Idle musical community: Dischord Records and anarchic DIY practice

Originally formed in 1980 to document the Teen Idle’s Minor Disturbance EP, Dischord Records has continued to document and support the local Washington, DC, hardcore punk music scene for over three decades through an anarchic Do-It-Yourself (DIY) ethic. Dischord’s DIY ethic affords a manner of music documentation, in contrast to production, and community formation that reconfigures the space of dominant commercial production and exchange. Dischord’s business practices, such as forming agreements with bands via handshake instead of legal contract, allow the label to resist consumerism and exploitation of both artists and audiences while fostering a creative space, where profit does not dictate the sound of the music or produce a commodified musical product. Ultimately, Dischord’s political potential is in its ethics to the extent that anarchic DIY practice constitutes a sort of inoperative community of circulation rather than production and profit. The implications of these practices relate to the ways in which music constitutes social and communal relations and its radical possibility of reconfiguring a space outside of commercial exchanges, whether in the political sphere or in the digital realm.     

Motivations behind citizen aid: Norwegian initiatives in The Gambia

Abstract

Little is known about citizen aid initiatives originating in Norway, and they are not recognised as part of the official Norwegian development aid. Citizen aid initiatives are personal and small, and by themselves they do not raise large sums of money, nor do they individually have a large-scale development impact. But collectively, their influence on sponsors in Norway and on aid beneficiaries in the Global South might be substantial. Through qualitative interviews, this study explores the motivations of Norwegian founders of citizen aid initiatives, who run small development projects in The Gambia. The study finds that they are motivated by the very characteristics of these citizen aid initiatives which set them apart from formal development organisations. These include the initiatives’ small size, which allows for a personal closeness to and control over the projects. These features are often interconnected with motivations stemming from the founders’ personal experiences. The study finds that, inasmuch as the founders see the need for beneficiaries to be supported, they also experience a need to help themselves. The founders’ identities, as helpers and givers, are both formed and continually reinforced by their personal involvement in this specific type of aid work.     

Heresies’ Heresies: Collaboration and Dispute in a Feminist Publication on Art and Politics

Abstract

In the 1970s magazines, journals and periodicals constituted an alternative public sphere for second wave feminism. These publications provide an index—and at times the only documentation—of the activities of the women’s art movement as well as its many iterations and divisions. This article addresses this imbalance, arguing that Heresies: A Feminist Publication on Art and Politics (1977–1992) was exemplar of the radical political challenge feminism posed to the art world and culture more broadly. Launched in 1977 by the Heresies mother collective, which included Joan Braderman, Mary Beth Edelson, Lucy R. Lippard, Harmony Hammond and May Stevens among others, the magazine had thematic issues edited by different collectives and was comprised of material from an open call. Content ranged from poetry, to academic essays, to artworks both original and reproduced. This article considers the collaborative process of producing the magazine, which attempted to be inclusive, but in fact came to mirror the divisions—as well as political investments—of the broader women’s movement, alongside the dissensus the publication provoked and attempted to confront.     

Early adopters of the magical thinking cap: a study on do-it-yourself (DIY) transcranial direct current stimulation (tDCS) user community

Among currently available technologies, transcranial direct current stimulation (tDCS) is one of the most promising neuroenhancements because it is relatively effective, safe, and affordable. Recently, lay people have begun to build—or purchase—the tDCS device to use it at home for treatment or as a cognitive enhancer. The tDCS device is currently not covered by the existing regulatory framework, but there are still significant potential risks of misusing this device, and its long-term effects on the brain have not been fully explored. Thus, researchers have argued the need for regulations or official guidelines for the personal use of tDCS. However, until now, no systematic research on the do-it-yourself (DIY) tDCS user community has been done. The present study explores the basic demographic characteristics of DIY tDCS users as well as why and how they are using this device through a questionnaire survey, in-depth interviews, and a content analysis of web postings on the use of tDCS. This preliminary but valuable picture of the DIY tDCS user community will shed light on future studies and policy analysis to craft sound regulations and official guidelines for the use of tDCS.