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Re: [microsound] plagiarism



Great post, there is a lot about DJ Shadow that is worth a lengthy discussion...



aLEKs


On Jun 3, 2005, at 12:09 PM, Quintus Frimschlowder VIII wrote:

As Kid 606 records go, I think The Action Packed Mentallist Brings You
the Fucking Jams might be a bit more along the lines of what you're
looking for. I'm unsure whether or not you would file this album under
"because we can".

Another one (with a lot more compositional and technical merit, in my
opinion) was DJ Shadow's Endtroducing. I heard someone say that it was
the first record to be made entirely from samples of other records. I
don't know if it was the *very* first, or that it was made *entirely*
from samples, but it was made a little while ago (early 90's, I
think?), and composed at least mostly of samples. In any case, it's a
fabulous album. Also, as far as strong philosophies go, Shadow
certainly seems to have one, whatever it is. I never hear him say too
much, other than "I feel so strongly about the things I have to say
that I just can't say them at all." Or something. He's a little weird.

Hope this helps.

-QF8
http://scatterbrain.raygunarmy.com/


On 6/3/05, billy gomberg <glitchkitten@xxxxxxxxx> wrote:
my contemporary touchstone for this is kid606's "down w/the
scene" (ipecac, 1999).

tons of attitude and very creative (i still think it is his best).

I think that "right now" plagiarism and appropriation are very
commonplace, part of the pallette.

this is due as much to oswald/negativland (and the avant garde side
of things) as it is to the influence of public enemy and most hiphop
production, as well as the traditions of dancehall (where new vocals
are laid over old and/or plagiarised riddims) or dub.

which puts us in a more sensitive situation - is sampling (using that
term in general) something we do "because we can" (and it is so easy
to do today) or a technique that requires care and understanding
(ideally, like all elements of artistic creation).  this is
especially pertinent given the forum you have posted to - i'm
assuming we are all pretty friendly with various dsp suites and
softwares and can mash a sample into oblivion - what does this mean
about the use of a sample? (esp if all we hear is granulate -
convovle - granulate - delay - granulate)

see tim hecker's "my love is rotten to the core" (van halen samples),
akufen or crackhaus (millions of samples in a techno/house frame),
akira rabelais "Spellewauerynsherde" or opto "2nd" ('found'  source
material)

also think of some vinyl artists - christan marclay, philip jeck,
janek schaefer, otomo yoshihide.......

that should get you going.....

On Jun 3, 2005, at 9:26 AM, sven wrote:

hi list,
i'm currently researching plagaristic music wether microsoundish or
not.
when i'm talking about plagiarism i don't mean it in the negative
sense
of the word, rather in it's dadaistic/situationistic/neoistic sense
as an
approach to break with conventions like the notion of a musician of an
artistic genius and questions like if not also the production of
art/music
is rather an social collaborative process than it is original
creation.
besides the obvious and well know examples like john oswald,
negativeland
and the tape-beatles i'm looking for hints to artists who bundle
their plagiarized
music with a strong philosophy of plagiarism/appropriation beyond
we-do-because-we-can.


sven.


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