20160517

If a band consists of only multi-instrumentalists it’s not a band. #ॐ

Found some tools and a tutorial (from 2013) to advance the idea of using Novation Circuit groovebox as an external controller for FCPX or Premiere Pro.

All sampling is a form of cultural appropriation. The technology used in sampling superimpose a worldview that everything can extracted from their context, scrambled and reused. Sampling has nothing to do with samplers – Sampling is an approach to others. It’s musical roots are in notation which was a technology used to appropriate gregorian chants and folk art, all for the service of centralized regimes.

Samplers serve the modernist status quo. They are anti-taboo and make a mockery of religious and cultural orders which maintain their ethos by disallowing remixing. Samplers serve capitalism. They flourishes on the idea that nothing is too holy to be chopped to bits and resold in new packages. Samplers are totalitarian, you are either all in, share everything or get marginalised.

The remix-culture does not give a voice to the oppressed – It is extracting voices and compiling them to samplepacks and styles that can be easily analysed and controlled. The profits gather to an elite which benefits from having access to a quantized, processed and simplified data.

The open source, copyleft movement only benefits silicon valley. Besides the big companies, only open source evangelists make profits from open source. Majority of the people making profits speak English. Technology is not shared for free, it is distributed to subjectivity users. Richard Stallman drafted his manifestos in the same universities that innovated the musical sampler technologies.

Samplers serve a conservative cultural movement which stores, categorizes, appreciated and remixed iconic sound. Samples are a mockery of nature because they cling on the past. The museum is the ultimate sampler.

20160402

If everyone laughing in a room is being paid to laugh, is the one who payed for the laught truly laughing? Is he faking the laughs? #ॐ

Learning the KP3 ropes. As expected I’m pushing heavy with the effects. It’s such a thrill to use.

Visited the Ihme-days again. The Ihme-festival crew celebrated Kateřina Šedás “Tram-Buskers Tour” with a two hour long talk. She was interviewed by Hamza Walker who made a solid presentation. Unfortunately he was a big fan of Šedás work and his analysis wasn’t critical.

After hearing Šedá I had a revelation: The “Tram-Buskers Tour” is a passive aggressive artwork. It was portrayed as a positive and low-key experience but behind the smiles audiences and buskers were used as mere resource for a top-down artwork. She takes people through the ropes whether they want it or not. This sort of hostility to normativity is welcome but feels insulting when it’s served with a fake smile. I like my violence raw.

Šedá has compiled her post-soviet dissillusion and angst into an authoritarian artist practice, aiming crackdown hypocritical social structures. This approach works when her projects target western-capital-metropolitan areas, or when she works “to give a voice” to small villages she has worked in. But in the Helsinki context her work is colonial.

Instead of altering what we believe to be possible, she made us doubt our believes. She comes off as a bully.