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Esta pesquisa tem como objeto de observação a Identidade Visual e o ambiente cultural formado em torno dos clubs de música eletrônica da cidade de São Paulo. Procuramos compreender como essa cultura peculiar, que tem na música seu elemento transformador, se modificou e deu forma às diversas modalidades de expressão estética das quais faz uso. Objetivamos identificar os elementos definidores da linguagem adotada em seus projetos de Identidade Visual que são justificados, em parte, pela procura do estabelecimento de vínculos de afinidade com o público. Para tanto, documentamos e analisamos a produção de design e de arquitetura de interiores de clubs surgidos na cidade durante as décadas de 1980, 1990 e 2000, privilegiando, ambiências, marcas e flyers. Buscamos, ainda, revelar histórias, autores e características peculiares dessa produção, e os valores cultuados pelo meio. A significativa efemeridade que caracteriza a cena nos impõe a necessidade de delimitação criteriosa do campo da pesquisa, selecionando uma amostragem panorâmica que permite uma leitura elucidativa e reflexiva dos fatos. Para tanto, apresentamos de forma concisa a história da música eletrônica, distinguindo os elementos definidores de sua linguagem, assim como as manifestações da cultura jovem associadas a essa música e aos seus ambientes de consumo. Observa-se neles um compartilhamento intenso de conhecimentos, hábitos e gostos, que, em grande medida, configuramessa cultura particular, a Cultura Club. / This research aims to survey the visual identity and cultural environment formed around the electronic music clubs in the city of São Paulo. We seek to understand how this peculiar culture, which founded in music its transforming point, has changed and shaped the various forms of aesthetic expressions it uses. We want to identify the defining elements of the language adopted in these Visual Identity projects, which are justified, in part, by the search of establishing ties of affinity with the target public. Thus, we reported and analyzed the design production and interior architecture of the clubs built in the city during the 1980s, 1990s and 2000s, focusing in ambiences, brands and flyers. We also seek to reveal stories, authors and unique characteristics of this production and values practiced by this specific group. The significant efemerity that characterizes the scene imposes the need of a careful delineation of the research field, selecting a panoramic sample that allows us an informative and reflective reading of the facts. Therefore we present a brief history of the electronic music, distinguishing the defining elements of its language as well as the manifestations of a youth culture associated with this music and its consumption environments, where can be noticed in an intense sharing of knowledge, habits and tastes, which largely formed this particular culture, the club culture.

Esta pesquisa tem como objeto de observação a Identidade Visual e o ambiente cultural formado em torno dos clubs de música eletrônica da cidade de São Paulo. Procuramos compreender como essa cultura peculiar, que tem na música seu elemento transformador, se modificou e deu forma às diversas modalidades de expressão estética das quais faz uso. Objetivamos identificar os elementos definidores da linguagem adotada em seus projetos de Identidade Visual que são justificados, em parte, pela procura do estabelecimento de vínculos de afinidade com o público. Para tanto, documentamos e analisamos a produção de design e de arquitetura de interiores de clubs surgidos na cidade durante as décadas de 1980, 1990 e 2000, privilegiando, ambiências, marcas e flyers. Buscamos, ainda, revelar histórias, autores e características peculiares dessa produção, e os valores cultuados pelo meio. A significativa efemeridade que caracteriza a cena nos impõe a necessidade de delimitação criteriosa do campo da pesquisa, selecionando uma amostragem panorâmica que permite uma leitura elucidativa e reflexiva dos fatos. Para tanto, apresentamos de forma concisa a história da música eletrônica, distinguindo os elementos definidores de sua linguagem, assim como as manifestações da cultura jovem associadas a essa música e aos seus ambientes de consumo. Observa-se neles um compartilhamento intenso de conhecimentos, hábitos e gostos, que, em grande medida, configuramessa cultura particular, a Cultura Club. / This research aims to survey the visual identity and cultural environment formed around the electronic music clubs in the city of São Paulo. We seek to understand how this peculiar culture, which founded in music its transforming point, has changed and shaped the various forms of aesthetic expressions it uses. We want to identify the defining elements of the language adopted in these Visual Identity projects, which are justified, in part, by the search of establishing ties of affinity with the target public. Thus, we reported and analyzed the design production and interior architecture of the clubs built in the city during the 1980s, 1990s and 2000s, focusing in ambiences, brands and flyers. We also seek to reveal stories, authors and unique characteristics of this production and values practiced by this specific group. The significant efemerity that characterizes the scene imposes the need of a careful delineation of the research field, selecting a panoramic sample that allows us an informative and reflective reading of the facts. Therefore we present a brief history of the electronic music, distinguishing the defining elements of its language as well as the manifestations of a youth culture associated with this music and its consumption environments, where can be noticed in an intense sharing of knowledge, habits and tastes, which largely formed this particular culture, the club culture.

No description available.

The aim of this dissertation is to describe and analyse the development of the sports movement at a local level during the 20th century, focusing on the relationship between the municipality, in a broad sense, and the sports clubs, as well as on the conditions that have affected this relationship and the effects this has had for the clubs’ structural and cultural configuration. The thesis put forward is that there is a link between the parliamentary and governmental description of sport as socially beneficial, the relative autonomy of the sports movement, the institutionalisation of the municipalities’ sports policy and their involvement in the local sports culture and the expansion of competitive sport within the sports movement led by the Swedish Sports Confederation. The thesis is advanced in the context of a description of the Swedish sports model at the local level, its rise and eventual fall, and through case studies of three municipalities/local communities as well as a total of six sports clubs, all located in what is today Norrtälje municipality some ninety kilometres north of Stockholm. The thesis is generally confirmed. From the perspective of the central state, within the framework of a corporate governance model, it has involved compromising with a strong sports movement and simultaneously gaining legitimacy and support for its sports policy. This has not caused any major problems as the Swedish Sports Confederation, the sports movement’s unitary organisation, has in all important respects developed organised sport in a desirable way, or at least one that the government authorities have been willing to accept in view of services in return. It appears to be the same at a local level. The municipality has rewarded that section of organised sport which has made, in its opinion, the best contribution to producing a both physically and mentally civic educational as well as integrating leisure activity. On the whole this has been applicable to the performance- and result-oriented sport. This type of competitive sport, or rather, the clubs which have run it, have also been expected to be able to assist in managing the range of facilities, in raising the municipality’s PR value, in creating new services and job opportunities and in uniting the inhabitants.

Svensk fotboll har en starkt rotad föreningskultur som bygger på ideellt engagemang,amatörmässiga ideal och demokrati. Under lång tid har dock fotbollen i stort genomgått enkommersialiseringsprocess där elitfotbollen allt mer styrs som företag och ekonomi blir alltviktigare. Detta har skapat en debatt kring 51-procentsregeln som hindrar privata investerare från attköpa upp svenska klubbar. Supportrarna värnar om denna regeln och under tidigt 10-tal var fråganom en avreglering uppe i Riksidrottsförbundets stämma men supportrarna protesterande och regelnblev kvar.Supportrarnas åsikt i frågan framkommer därmed tydligt vilket leder oss in på vårt syfte. Vi vill tareda på hur ledande organisationer inom svensk fotboll och svenska elitfotbollsklubbar ser på densvenska föreningskulturen och den svenska föreningsstrukturen, samt vad de anser att de finns förkonsekvenser med att ha kvar respektive häva 51-procentsregeln. För att genomföra studien har detgjorts totalt sju stycken intervjuer, med fem klubbchefer i svenska elitfotbollsklubbar och envardera med representanter från Riksidrottsförbundet och Svensk Elitfotboll.Studien har gett oss tydliga svar på vad dessa respondenter har för åsikter kring den svenskaföreningskulturen och 51-procentsregeln men även kring den svenska fotbollsstrukturen. Detframkommer i studien kritik till den svenska strukturen och även hanteringen av pandemin ochflertalet respondenter kräver förändringar. Studien hoppas kunna bidra med att vara ett underlag försådana eventuella förändringar samt hoppas vi, kunna öka förståelsen för olika aktörers perspektiv ihögst aktuella frågor. / Swedish football has a strongly rooted club culture based on non-profit involvement, amateurishideals and democracy. During a long time, however, football has largely undergone acommercialization process in which elite football is increasingly controlled as a company and theeconomy is becoming increasingly important. This has created a debate about the 50+1 rule thatprevents private investors from buying Swedish clubs. The supporters care about this rule andduring the early 10s the question of a deregulation was up in the Swedish Sports Confederationsmeeting but the supporters protested and the rule remained.The supporters' opinion on the issue is thus clear, which leads us into our purpose. We want to findout how leading organizations in Swedish football and Swedish elite football clubs view theSwedish club culture and club structure, as well as what consequences they believe exist ofretaining and removing the 50+1 rule, respectively. To conduct the study, a total of seven interviewswere conducted, with five club managers in Swedish elite football clubs and one each withrepresentatives from the Swedish Sports Confederation and Swedish Elite football.The study has given us clear answers to what opinions these respondents have about the Swedishclub culture and the 50+1 rule, but also about the Swedish football structure. The study revealscriticism of the Swedish structure and also how the pandemic has been handled and mostrespondents demands changes in the structure. The study hopes to be able to contribute as a basisfor such possible changes and we hope, to be able to increase the understanding of different actors'perspectives on highly current issues.

This piece of work was meant to be countinuous to my bachelor's thesis. In that essay I was dealing with the history of Czech electronic dance music in general. This time I focused just on Prague and surrounding area. The Czech capital was deeply influenced by presence of tourists. After the Velvet revolution, they were suddenly able to visit Prague. And as they they were already familiar with electronic music, they could help to spread it here. The situation in Prague is also compared with the rest of the world (western civilization). In the first part of the essay, I describe the qualitative research and the method I have used, which is the oral history. I also enclose a brief vocabulary of frequently used terms that are not very well known to the greater audience, I suppose. The last part is the analysis of the interviews itself. The interviews were done with important narrators.

Thesis (PhD)--Macquarie University, Division of Humanities, Department of Contemporary Music Studies, 2007. / Bibliography: p. 291-313. / Introduction -- "Back to this subculture thing": literature review and methodology -- "The crowd went berserk": dance music and club culture in Sydney and Australia -- "Once you find a groove you've got to keep it locked": the role and significance of the DJ -- "There's a great myth about that": DJ culture in Sydney -- "You're not a real DJ unless you play vinyl": technology and formats: the progression of dance music and DJ culture -- "What is underground really?": defining the structure, significance and meaning of dance culture -- "Where are they going to go next?": shifting the focus of dance music studies. / The development of contemporary, post-disco dance music and its associated culture, as representative of a (supposedly) underground, radical subculture, has been given extensive consideration within popular music studies. Significantly less attention has been given to the commercial, mainstream manifestations of this music. Furthermore, demonstrating the influence of subculture theory, existing studies of dance culture focus largely on youth-based audience participation, and as such, those who engage with dance music on a professional level have been somewhat overlooked. In an attempt to rectify these imbalances, this study examines the contemporary commercial dance music scene in Sydney, Australia, incorporating an analytical framework that revolves mainly around the work of DJs and the commercial scene they operate within.--An ethnographic methodological approach underpins the majority of this thesis, with interviews forming the main source of research material. Beginning with a discussion of the existing academic literature on dance culture and dance scenes, an historical context is subsequently established through a section that traces the development of dance culture from an underground phenomenon to a mainstream leisure activity, both within and outside Australia.--The ideas, opinions and interpretations of a selection of local DJs and other music industry practitioners who work in Sydney are central to the analysis of DJ culture herein. Issues discussed include the interaction and relationship between the DJ and their crowd, the technology and formats employed by DJs, and the DJ's multiple roles as entertainer, consumer and educator. The final part of the study gives consideration to the structure of the Sydney dance scene, in regard to the frequently used, but rarely critically analysed, terms 'underground' and 'mainstream'. The thesis concludes with a discussion that challenges the structural rigidity imposed by subcultural theory and scene-based analysis, arguing instead for a greater degree of fluidity in the theoretical approaches taken towards the study of contemporary dance music scenes. / Mode of access: World Wide Web. / vi, 334 p