associated with intangibility. These claims are explained with reference to other literatures on touch, and it is suggested that vinyl's haptics mediates and embodies the emotionally rewarding production of a sense of self. The apparent contrast of vinyl aesthetics with classical music aesthetics is also discussed, and the presence of contemporary classical music within the vinyl resurgence is considered.

Recent years have seen not just a revival, but a rebirth of the analogue record. More than merely a nostalgic craze, vinyl has become a cultural icon. As music consumption migrated to digital and online, this seemingly obsolete medium became the fastest-growing format in music sales. Whilst vinyl never ceased to be the favorite amongst many music lovers and DJs, from the late 1980s the recording industry regarded it as an outdated relic, consigned to dusty domestic corners and obscure record shops. So why is vinyl now experiencing a 'rebirth of its cool'?

Dominik Bartmanski and Ian Woodward explore this question by combining a cultural sociological approach with insights from material culture studies. Presenting vinyl as a multifaceted cultural object, they investigate the reasons behind its persistence within our technologically accelerated culture. Informed by media analysis, urban ethnography and the authors' interviews with musicians, DJs, sound engineers, record store owners, collectors and cutting-edge label chiefs from a range of metropolitan centres renowned for thriving music scenes including London, New York, Tokyo, Melbourne, and especially Berlin, what emerges is a story of a modern icon.

Endorsements & Reviews:

“Vinyl is a state-of-the-art treatment of an unforgettable object and medium that raises many of the issues central to contemporary anthropology. Its subject-matter should make it appealing to students and general audiences, while its theoretical sophistication makes it relevant to scholars of music, technology, popular culture, and cultural objects.” –  Jack David Eller, Anthropology Review Database

“Bartmanski and Woodward have created a masterpiece that any record lover should have on their shelves” –  Record Collector magazine

“Bartmanski and Woodward … provide meticulous detail as to how materiality matters … Bartmanski and Woodward divide their book into chapters that fervently trace various aspects of vinyl: its history, its functionality and use as a medium, its production and physical properties, and its consumption. In each chapter, they attend to the materially mediated cultural meanings within which vinyl is entangled.” –  Robin Bartram, Northwestern University, Qualitative Sociology

“Vinyl culture is back, and it’s even more vibrant than it was in its heyday, before digitalization. Bartmanski and Woodward take us to the epicentres of this revolution, and let those who are behind it tell us about their passions for this iconic medium. This is an exemplary study of the social and sensory life of things." - David Howes, Professor of Anthropology, Concordia University, Montreal, Canada

“In the age of the digital, with the ubiquitous smart phone and MP3 technologies providing consumers with instant access to global sounds irrespective of where they are, Vinyl explores the persistence of an old technology within the production and consumption of music. In doing so it demonstrates the complex ways in which material objects form a meaningful part of our everyday lives – not just through the sounds of vinyl but by how it feels and looks. The text is beautifully written, impassioned, yet critical. Welcome to the world of the post-digital.” –  Michael Bull, Professor of Sound Studies, University of Sussex, UK.

“A passionate ode to the analogue record, and testament to how vinyl embodies the content it mediates, with each record's unique journey etched into the material” –  Hillegonda C. Rietveld, The Times Higher Education

The thesis is a multi-sited ethnographic study of the practices through which a sense of identity and belonging is produced and experienced in the crate digging scene, a hip hop related translocal record collecting collectivity.
Affective attachments are rarely theorised within popular music studies, and are largely neglected or taken for granted in empirical work. Whereas the emergence and prevalence of a sense of companionship and collective identity is less surprising in tightly-woven collectivities that frequently gather in public venues in a particular locality, it demands more of an explanation in spatially dispersed musical worlds, like the transnational crate digging scene, in which regular, locally based face-to-face interaction takes place in small friendly circles that consist of a handful of enthusiasts at most.
The thesis reworks earlier, more elusive definitions of the notion of scene – a shared cultural space in which a range of coexisting and interacting musical practices work towards producing a sense of community – in a way that is more specific both with regarding what kinds of practices – aesthetic, distinctive, and spatial – shall be taken into consideration in accounting for the sources of attachments in musical collectivities. Furthermore, through its empirical chapters it outlines and connects particular areas of inquiry – the collective cultivation of a certain form of musical appreciation, the performance of distinctive practices, the acquisition and passing on of scenic sensibilities and customs, the places of scenic practice, as well as a shared understanding of spatiality – in which the productive – work of these practices could be be more closely observed and understood.
Through a micro-sociological study of the collective practices organised around the consumption of second hand records, the thesis also engages with the sociocultural significance of the transforming technological regime of music consumption.

new laboratory tests reveal the familiar “new shower curtain smell” may be toxic to our health. Polyvinyl chloride (PVC) plastic shower curtains purchased at Bed Bath & Beyond, Kmart, Sears, Target, and Wal-Mart all contain avoidable toxic chemicals including volatile organic compounds (VOCs), phthalates, organotins and metals. Some of these chemicals are volatile, so they are re- leased into the air inside our homes. This new study reveals that PVC shower curtains can release as many as 108 volatile organic chemi- cals. Some of these chemicals cause develop- mental damage as well as damage to the liver and central nervous, respiratory, and reproduc- tive systems. In addition, some chemicals were found in the air 28 days after a PVC shower cur- tain was unwrapped and hung. This investiga- tion shows that PVC shower curtains are signi- ficant contributors to indoor air pollution.

Volatile Vinyl—The New Shower Curtain’s Chemical Smell summarizes the results of a two-part laboratory study of the toxic chemicals contained in and released from PVC shower curtains. The first part of this study measured the concentration of chlorine, phthalates, or- ganotins and metals in five PVC shower curtains and VOCs in one curtain purchased at popular retailers. The second part measured the con- centrations of VOCs evaporating from a shower curtain in a test chamber over a 28-day period.

Atualmente, a projeção mapeada (video mapping), tem se desenvolvido em diversos eixos de linguagem, aproximando-se com mais intensidade de interfaces multissensoriais e imersivas. A multissensorialidade, aplicada à arte computacional, contribui para que artistas tecnológicos adaptem ferramentas direcionadas à construção de trabalhos poéticos, em que os resultados são obtidos através de extensas experimentações. Trata-se de uma busca por expressar sensações as quais são possíveis pela interatividade, resultando na inovação e no desenvolvimento de ferramentas, hardwares e softwares específicos para construção de uma linguagem híbrida, mergulhada na hipermídia. Este estudo investiga os aspectos de desenvolvimento técnico de interface e da programação multimídia envolvidos no processo de criação de sistemas interativos com discos de vinil. O disco de vinil foi ressignificado como “tela de projeção”, e a partir disto a pesquisa foi desenvolvida na idealização de um sistema de interação e geração de conteúdo multissensorial, onde a imagem cinética e o som eletroacústico digital se unem com a tatibilidade para compor um sistema complexo de interação e geração de conteúdo multissensorial. O desenvolvimento dos experimentos descritos neste estudo, assim como os seus resultados, estão conectados à uma busca por suportes não convencionais para projeção, como o vinil, e na criação de obras artísticas em que a autonomia do usuário em sentir outras funcionalidades é dada pela ressignificação do mesmo.

Palavras-chave: projeção mapeada, interatividade, multisensorialidade, vinil projetável, inovação

Cùng công ty vệ sinh TKT tìm hiểu về sàn Vinyl, đặc điểm của sàn Vinyl, cách lắp đặt sàn Vinyl, cách vệ sinh sàn Vinyl, cách bảo dưỡng sàn vinyl, cách phủ bóng sàn vinyl 1. Sàn Vinyl là gì, đặc điểm của sàn Vinyl và ứng dụng Sàn vinyl là tên thường gọi của dòng sản phẩm từ nhựa tổng hợp PVC (Polyvinylclorua), Hiện nay thường gọi là nhựa PVC (vinyl) là loại nhựa nhiệt dẻo tổng hợp có gốc vinyl. Nhựa pvc được sản xuất từ dầu thô hoặc nhân tạo từ các thành phần hóa học muối ăn. Sàn vinyl (sàn nhựa, sàn PVC) là một vật liệu sàn rất phổ biến ở các nước phát triển. Tuy nhiên ở Việt nam, sàn vinyl chủ yếu mới được biết đến nhiều trong giới xây dựng. * Phân loại Thông thường, sàn vinyl dùng để chỉ các loại sàn nhựa có phủ vinyl lên bề mặt hoặc 100% vinyl đồng nhất homogeneous. Sàn vinyl có nhiều loại khác nhau như: Sàn vinyl đồng nhất homogeneous, sàn vinyl không đồng nhất hetergeneous, sàn vinyl cuộn, sàn vinyl tấm, sàn vinyl sheet, sàn vinyl tile, sàn vinyl thể thao, sàn vinyl pvc, sàn nhựa vinyl, sàn vinyl kháng khuẩn, sàn vinyl y tế, sàn vinyl bệnh viện, sàn vinyl chống tĩnh điện, sàn vinyl dán tường... * Đặc điểm Sàn Vinyl là loại sàn đàn hồi gồm có sàn chống tĩnh điện và sàn không chống tĩnh điện, sàn có độ đàn hồi cao khoảng 12%. với các tính năng sau:-Độ mềm, dẻo cao, bền, chống trầy xước.-Chống trơn trượt, vệ sinh, kháng khuẩn và nấm mốc, chống vết nám của tàn thuốc, chống hóa chất-Không nứt, vỡ, gãy do địa chấn, chống lực nén cao-Giảm ồn, tiếng động, không bị lõm-Ít hoặc không có đường nối, độ phẳng cao-Chống tĩnh điện có nhiều loại: từ 104Ω – 106Ω (dẫn tĩnh điện), 107Ω – 109Ω (phân tán tĩnh điện)-Dễ lau chùi, dễ bảo quản và bảo dưỡng.-Nhẹ hơn gạch nên giảm được chi phí ban đầu (chi phí làm móng…) cho các công trình. * Ứng dụng Do những đặc tính trên nên sàn Vinyl thường được sử dụng ở những nơi như: nhà máy, bệnh viện, phòng máy tính, phòng điều khiển, phòng sạch, phòng mổ, phòng dược, phòng chế biến thực phẩm, nhà máy sản xuất mỹ phẩm, nhà máy điện, các trạm biến thế, phòng điện của các building .v.v.-Bệnh viện, phòng mổ, trung tâm chăm sóc sức khỏe-Sử dụng ở khu vực công cộng, khách sạn, nhà hàng-Trong văn phòng,, trung tâm thương mại-Trung tâm dược, nhà máy mỹ phẩm, nhà xưởng sản xuất-Trường học, khu vui chơi trẻ em-Phòng thí nghiệm, phòng sạch, nhà máy hóa chất-Nhà ở, căn hộ cao cấp… 2. HƯỚNG DẪN THI CÔNG, LẮP ĐẶT SÀN VINYL Lắp đặt sàn vinyl đòi hỏi một số công cụ như máy hàn, dụng cụ sủi, con lăn bề mặt, búa cao su... * Chuẩn bị bề mặt-Lột bỏ lớp vinyl cũ (nếu có) và vệ sinh bề mặt sàn. Điều kiện cân bằng ở mức ± 3mm trong vòng mỗi 6 mét góc vuông.-Sàn Vinyl phải được thi công sau cùng khi tất cả các phần khác của tòa nhà đã hoàn thiện, để tránh bụi và các chất khác hay kê dụng cụ lên sàn có thể làm hư sàn hoặc giảm tính năng của sàn.-Nếu lắp máy điều hòa thì phải hoàn thành trước 1 tuần khi lắp sàn Vinyl-Mặt bằng dùng để dán sàn Vinyl phải phẳng, tất cả đường nối và chỗ không phẳng phải được san bằng bởi vì bất kỳ một sự không bằng phẳng nào sẽ được thể hiện qua tấm sàn và có thể nhìn thấy trên bề mặt của nó sau khi lắp đặt. Có thể dung vữa tự phẳng dày từ 2mm – 3mm để xử lý bề mặt.

O presente trabalho tem o intuito de analisar a cultura dos colecionadores de discos de vinil da cidade do Rio de Janeiro na atualidade. Nesse artigo, exponho aspectos relacionados ao consumo de discos novos e usados, dentro de uma cultura da convergência (JENKINS, 2008). Também serão abordadas as questões do colecionismo, da materialidade do formato e os resultados da observação participante em locais relacionados ao vinil (bancas de rua e lojas) e das entrevistas com colecionadores e vendedores.

To facilitate recycling, not only R&D but also
the creation of efficient recycling systems—collection and
processing of recyclates as well as finding appropriate end-
uses—is essentially important. PVC has a particular
advantage in regards to mechanical recycling when com-
pared to other major plastics. However, there is no one-
size-fits-all approach to a solution. Specific situations of
used or off-cut products and their applications need to be
well studied. Vinyl industry in Japan has devoted itself for
many years to the promotion of recycling of vinyl products.
It started an R&D support program in 2007 and seven
projects have been completed since then. Some of the new
developments include mechanical recycling for products
like wall covering and tarpaulin which were considered
difficult to recycle in the past. Progress in chemical recy-
cling has been made with a technology for the removal of
chlorine from shredder dusts. Recovery of chlorine is a
challenge for the future. Collaboration among the various
players involved in the recycling of a specific product is
essential for obtaining a successful result.

In the article the authors try to build a research reflection by means of a logical description of the result of self and technology-sound carriers/media, up to the extreme form, that is their disappearance, or distance from the listener/user. The authors show the influence of media on the organization of musical expression in the field of semiotics, technology and aesthetics. The starting point of the article is a reflection on a fragment of the lyrics, which suggests a return of music to the air. The authors reconstruct the evolutionary path of sound carriers and reach the place where the air was the primary carrier. At the same time they analyze the contemporary face of technologically entangled air (as a carrier), which is no longer the air from the pre-industrial era, but rather a symbolic place where one can find wireless communication, the Internet or Bluetooth. The article has a philosophical and technological character and serves primarily to consider the role of carriers in the current media reality in which, on the one hand, retro resentment is revived and, on the other hand, the form of streaming services takes over the market of music distribution. The contemporary listener, producer-consumer and remixer, modifies his behaviours, rituals and habitus of listening-the perception of sound.

il lavoro si pone l'obiettivo di analizzare il fenomeno del ritorno del disco in vinile sul mercato discografico avvenuto nell'ultimo decennio.
Dopo una breve storia del formato e delle sue evoluzioni nel corso del tempo, sempre volgendo l'occhio agli andamenti di mercato, si analizzano i cambiamenti apportati all'industria musicale dall'avvento del digitale e del web.
La parte conclusiva è dedicata all'analisi, attraverso interviste e testimonianze, del fenomeno del ritorno del vinile, cercando di sviscerarne motivazioni e sviluppi futuri. inoltre viene posto l'accento sulla particolarità del formato, sul fascino che continua ad esercitare sugli ascoltatori e sull'importanza del web nel favorirne una seconda giovinezza.

Hal ini adalah suatu pilihan kualitas yang sangat penting dari dekorasi lantai vinyl dan lantai kayu yang tepat di rumah anda dan perabot rumah Anda agar sesuai dengan hal itu, dan mampu memberikan sentuhan keindahan ruangan didalam rumah kita.
Sebagian orang lebih suka memilih laminate flooring untuk memberikan pesona dan kemewahan di suasana rumah, tapi kita tidak boleh melupakan pentingnya belajar bagaimana untuk merawat dan menjaga kebersihan lantai kayu parket agar tetap bersinar

Diglycidyl ether of bisphenol A acrylate (DAC) and diglycidyl ether of bisphenol A methacrylate (DMAC) were synthesized by the reaction of an epoxy [diglycidyl ether of bisphenol A (DGEBA)] with acrylic acid and methacrylic acid, respectively. The synthesized resins were characterized by determination of the acid, hydroxyl, and saponification values. Structure elucidation was done by gel permeation chromatography, Fourier transform infrared spectroscopy, 1H-NMR spectroscopy, and 13C-NMR spectroscopy. DACs were cured with melamine formaldehyde resin at low pH values. The pH of the resin systems was adjusted with phosphoric acid. The coatings of these systems were formed on mild steel specimens for physicomechanical and chemical/corrosion-resistance performance. The coatings of DAC and DMAC showed excellent scratch hardness and good impact-resistance performance. The coatings of DMAC showed better performance than DAC with respect to chemical and corrosion resistance. Thermogravimetric analysis and differential scanning calorimetry were used to investigate the thermal stability and curing behavior of these systems. DAC showed a little higher glass-transition temperature than DMAC and also showed a higher thermal resistivity. © 2004 Wiley Periodicals, Inc. J Appl Polym Sci 95: 494–501, 2005

Artist-led doctorates are flourishing across academia, challenging traditional thesis forms.

My project involved creating a vinyl record trilogy with a reflective guide/exegesis. It is an idiosyncratic ethnography of the self, rooted in artistic interventions to chronic health problems.

The work was placed in the growing academic field of ‘autoethnography’.

In the lecture, I unpick my doctorate –The Fragmented Filmmaker - Emancipating The Exhausted Artist, in order to investigate why autoethnography is not only a useful tool in constructing a PhD, but also a framework for practical, political and personal development.

Related Workshop:

The Reflexive Selfie: Create your own ‘Idioholism’

The ‘engine’ of my doctorate was compacted into an artist’s manifesto. Essentially it aimed to assist any practitioner towards ‘triangulating’ accessible art projects in order to have a more fulfilling existence. It was initially created for me, but I always wanted to expand it to others.

I’d like to try something I’ve not done before in the workshop, that is, have participants attempt to apply principles of my framework to their own lives and share the results.

Using elements of the manifesto, this workshop will trial out some of the more accessible techniques. Bring an open mind and construct the beginnings of your own ‘idio-holistic’ map.

Different migration models were evaluated on the basis of data from migration experiments carried out by Danisco in 2005. The migration experiments were set up to investigate the behavior of the three plasticizers GRINDSTED®SOFT-N-SAFE (SNS), GRINDSTED®ACETEM 95 CO (Acetem), and epoxidized soybean oil (ESBO) with regard to their migration from three different types of poly(vinyl chloride) into isooctane at 20, 40, and 60°C. Diffusion coefficients derived from the experimental migration data were evaluated against diffusion coefficients estimated from a model based solely on the migration data for ESBO. The diffusion coefficient estimation model proved to be very good in estimating the diffusion coefficients at 20°C but overestimated them at 40°C and 60°C. By using a migration model originally derived by Kontominas [Kondyli et al., Polymer, 34, 2592 (1993)] and the estimated diffusion coefficients, it was possible to obtain a more satisfactory representation of the experimental migration data at 40°C than that obtained with the commonly used migration model of Crank [Crank, Mathematics of diffusion, (1956)] based on the experimental diffusion coefficients. J. VINYL ADDIT. TECHNOL., 2009. © 2009 Society of Plastics Engineers

This paper has been accepted for publication in Nicholas Campion (ed.) Heavenly Discourses (Lampeter, Sophia Centre Press, 2015 )

ABSTRACT: In 2009, Forestry Commission Scotland successfully established part of Galloway Forest Park as the first 'Dark Sky Park' in Britain – it is one of the darkest parts of the UK mainland for stargazing. Artist/Composer Chris Dooks is making music from the voices of local astronomers and other patrons of the park. In this paper, he defines the project and contextualises the work with other astromusic that has influenced it, such as: a) The Chromatics, a touring science a cappella troupe; b) Singing Science Records, a vinyl edutainment project of the 1950s; c) The Symphony of Science, ‘The phenomenon of auto-tuning’, featuring Carl Sagan, Richard Dawkins and Stephen Hawking. Dooks’ work (more akin to the philosophies of composer Steve Reich) features phrases garnered from astronomer-interviews that are woven into a fifteen-minute, public-domain electronic music piece . The astronomers’ accents and conversation form the motifs, phrases and cadences of the piece. Here, local viewpoints kindle supermassive views. This way of working gives the work both an accessible and otherworldly flavour, linking a kind of regionalism to the universal. In 1995, Dooks made a film (which won a national competition) about the nature of artificial light: ‘Beacons.’ Now, sixteen years later, he complements the work with a piece about the struggle to find darkness in increasingly light-polluted skies. This paper was presented with a semi-live performance in Bristol during the Heavenly Discourses conference, the aim being to compose a warm and potentially emotional response to this precious view of the night sky.

La realidad capturable. Capturar el sonido pudo haber sido una fantasía que parecía imposible de realizarse, hasta que se realizó. La fotografía había nacido algunos años antes, y ya había cambiado la manera de pensar del mundo. Capturar un fragmento de la realidad, (un grito, por ejemplo) grabarlo

The cellulose thiocarbonate, in the fabric form, was treated first with a freshly prepared ferrous ammonium sulphate (FAS) solution. The so-treated fabric formed, with N-bromosuccinimide (NBS), an effective redox system capable of initiating grafting of methyl methacrylate (MMA) and other vinyl monomers onto the cotton fabric. The effect of the polymerization conditions on the polymer criteria, namely, graft yield, homopolymer, total conversion, and grafting efficiency, was studied. These polymer criteria were found to depend extensively upon concentrations of the Fe2+ ion (activator), NBS (initiator), and MMA; pH of the polymerization medium, and duration and temperature of polymerization. Based on detailed investigation of these factors, the optimal conditions for grafting were as follows: Fe2+, 1x 10-3 mol/L; NBS, 1 x 10-2  mol/L; MMA, 4%; pH, 2; polymerization time, 150 min; polymerization temperature, 60oC; material/liquor ratio, 1 : 100. Under these optimal conditions, the rates of grafting of different vinyl monomers were in the following sequence: methyl methacrylate % methyl acrylate > acrylonitrile. Other vinyl monomers, namely, acrylic acid, and methacrylic acid have no ability to be grafted to the cellulosic fabric using the said redox system. A tentative mechanism for the polymerization reaction is suggested.

Why Vinyl Matters is part history, part future forecasting, part nostalgia and all celebration. A collection of more than 25 interviews, all illustrated with photos, sidebars, quotes, album covers, outtakes and much more. This is the book for anyone who has ever gone to the store and bought music on vinyl.

Includes interviews with: Fat Boy Slim; Tim Burgess (Charlatans); Henry Rollins (musician, actor, writer, comedian); Gaz Coombes (Supergrass); Lars Ulrich (Metallica); Maxi Jazz (Faithless); Rob da Bank (DJ and founder of Bestival); Clint Boone (Inspiral Carpets); Mike Ness (Social Distortion); Chief Xcel (Blackalicious); Cut Chemist (Jurassic 5); Fab 5 Freddy (hip hop pioneer, visual artist); Fat Mike (NOFX); Julia Ruzicka (Future of the Left); Steve Hackett (Genesis); Nick Hornby.