The Sex Pistols, Manchester, 4 June 1976: a gig that inspired a generation to make their own music, and arguably changed the world forever. Such was the power of punk. 

It was recently voted one of the most important concerts of all time, alongside Woodstock and Live Aid. Only a handful of people were actually at the gig at the city's Lesser Free Trade Hall but thousands have since claimed: 'I was there'.

But who was there? For 30 years, the gig has been shrouded in myth and legend. But people who were there formed legendary Manchester bands such as Joy Division, The Smiths, The Fall, The Buzzcocks. Oh yes, and Solstice. (who?)

City of Melbourne’s Giant Theremin is a super-sized musical instrument standing more than seven metres tall, controlled by movement rather than touch and can be played by up to eight people at once. The theremin’s unique warble will be accompanied by an array of distinctive sounds, making it impossible to resist running, dancing, jumping and forming unusual shapes in the activation zone to create a symphony of movement.

“Two young Japanese girls form a rock duo from Osaka, JAPAN!” their website offers by way of explanation, “Creating Naked rock!!!!! Naked soul!!! Red red strong red dress!! Freeeeeedom paradise rock! Jump! With improvisation.” In the three years since the birth of Afrirampo (a nonsense word the band insists to mean, of course, “naked”), Yasashii (drums) and Beppin (guitar) have been spreading their naked rock far and wide, sometimes actually in the nude, otherwise clad in their signature “strong red dresses.”  

Artist and architect Daan Roosegaarde (1979) explores the dawn of a new nature that is evolving from technological innovations by creating interactive landscapes that instinctively respond to sound and movement. His connection established between ideology and technology, results in what Roosegaarde calls “techno-poetry”. 

Last we heard of Dutch techno artist Daan Roosegaarde, he was busy working up a sexy e-teddy that flashes its wearer’s netherbits just by being around other people. Now, he’s turned the idea on architecture: His new Lotus 7.0 wall transforms from a sturdy boundary to a see-through fence in the presence of others -- every Peeping Tom’s dream.

Their inspiration for a style of resistance never before seen in Russia, was the riot grrrl punk movement, including groups like Kathleen Hanna’s Bikini Kill, and flash mobs. The young women of the collective, average age 25, have revealed only the smallest details about their lives. None will divulge their day jobs. They only use first-names. In the two weeks since their mid-January action, the all-female group has become a potent symbol of anger at the status quo in Russian society and their videos have gone viral all over the world. Like many young people in Russia, the members of the Pussy Riot collective are furious at Vladamir Putin’s plans to seek the presidency again and his return was the impetus behind the formation of the group (as well as their song “Putin Has Pissed Himself”).

Washington, D.C.- The Smithsonian American Art Museum opened a new gallery dedicated to examining the history and the latest developments in the art of the moving image. This permanent-collection gallery, located on the museum’s third floor, allows for the presentation of the full range of media art practices. “Watch This! New Directions in the Art of the Moving Image”, the current exhibition in the gallery features key artworks from the history of video art and a new generation of artists on the cutting edge of media arts.

The nine artworks on display are: Cory Arcangel, "Video Painting" (2008); Jim Campbell, "Grand Central Station #2" (2009) and "Reconstruction #7" (2006); Peter Campus, "Three Transitions" (1973); Kota Ezawa, "LYAM 3D" (2008); Svetlana and Igor Kopystiansky, "Yellow Sound" (2005); Nam June Paik, "9/23/69: Experiments with David Atwood" (1969); Bill Viola, "Surrender" (2001); and Marina Zurkow, "Elixir II" (2009). The majority of the featured artworks are recent acquisitions, with five entering the museum’s collection in 2010. The works by Viola and Campbell’s Reconstruction #7 are on loan.

The dit­ties are too high-pitched for hu­man hear­ing, but sci­en­tists at Vi­en­na's Un­ivers­ity of Vet­er­i­nary Med­i­cine an­a­lyzed them and found they con­vey in­forma­t­ion about ident­ity and kin­ship. The find­ings are pub­lished in the jour­nal Phys­i­ol­o­gy & Be­hav­ior and in the Jour­nal of Ethol­o­gy. “It seems as though house mice might pro­vide a new mod­el or­gan­ism for the study of song in an­i­mals,” said Dus­tin Penn of the uni­vers­ity, one of the co-authors of the work. “Who would have thought that?”

WARSAW, Poland (AP) — Poland on Thursday signed an international copyright agreement, sparking more demonstrations by Internet users who have protested for days over fear it will lead to online censorship. After the signing, protesters rallied in the Polish cities of Poznan and Lublin to express their anger over the treaty. Lawmakers for the left-wing Palikot's Movement wore masks in parliament to show their dissatisfaction, while the largest opposition party — the right-wing Law and Justice party — called for a referendum on the matter.

God has wrought many things out of oppression. He has endowed his creatures with the capacity to create—and from this capacity has flowed the sweet songs of sorrow and joy that have allowed man to cope with his environment and many different situations. Jazz speaks for life. The Blues tell the story of life's difficulties, and if you think for a moment, you will realize that they take the hardest realities of life and put them into music, only to come out with some new hope or sense of triumph.

Weissenberg's career swung high and low. At its peak, he made recordings with Leonard Bernstein and Herbert Von Karajan and was hailed as a distinctive virtuoso. At its rock bottom, Weissenberg, weary from too much fame too fast, took a 10-year break, reemerging with a 1966 Paris recital and successful performances of Tchaikovsky's Piano Concerto No. 1 with Karajan.