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Re: [microsound] autodigest / ubquitous

>dear microsirens,
>i just bought a really exciting+beautiful cd by 'autodigest' called
>'ubiquitous eternal live,' composed of audience crowd noises
>(ostensibly 'every audience ever').  does anyone know more about this
>group/artist?  i think they are from portugal (cronicaelectronica.org)
>but information seems pretty scarce.
>also the gentleman at the record store (hard-boiled in chicago) told
>me that there is another record along these lines by the melvins; does
>anyone know about that?

hi jake,
some press releases concernining autodigest...

AUTODIGEST - A Compressed History of Everything Ever Recorded, Vol. 1 (CD
Cronica 006)

Autodigest is a simulation of processes of cultural implosion. As such, it
has no birth date nor does it have particular geographical references.
Rather, it aspires to a viral, everpresent omnipresence. A possible
conceptual reference could be David Harvey's coining of the term
"time-space compression". To this, one might add Baudrillardís theory of
hyperconformism, a distancing from obsolete modes of cultural antagonism as
the only means of transcending contemporary cultural manifestations of the
hyper-real. In other words, watch out for the new "orthodoxies of
If it werenít for aesthetic concerns and a desire to reestablish a balance
towards the ëauthenticí, Autodigest would simply become an extreme form of
digital compression, ultimately expressed in the audio equivalent of a
Black Hole. As it is, Autodigest arrives in the form of an encyclopedia, an
archeological sound document time-travelling out of a post-digital-meltdown

AUTODIGEST - A Compressed History of Everything Ever Recorded, Vol. 2:
Ubiquitous Eternal Live (CD Ash International 6.1 + Crónica 016)

"Ubiquitous Eternal Live" is the second chapter of Autodigest's "A
Compressed History of Everything Ever Recorded" series.
Volume 1, from 2003, proposed an aural illustration of current syndromes in
digital compression which abandon fidelity, subtlety and complexity in
favour of speed, efficiency and endless storage capabilities.
Volume 2, now released, approaches the History of Recorded Sound under a
considerably different perspective: it brings together all the audiences
ever recorded and has them share one hour of hysterical, progressively
apocalyptic applause. This is presented as less of an archive and more of a
critical eye loaded with a few conceptual cards as foundations, from Debord
to Baudrillard, from Harvey to Adorno.
The aim of Autodigest's statements is to illustrate the collapse of music as
we know it - codified, copied, digitised, burned, compressed, freely and
readily available, all of this at a time when we can download music much
faster than we can listen to it, all of this at a time when a soda drink
offers one hundred million songs for free.
Ultimately the song remains the same, but our relationship with it has
changed beyond recognition and redemption. Just try to imagine what a
concert would mean to an audience before sound could be recorded... yes,
we've come a long way, baby - and maybe, just maybe, deserve to end up with
those one hundred million songs in our pocket. The choice, it seems, is
pretty much down to the cute colour, pattern or ringtone of the week.
"Ubiquitous Eternal Live" is a joint release by Ash International (UK) and
Crónica Electrónica (Portugal). The audio track was assembled and composed
in Portugal in early 2004, and was mastered by Denis Blackham in April 2004.
The design work is by Jon Wozencroft, over photography work by Heitor

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"i discovered the secret of the sea in meditation upon the dewdrop."
kahlil gibran

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