Re: [microsound] projects

[John Nowak <john@xxxxxxxxxxxxx>]

On Sep 13, 2004, at 2:10 PM, Trace E. Reddell wrote:

> All of this strikes me as less than inspiring. 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? Where's 
> the challenge or the protest or the resistance? And what's the point 
> of such an aesthetic? Such an approach merely renders ALL sources 
> equally meaningless because you process them the same way. In such a 
> case, even if you write out your trail of samples and sources, you may 
> as well be working from a copyrighted recording of the Beatles playing 
> "Hey, Bulldog" as from your own field recording of dog farts.
>
> Plunderphonics, mash-ups, and the new Negativland projects (check out 
> "The Mashin' of the Christ" and "No Business" both at 
> http://www.negativland.com) deal with the risk and pleasure of 
> stealing and screwing up other people's stuff ... but the joke is that 
> some of the pieces, and maybe all of them, are ultimately 
> recognizable.  Otherwise, the irony is completely diffused, and the 
> work is deprived of any cultural relevance.

Agreed, agreed, agreed. In my work, you can hear the Britney, you can 
hear the MC hammer. Process within recognition, or do not process at 
all -- 'Lest your art be merely processed "process art"!

- John Nowak


---------------------------------------------------------------------
To unsubscribe, e-mail: microsound-unsubscribe@xxxxxxxxxxxxx
For additional commands, e-mail: microsound-help@xxxxxxxxxxxxx
website: http://www.microsound.org