Futuresonic 2006 - Revision history

Projects at 16:02, 9 January 2009

2009-01-09T16:02:20Z

BocmoNroll: http://qasletop.is-the-boss.com/cnasitzel.html

2009-01-09T11:11:46Z

http://qasletop.is-the-boss.com/cnasitzel.html

Projects: spam removal

2009-01-08T14:25:43Z

spam removal

BocmoNroll: http://tarobasal.strefa.pl/article668.htm

2009-01-08T14:11:46Z

http://tarobasal.strefa.pl/article668.htm

BocmoNroll: livivig

2008-12-17T07:54:52Z

livivig

86.129.121.105 at 14:19, 28 August 2006

2006-08-28T14:19:15Z

86.129.121.105 at 14:14, 28 August 2006

2006-08-28T14:14:23Z

86.129.121.105 at 13:30, 28 August 2006

2006-08-28T13:30:37Z

Projects: /* Video */

2006-07-31T11:19:46Z

Video

Projects: /* Video */

2006-07-31T09:33:50Z

Video

←Older revision		Revision as of 16:02, 9 January 2009
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−	[http://qasletop.is-the-boss.com/cnasitzel.html motorcycle license frames nba teams] [http://lofaako.strefa.pl/article132.html smokin movie] [http://ettaelt.strefa.pl/news-957.html mayville michigan movie theater] [http://betheres.qsh.eu/comment-146.htm mac video software] [http://hencnac4t.is-the-boss.com/sitemap.html sitemap]
	== Leverage ==		== Leverage ==

←Older revision		Revision as of 11:11, 9 January 2009
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		+	[http://qasletop.is-the-boss.com/cnasitzel.html motorcycle license frames nba teams] [http://lofaako.strefa.pl/article132.html smokin movie] [http://ettaelt.strefa.pl/news-957.html mayville michigan movie theater] [http://betheres.qsh.eu/comment-146.htm mac video software] [http://hencnac4t.is-the-boss.com/sitemap.html sitemap]
	== Leverage ==		== Leverage ==

@@ Line 1: / Line 1: @@
 == Leverage ==
@@ Line 7: / Line 5: @@
 For [http://www.futuresonic.com Futuresonic 2006] Eileen Simpson & Ben White present '''Leverage''', a new project which centres around the creation and animation of copyleft licensed 12 inch vinyl scratch tools containing a range of samples, beats and extracts made from the out-of-copyright blues, jazz and folk housed in the [http://www.openmusicarchive.org Open Music Archive].
-For [http://10.futuresonic.com/urban_play/instrument/ Instrument], the project is presented at Ã¢ÂÂbeta stageÃ¢ÂÂ where vinyl test pressings can be sampled in scenario akin to the record shop listening area Ã¢ÂÂ with the option to skip through the rare original recordings, new remix tracks, short vocal snippets, percussive noises, samples, breaks and beats.
+For [http://10.futuresonic.com/urban_play/instrument/ Instrument], the project is presented at "beta stage" where vinyl test pressings can be sampled in scenario akin to the record shop listening area - with the option to skip through the rare original recordings, new remix tracks, short vocal snippets, percussive noises, samples, breaks and beats.
-Collaboration is central to the activity of the DJ who constantly combines, re-works and extends existing creative output. The artists promote collaboration and seek to explore its significance and value for creative production. For Instrument they invite scratch DJ '''Parkertron''' ([http://www.fingathing.com Fingathing]) and filmmaker '''Kid Jenson''' to participate in the project Ã¢ÂÂ  a collaboration which is documented through a video, shot by Jenson, featuring Parkertron testing the Leverage records.
+Collaboration is central to the activity of the DJ who constantly combines, re-works and extends existing creative output. The artists promote collaboration and seek to explore its significance and value for creative production. For Instrument they invite scratch DJ '''Parkertron''' ([http://www.fingathing.com Fingathing]) and filmmaker '''Kid Jenson''' to participate in the project -  a collaboration which is documented through a video, shot by Jenson, featuring Parkertron testing the Leverage records.
-In the hands of a turntablist, the record player is revealed as a hardware instrument Ã¢ÂÂ one that needs vinyl software to operate. The DJÃ¢ÂÂs instrument can only be activated using a set of vinyl tools, in the same way that computer hardware requires an operating system and a suite of software to function. Unlike the conventional battle record, which samples unlicensed commercial recordings[http://en.wikipedia.org/wiki/Battle_records], the Leverage scratch tools are assembled entirely from out-of-copyright material Ã¢ÂÂ and so exist outside commercial and bootleg economies. The project adopts the form and structure of the battle record to build open vinyl code Ã¢ÂÂ which, like free/libre and open source software, is distributed freely.
+In the hands of a turntablist, the record player is revealed as a hardware instrument - one that needs vinyl software to operate. The DJ's instrument can only be activated using a set of vinyl tools, in the same way that computer hardware requires an operating system and a suite of software to function. Unlike the conventional battle record, which samples unlicensed commercial recordings[http://en.wikipedia.org/wiki/Battle_records], the Leverage scratch tools are assembled entirely from out-of-copyright material - and so exist outside commercial and bootleg economies. The project adopts the form and structure of the battle record to build open vinyl code - which, like free/libre and open source software, is distributed freely.
 The project encourages open creative exchange and demands that subsequent creations are licensed under identical terms. Through Leverage, out-of-copyright and copyleft material is inserted into an existing network of production to prise open new possibilities.

@@ Line 1: / Line 1: @@
 bovarlichi
 == Leverage ==
@@ Line 6: / Line 7: @@
 For [http://www.futuresonic.com Futuresonic 2006] Eileen Simpson & Ben White present '''Leverage''', a new project which centres around the creation and animation of copyleft licensed 12 inch vinyl scratch tools containing a range of samples, beats and extracts made from the out-of-copyright blues, jazz and folk housed in the [http://www.openmusicarchive.org Open Music Archive].
-For [http://10.futuresonic.com/urban_play/instrument/ Instrument], the project is presented at âbeta stageâ where vinyl test pressings can be sampled in scenario akin to the record shop listening area â with the option to skip through the rare original recordings, new remix tracks, short vocal snippets, percussive noises, samples, breaks and beats.
+For [http://10.futuresonic.com/urban_play/instrument/ Instrument], the project is presented at Ã¢ÂÂbeta stageÃ¢ÂÂ where vinyl test pressings can be sampled in scenario akin to the record shop listening area Ã¢ÂÂ with the option to skip through the rare original recordings, new remix tracks, short vocal snippets, percussive noises, samples, breaks and beats.
-Collaboration is central to the activity of the DJ who constantly combines, re-works and extends existing creative output. The artists promote collaboration and seek to explore its significance and value for creative production. For Instrument they invite scratch DJ '''Parkertron''' ([http://www.fingathing.com Fingathing]) and filmmaker '''Kid Jenson''' to participate in the project â  a collaboration which is documented through a video, shot by Jenson, featuring Parkertron testing the Leverage records.
+Collaboration is central to the activity of the DJ who constantly combines, re-works and extends existing creative output. The artists promote collaboration and seek to explore its significance and value for creative production. For Instrument they invite scratch DJ '''Parkertron''' ([http://www.fingathing.com Fingathing]) and filmmaker '''Kid Jenson''' to participate in the project Ã¢ÂÂ  a collaboration which is documented through a video, shot by Jenson, featuring Parkertron testing the Leverage records.
-In the hands of a turntablist, the record player is revealed as a hardware instrument â one that needs vinyl software to operate. The DJâs instrument can only be activated using a set of vinyl tools, in the same way that computer hardware requires an operating system and a suite of software to function. Unlike the conventional battle record, which samples unlicensed commercial recordings[http://en.wikipedia.org/wiki/Battle_records], the Leverage scratch tools are assembled entirely from out-of-copyright material â and so exist outside commercial and bootleg economies. The project adopts the form and structure of the battle record to build open vinyl code â which, like free/libre and open source software, is distributed freely.
+In the hands of a turntablist, the record player is revealed as a hardware instrument Ã¢ÂÂ one that needs vinyl software to operate. The DJÃ¢ÂÂs instrument can only be activated using a set of vinyl tools, in the same way that computer hardware requires an operating system and a suite of software to function. Unlike the conventional battle record, which samples unlicensed commercial recordings[http://en.wikipedia.org/wiki/Battle_records], the Leverage scratch tools are assembled entirely from out-of-copyright material Ã¢ÂÂ and so exist outside commercial and bootleg economies. The project adopts the form and structure of the battle record to build open vinyl code Ã¢ÂÂ which, like free/libre and open source software, is distributed freely.
 The project encourages open creative exchange and demands that subsequent creations are licensed under identical terms. Through Leverage, out-of-copyright and copyleft material is inserted into an existing network of production to prise open new possibilities.

@@ Line 1: / Line 1: @@
 == Leverage ==
@@ Line 5: / Line 6: @@
 For [http://www.futuresonic.com Futuresonic 2006] Eileen Simpson & Ben White present '''Leverage''', a new project which centres around the creation and animation of copyleft licensed 12 inch vinyl scratch tools containing a range of samples, beats and extracts made from the out-of-copyright blues, jazz and folk housed in the [http://www.openmusicarchive.org Open Music Archive].
-For [http://10.futuresonic.com/urban_play/instrument/ Instrument], the project is presented at ‘beta stage’ where vinyl test pressings can be sampled in scenario akin to the record shop listening area – with the option to skip through the rare original recordings, new remix tracks, short vocal snippets, percussive noises, samples, breaks and beats.
+For [http://10.futuresonic.com/urban_play/instrument/ Instrument], the project is presented at âbeta stageâ where vinyl test pressings can be sampled in scenario akin to the record shop listening area â with the option to skip through the rare original recordings, new remix tracks, short vocal snippets, percussive noises, samples, breaks and beats.
-Collaboration is central to the activity of the DJ who constantly combines, re-works and extends existing creative output. The artists promote collaboration and seek to explore its significance and value for creative production. For Instrument they invite scratch DJ '''Parkertron''' ([http://www.fingathing.com Fingathing]) and filmmaker '''Kid Jenson''' to participate in the project –  a collaboration which is documented through a video, shot by Jenson, featuring Parkertron testing the Leverage records.
+Collaboration is central to the activity of the DJ who constantly combines, re-works and extends existing creative output. The artists promote collaboration and seek to explore its significance and value for creative production. For Instrument they invite scratch DJ '''Parkertron''' ([http://www.fingathing.com Fingathing]) and filmmaker '''Kid Jenson''' to participate in the project â  a collaboration which is documented through a video, shot by Jenson, featuring Parkertron testing the Leverage records.
-In the hands of a turntablist, the record player is revealed as a hardware instrument – one that needs vinyl software to operate. The DJ’s instrument can only be activated using a set of vinyl tools, in the same way that computer hardware requires an operating system and a suite of software to function. Unlike the conventional battle record, which samples unlicensed commercial recordings[http://en.wikipedia.org/wiki/Battle_records], the Leverage scratch tools are assembled entirely from out-of-copyright material – and so exist outside commercial and bootleg economies. The project adopts the form and structure of the battle record to build open vinyl code – which, like free/libre and open source software, is distributed freely.
+In the hands of a turntablist, the record player is revealed as a hardware instrument â one that needs vinyl software to operate. The DJâs instrument can only be activated using a set of vinyl tools, in the same way that computer hardware requires an operating system and a suite of software to function. Unlike the conventional battle record, which samples unlicensed commercial recordings[http://en.wikipedia.org/wiki/Battle_records], the Leverage scratch tools are assembled entirely from out-of-copyright material â and so exist outside commercial and bootleg economies. The project adopts the form and structure of the battle record to build open vinyl code â which, like free/libre and open source software, is distributed freely.
 The project encourages open creative exchange and demands that subsequent creations are licensed under identical terms. Through Leverage, out-of-copyright and copyleft material is inserted into an existing network of production to prise open new possibilities.

←Older revision		Revision as of 14:19, 28 August 2006
Line 150:		Line 150:
	Parkertron (Fingathing), Kid Jenson, John K & Kelvin Brown (Eyes Down), Andy Soup, Saul Richards, Sneaky (Fingathing), Nick Alexander (TUNDRA*), Tina & Werner (Vinyl Carvers), Drew Hemment (Futuresonic), Neil Cummings & Marysia Lewandowska (Chance Projects)		Parkertron (Fingathing), Kid Jenson, John K & Kelvin Brown (Eyes Down), Andy Soup, Saul Richards, Sneaky (Fingathing), Nick Alexander (TUNDRA*), Tina & Werner (Vinyl Carvers), Drew Hemment (Futuresonic), Neil Cummings & Marysia Lewandowska (Chance Projects)

−	~~[[Category:Current Projects]]~~	+	[[Category:Leverage]]
−	[[Category:Leverage~~\|Futuresonic~~]]

←Older revision		Revision as of 14:14, 28 August 2006
Line 151:		Line 151:

	[[Category:Current Projects]]		[[Category:Current Projects]]
		+	[[Category:Leverage\|Futuresonic]]

←Older revision		Revision as of 13:30, 28 August 2006
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	Parkertron (Fingathing), Kid Jenson, John K & Kelvin Brown (Eyes Down), Andy Soup, Saul Richards, Sneaky (Fingathing), Nick Alexander (TUNDRA*), Tina & Werner (Vinyl Carvers), Drew Hemment (Futuresonic), Neil Cummings & Marysia Lewandowska (Chance Projects)		Parkertron (Fingathing), Kid Jenson, John K & Kelvin Brown (Eyes Down), Andy Soup, Saul Richards, Sneaky (Fingathing), Nick Alexander (TUNDRA*), Tina & Werner (Vinyl Carvers), Drew Hemment (Futuresonic), Neil Cummings & Marysia Lewandowska (Chance Projects)
		+
		+	[[Category:Current Projects]]

@@ Line 45: / Line 45: @@
 {{Icon_mov}} [http://www.archive.org/download/Leverage/leverage.mov Download quicktime] Duration: 13 mins / 43.1 MB (right-click/ctrl+click to download)
-[http://www.archive.org/download/Leverage Read the entry for this video on Archive.org]
+[http://www.archive.org/details/Leverage Read the entry for this video on Archive.org]
 Shot and edited by Kid Jenson

@@ Line 43: / Line 43: @@
 Video of Parkertron (Fingathing) testing the Leverage records using Serato Scratch Live.
-{{Icon_mov}} [http://www.archive.org/download/Leverage/leverage.mov Download quicktime] Duration: 13 mins (right-click/ctrl+click to download)
+{{Icon_mov}} [http://www.archive.org/download/Leverage/leverage.mov Download quicktime] Duration: 13 mins / 43.1 MB (right-click/ctrl+click to download)
 [http://www.archive.org/download/Leverage Read the entry for this video on Archive.org]