1. MACHINED SOUND PRESENTATION
3. EXERCISE: REEDITING POLITICAL SPEECH
4. SCHIZOPHONIA QUESTION
“At its best, any music should strike you with its impossibility, and its complete evasion of the rules of traditional fidelity to a live sound. And the way to get at the strangeness of music – rather than to habitualize that music via any other kind of field – is to exaggerate the sonic, to use the sonic as a probe into new environments. Because every new sonic sensation that I can magnify is simultaneously a new sensory Iifeform.” (Kodwo Eshun)
AFROFUTURISM: And there’s the key thing which drew me into all this: the idea of alien abduction, the idea of slavery as an alien abduction which means that we’ve all been living in an alien-nation since the 18th century. The mutation of African male and female slaves in the 18th century into what became negro, and into the entire series of humans that were designed in America. That whole process, the key thing behind it all is that in America none of these humans were designated human. It’s in music that you get this sense that most African-Americans owe nothing to the status of the human. … part of the whole thing about being an African-American alien musician, is that there‘s this sense of the human as being a really pointless and treacherous category, a category which has never meant anything to African-Americans.
What’s so radical about early hip-hop?
Grandmaster Flash—The Adventures of Grandmaster Flash on the Wheels of Steel (1981)
“switching on the material potential of the break”
taking something that functioned within one context unnoticed, to become the basis of another
“…these bits, they recognize you, because what they’re doing is recognizing your habitualness in putting them on. When you hear a sound, you have a memory flash, but you almost have a muscular memory, you remember the times you danced to it. You don’t just remember the times you danced to it, you remember the times you bent over to put the needle on the record to play that bit. Sometimes you love that bit so much, you even remember going over and over and over that bit again. So when you hear that sound that you love, when you hear the recognizable sample in the middle of alien sound, that sound is recognizing your habitualness, and it’s really incredible, you suddenly get a glimpse of yourself as a habitform, as a habitformed being, a process of habit formation. You suddenly see yourself over the years, how you loved this record. It’s incredible, the sound takes a picture of your habits; it snaps your habits. And you suddenly see it very clearly. How many times have I put that on?” (Kodwo Eshun)
SCRATCHING as a new textural effect: Mix Master Mike—Terrorwrist (Beneath the Under)
Buchanan & Goodman—The Flying Saucer (1956)
Name That Tune (TV show 70s-80s)
John Oswald—DAB (1989)
John Oswald—Plexure (1990)
21st century sampling: Footwork: RP BOO—No Return (2013)
minimal material / repetition / polyrhythmic
unintended consequences of recording technology: two reel-to-reel tape machines playing at slightly different speeds
William S. Burroughs—Origin and Theory of the Tape Cut-Ups
John Cage—Imaginary Landscape IV for 12 radios (1951)
like channel surfing – cutting into multiple fluxes / transmissions
Re-Edit: Douglas Kahn—Reagan Speaks for Himself (re-edit)
Cassetteboy—The Parker Tapes (2002)
superimposed: Al Green—Still in Love With You & the Theme from Love Story, without any edits. Perfect alignment!
Lee Perry—Revolution Dub (1975)
2. SCHIZOPHONIA QUESTION
Have you ever been afflicted by an earworm, an involuntary, obsessive, musical fragment you can’t get rid of? Can you recall the event that brought it on? Did other memories associated with this fragment come up at any point? Could you get rid of it? How?
William S. Burroughs—The Invisible Generation
2. SOUND AND CONTROL ARTICLE (assigned)
3. LAB WORK ON PROJECT 2: Please bring your laptops and materials for Project 2, which is due Week 8 (November 6)!