Tape+Loop: Difference between revisions
| Line 22: | Line 22: | ||
* [http://evolution-control.com/index.php/experiments/mp3s Evolution Control Committee] - [http://evolution-control.com//images/ecc/mp3/main/The%20ECC%20-%20Rocked%20By%20Rape.mp3 Rocked by rape] | * [http://evolution-control.com/index.php/experiments/mp3s Evolution Control Committee] - [http://evolution-control.com//images/ecc/mp3/main/The%20ECC%20-%20Rocked%20By%20Rape.mp3 Rocked by rape] | ||
== (re) ordering the archive == | |||
* [http://activearchives.org/wiki/Dataradio_Presentation_%28WORM%29 Erkki Kurenniemi] | * [http://activearchives.org/wiki/Dataradio_Presentation_%28WORM%29 Erkki Kurenniemi] | ||
* [http:// | |||
* [http://peoplelikeus.org/ People Like Us (Vicki Bennett)] [http://www.ubu.com/sound/plu.html UBU Web] | == Pluderphonics, or Audio Piracy as a Compositional Prerogative], John Oswald, 1985 == | ||
* [http://www.plunderphonics.com/xhtml/xplunder.html Plunderphonics ] | |||
** Example: A case of death | |||
<blockquote>An active listener might speed up a piece of music in order to perceive more clearly its macrostructure, or slow it down to hear articulation and detail more precisely. Portions of pieces are juxtaposed for comparison or played simultaneously, tracing "the motifs of the Indian raga Darbar over Senegalese drumming recording in Paris and a background mosaic of frozen moments from an exotic Hollywood orchestration of the 1950's (a sonic texture like a "Mona Lisa" which in close-up, reveals itself to be made up of tiny reproductions of the Taj Mahal."</blockquote> | |||
== people like us == | |||
* [http://peoplelikeus.org/ People Like Us (Vicki Bennett)] [http://www.ubu.com/sound/plu.html UBU Web] | |||
** [http://www.ubu.com/sound/plu_between.html The Bits Inbetween] | |||
Revision as of 11:34, 14 October 2014
i am sitting in a room
Alvin Lucier, 1969
- Marc Chia (Onemannation/Tara Transitory): Bufferrrbreakkdownnn Arkestra
- Lieven Van Speybroeck: Word in Process
tactical audio
... when you cut into the present the future leaks out
(re) ordering the archive
Pluderphonics, or Audio Piracy as a Compositional Prerogative], John Oswald, 1985
- Plunderphonics
- Example: A case of death
An active listener might speed up a piece of music in order to perceive more clearly its macrostructure, or slow it down to hear articulation and detail more precisely. Portions of pieces are juxtaposed for comparison or played simultaneously, tracing "the motifs of the Indian raga Darbar over Senegalese drumming recording in Paris and a background mosaic of frozen moments from an exotic Hollywood orchestration of the 1950's (a sonic texture like a "Mona Lisa" which in close-up, reveals itself to be made up of tiny reproductions of the Taj Mahal."