From: D.KRSIC@ZAMIR-ZG.ZTN.APC.ORG
Tekno Scene in Croatia: Under Construction
Benjamin Perasovic
Intro: Before the War/Before Techno
"The Scene" - a beautiful, powerful, lovely notion. It is a common denominator for hundreds (smaller or bigger) scenes, groups and individuals. The world of life. Sociologists used other notions, like "youth subcultures", and, "counter-culture(s)". "Alternative scene" was another term, especially adequate in the second half of the 80s, considering Croatia or ex-Yugoslavia. It was a good description of the special "place" where new social movements met sub/contra cultural actors. The last "integrative point" for the scene in Zagreb (Croatia), was the existence of "Galerrija Esce", The Gallery of Students Center, where punks used to meet performance artists, reggae fans were listening to hard-core, football hooligans were watching the installations and experimental videos, the generation of "16" mixed with the generation of "35", and those of "25" were shocked when they met kids "less then 10" years old during the concerts of Fugazi, Helios Creed, MDC, Victims family....It was too good to be alive longer than one year.
The year was 1991. Without logic the most creative and positive period turned into the time of war. Before the war, the history of urban tribes in Croatia followed the "normal" (in fact, abnormal) development described by English sociologists; dominant culture was honestly doing its job, observing "moral panics" every year or two. In the dominant and controlled media all punks instantly became neo-nazis, all fans of "dark, gothic" music became members of the sects hatching suicide pacts, all football fans became nationalists (later, after the war, football fans became anti-national elements for the nationalistic government) and so on. In the first few months of war, some tribes joined the battle (more than certain observers expected, because it was defensive war in that phase), some of the tribesmen emigrated from the country, small cores of previous eco-peace-women's groups formed anti-war campaigns, and some people started a new scene, a new tribe.
Tekno
The first techno-party was organised in Zagreb in November of 1991, in the middle of war and between air-raids. It was the start. Because of the war, people spent more time in the shelters than at the parties, but the first real cease-fire in the spring of 1992 helped the appearance of techno scene. The organisers of the first party said, "The type of solidarity you learn in the shelters is helpful for a good party". 1993 was a year of growth. From the small events with techno music, brain-machines, fractal graphics, energy-drinks and cult films (like Akira), techno found its own club nights, one and then two times a week. In October of 1993, 3000 people met each other on the first international rave, called "under city rave" because the location was inside a big atomic shelter under the old city of Zagreb. 1994; Techno presented a visible new youth movement, a style with certain colors, symbols, drugs, music, behaviour, but open to many other kinds of expression, not closed as the "final", finished, frozen image. Silver jacket, astro-look, dwarf's cap, all part of the style. But thousands of others felt they belonged to the techno crowd in their old clothes as well. People discovered and emphasized ways of non-verbal comunication. When elders asked them, "What's the message?" they were replied about peace, non-violence, tolerance, trance and dance, though many of them couldn't hide the pleasure of...
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the body and soul of the scene, again.
We will bring evidence in favor of the following thesis: a descriptively adequate grammar is necessary to impose an interpretation on nondistinctness in the sense of distinctive feature theory. Summarizing, then, we assume that relational information suffices to account for the strong generative capacity of the theory. By combining adjunctions and certain deformations, the systematic use of complex symbols is, apparently, determined by the requirement that branching is not tolerated within the dominance scope of a complex symbol. From C1, it follows that the theory of syntactic features developed earlier can be defined in such a way as to
impose problems of phonemic and morphological analysis. It appears that a descriptively adequate grammar delimits an abstract underlying order. This suggests that the natural general principle that will subsume this case appears to correlate rather closely with the requirement that branching is not tolerated within the dominance scope of a complex symbol. For any transformation which is sufficiently diversified in application to be of any interest, this analysis of a formative as a pair of sets of features is to be regarded as a general convention regarding the forms of the grammar. Thus relational information is to be regarded as the strong generative capacity of the theory. However, this assumption is not correct, since this selectionally introduced contextual feature is unspecified with respect to problems of phonemic and morphological analysis. To provide a constituent structure for T(Z,K), the fundamental error of regarding functional notions as categorial is unspecified with respect to nondistinctness in the sense of distinctive feature theory.
Chomskianische Wissenschaftsprosa, generiert von John Lawlers DOS-Programm"Foggy"
friend;
a passing storm sacrifices a speechless Easterbell or the blooma wood mourns the mossy wolf without the trembling moon if the waxing rain rots
the water listens to the ill temple when a murderous sea seeks
a whispering star embitters the mirror
the seeking woman weeps when the stiff whore arisesthe brooding sister destines the stepping
wood with a city
the extinguished tree flames
a passing moon glistens
the drinking city sleeps
a glistening wolf broods still; the dark moon graces a shuddering monk
the nocturnal mirror seethes
the passing guitar forgets a dark mirror
the seeking woman weeps when the stiff whore arises
the brooding sister destines the stepping wood with a city the extinguished tree flames a
passing moon glistens the drinking city sleeps a glistening wolf broods
still; the dark moon graces a shuddering monk the nocturnal mirror seethes
the passing guitar forgets a dark mirror
the pond cowers after a lover redeems the fate or a ruinous birch
a ruinous moon passes the soft water
a silver shepherd or the rotting pond glances while thedrinking angel with the dark guitar ruins a guitar the dark monk calls the wind whenever a water decays
the beckoning water redeems the lightening chestnut when the guitar crosses
the waking poppy
fold oh ill child .
a brooding sea paints the appearing dress
the singing bloom drinks the growing star
a naked gong breaks through the speechless guitar
the barren moon awaits the fate as the guitar paints a angel or the
whispering youth
the heart breaks through a dark water whenever the bleeding gate wakes the
green heart
the sorrowful rain rages and worse the angel without a moon glimmers
Vier automatische "Georg Trakl"-Gedichte, generiert von Michael Herricks
HyperCard-stack "Trakl-bigi"