[microsound] Re: sampling issues

[tasty radish <tastyradish@xxxxxxxxx>]

the 'risk' of stealing is fun but it isn't the only
bar.  using found sounds, whether samples or field
recordings can be very much about tweaking them to
produce other sounds, that then can be apart of a
composition -> a kind of exploration or adventure. 
For instance (and this sounds childishly simple-dumb
but here it is) i was working with lion growls slowing
them erratically down and found that they became this
incredible sonic near-rumble that was both consistent 
and unpredictable.  It formed one part of a texture
among other sounds, in a piece. There was no big
'risk' with the copywrite lawyers in this act of
working with a sample, though I would argue that the
risk of simply wasting hours on nothing-at-all, has
its risks in this  barely-keep-your-head-above-waters
world.   I was just interested in what sounds could
become and then later in how they could come togethor
and be a a part of a thing.  This work in time is a
content.  i.e. the space of perception. Content isn't
all product or anti-product. It is also work. 


I think it is the tendency of computer generated music
to sometimes delve deeply into total wild frenzy
cacophony that risks being totally empty by becoming
too close to mere spectacle.  To me, it's the bar of
spectacle that empties 'content' into pure consumerist
illusion/madness/despair.

- andrew
 
>What's the point of 
>working from stolen samples if you process them
beyond >recognition and any 
>form of legal identification? Where's the risk in that?


		
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