Talk:Futuresonic 2006 - Revision history

Projects at 21:48, 20 December 2008

2008-12-20T21:48:43Z

LetogEtdom: ervarpascot

2008-12-20T04:46:16Z

ervarpascot

Projects at 08:06, 11 June 2007

2007-06-11T08:06:35Z

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GtgHxh at 03:14, 11 June 2007

2007-06-11T03:14:56Z

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Projects at 15:30, 10 June 2007

2007-06-10T15:30:51Z

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GtgHxh at 18:15, 9 June 2007

2007-06-09T18:15:00Z

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Projects at 11:45, 8 May 2007

2007-05-08T11:45:44Z

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203.117.217.131 at 00:34, 7 May 2007

2007-05-07T00:34:13Z

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83.211.3.16 at 22:59, 4 May 2007

2007-05-04T22:59:00Z

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68.87.64.106 at 16:02, 4 May 2007

2007-05-04T16:02:28Z

Show changes

@@ Line 1: / Line 1: @@
 [[Image:Open.jpg|400px]]
@@ Line 19: / Line 18: @@
 Hi Drew
-Apologies for the delay in getting back to your previous post â but we are pleased to report that weâve had a productive few weeks contacting DJs based in Manchester and now have a clear idea of how Leverage will be presented at Instrument.
+Apologies for the delay in getting back to your previous post – but we are pleased to report that we’ve had a productive few weeks contacting DJs based in Manchester and now have a clear idea of how Leverage will be presented at Instrument.
-We are now working with '''Parkertron''' ([http://www.fingathing.com Fingathing]), an amazing scratch DJ, who we are collaborating with to develop the battle tool. We met with him last week to trial a few of the Open Music Archive tracks and itâs all looking very exciting!  Together with Parkertron we are developing a series of test pressings and are extending the invitation to collaborate to '''Kid Jenson''' with whom we are producing a video of Parkertron using the records.
+We are now working with '''Parkertron''' ([http://www.fingathing.com Fingathing]), an amazing scratch DJ, who we are collaborating with to develop the battle tool. We met with him last week to trial a few of the Open Music Archive tracks and it’s all looking very exciting!  Together with Parkertron we are developing a series of test pressings and are extending the invitation to collaborate to '''Kid Jenson''' with whom we are producing a video of Parkertron using the records.
-We attach a [http://www.openmusicarchive.org/projects/index.php?title=Image:LeverageTechSpec.pdf technical spec] for the installation of our work in Instrument. Our intention is to setup a project table in the gallery space (rather than using plinths and podiums) to communicate the idea of the project at âbeta stageâ where the viewer can sample the tracks in scenario akin to the record shop listening area â with the option to select from the different vinyl test pressings available and skip through tracks, beats and samples. The video, installed on the project table, will feature Parkertron scratching the record, testing the beats; using Technics turntables coupled with the vinyl as an instrument.
+We attach a [http://www.openmusicarchive.org/projects/index.php?title=Image:LeverageTechSpec.pdf technical spec] for the installation of our work in Instrument. Our intention is to setup a project table in the gallery space (rather than using plinths and podiums) to communicate the idea of the project at ‘beta stage’ where the viewer can sample the tracks in scenario akin to the record shop listening area – with the option to select from the different vinyl test pressings available and skip through tracks, beats and samples. The video, installed on the project table, will feature Parkertron scratching the record, testing the beats; using Technics turntables coupled with the vinyl as an instrument.
-Weâre up for participating in the informal artists talks surrounding the exhibition. Ben and I would be happy to introduce the project and to tease out some of the ideas explored through Leverage. If we could get an idea of where the event will be / when it might be / what kind of fee might be attached then we would also like to invite Parkertron to play live at the event â possibly accompanied by a live percussionist using an MPC. We can provide you with a detailed technical spec (basically 2 x Technics, Vestax PMC-06 Pro mixer, PA system and sturdy table) once we have more details.
+We’re up for participating in the informal artists talks surrounding the exhibition. Ben and I would be happy to introduce the project and to tease out some of the ideas explored through Leverage. If we could get an idea of where the event will be / when it might be / what kind of fee might be attached then we would also like to invite Parkertron to play live at the event – possibly accompanied by a live percussionist using an MPC. We can provide you with a detailed technical spec (basically 2 x Technics, Vestax PMC-06 Pro mixer, PA system and sturdy table) once we have more details.
 Now that we have a much clearer idea of things - we are working on the short text describing what the project consists of and, following on from the ideas raised in your previous posting, addressing how Leverage approaches the theme of instrument from the standpoint of copyleft, openness, and collaborative culture. '''What is the maximum word count and deadline for this catalogue text?'''
@@ Line 31: / Line 30: @@
 Also, and most importantly: '''When will the exhibition need to be installed and where?''' We need to plan for these dates / deadlines / book train tickets / etc.
-Weâre looking forward to it!
+We’re looking forward to it!
 See you soon,
@@ Line 143: / Line 142: @@
 Hi Drew,
-In a previous post you mention a potential crossover between âinstrumentâ and âcollaborative culturesâ. Approaching the DJ turntable as an instrument, combined with a vinyl tool made from public domain and copyleft sound, and incorporating a network of DJs, mixes the two strands.
+In a previous post you mention a potential crossover between ‘instrument’ and ‘collaborative cultures’. Approaching the DJ turntable as an instrument, combined with a vinyl tool made from public domain and copyleft sound, and incorporating a network of DJs, mixes the two strands.
-The vinyl tool that we want to make - a 12 inch record featuring snippets cut out from the archive - is specifically designed to be used on a turntable, used as an instrument. Without the context of scratch DJs sampling and using the records, and without the combination of the vinyl record, turntable and scratch DJ, there wouldnât be a context in which to make this project.
+The vinyl tool that we want to make - a 12 inch record featuring snippets cut out from the archive - is specifically designed to be used on a turntable, used as an instrument. Without the context of scratch DJs sampling and using the records, and without the combination of the vinyl record, turntable and scratch DJ, there wouldn’t be a context in which to make this project.
 Our initial idea is to present the record on a turntable alongside video documentation of scratch DJs using the record to produce new music. We plan to give two copies of the record to a number of DJs, visit and film them scratching/beat juggling/etc with the record wherever they would normally practice (at home, in the studio, in their bedroom, etc), and assemble a fast cut video of the vinyl tool in action.
-The collaborative aspect of music â played out through the DJ battle â is something that we are keen to explore through the project.
+The collaborative aspect of music – played out through the DJ battle – is something that we are keen to explore through the project.
-The context of scratch DJs in relation to the idea of âinstrumentâ is very appropriate. Although our vinyl tool is not strictly a device for producing musical sounds in itself (it is unplayable without a turntable), it is to be used as a tool or instrument â intended to function to insert public domain and copyleft material into an existing cultural format usually reserved for cheeky samples lifted on the sly.
+The context of scratch DJs in relation to the idea of ‘instrument’ is very appropriate. Although our vinyl tool is not strictly a device for producing musical sounds in itself (it is unplayable without a turntable), it is to be used as a tool or instrument – intended to function to insert public domain and copyleft material into an existing cultural format usually reserved for cheeky samples lifted on the sly.
-Hope this gives you a bit more of an idea of what weâre thinking and how it might fit into the two strands of the festival.
+Hope this gives you a bit more of an idea of what we’re thinking and how it might fit into the two strands of the festival.
-Weâll try post some audio snippets soon â so you can get an idea of the kinds of things that will be on the record.
+We’ll try post some audio snippets soon – so you can get an idea of the kinds of things that will be on the record.
 Let us know what you think.
@@ Line 189: / Line 188: @@
 Hi Drew
-Yes, we would definitely say that in the hands of a turntablist, the record player is revealed as a hardware instrument â one that needs vinyl software to operate. Much like computer hardware, which requires an operating system and a suite of software tools, the DJâs hardware instrument can only be activated with a set of vinyl tools. Our project will use the form and structure of scratch/battle records to distribute open vinyl code â which, like free/libre and open source software (FLOSS), is distributed freely.
+Yes, we would definitely say that in the hands of a turntablist, the record player is revealed as a hardware instrument – one that needs vinyl software to operate. Much like computer hardware, which requires an operating system and a suite of software tools, the DJ’s hardware instrument can only be activated with a set of vinyl tools. Our project will use the form and structure of scratch/battle records to distribute open vinyl code – which, like free/libre and open source software (FLOSS), is distributed freely.
-The exhibition sounds interesting and we have some initial ideas of how the project might be represented. We are keen, however, to think of the vinyl as a starting point for new creation â an active agent as opposed to an end point. Therefore a live element would also seem appropriate.
+The exhibition sounds interesting and we have some initial ideas of how the project might be represented. We are keen, however, to think of the vinyl as a starting point for new creation – an active agent as opposed to an end point. Therefore a live element would also seem appropriate.
 Eileen & Ben
@@ Line 221: / Line 220: @@
 Dear Drew,
-It was great to finally meet up and talk in Manchester at [[My_Goodniss|our event]]. Weâd love to participate in [http://10.futuresonic.com Futuresonic 2006] and weâre enthusiastic about contributing to the festivalâs theme of collaborative cultures.
+It was great to finally meet up and talk in Manchester at [[My_Goodniss|our event]]. We’d love to participate in [http://10.futuresonic.com Futuresonic 2006] and we’re enthusiastic about contributing to the festival’s theme of collaborative cultures.
 As you know, our project [http://www.openmusicarchive.org Open Music Archive] is a collaborative initiative to source, digitise and distribute out-of-copyright sound recordings. We are independent artists and see our project as a response to the closing down of creativity that is imposed by copyright.
@@ Line 227: / Line 226: @@
 It was always our intention for the Open Music Archive to provide a resource of recordings to be shared and sampled in a space outside of a royalty-generating economy. As we discussed at the event we were thinking about this idea of making a vinyl tool: a 12 inch record featuring material generated from the archive (rare original recordings, [[My_Goodniss|new remix tracks]], short vocal snippets, percussive noises, sounds, samples, breaks and beats) to be used/performed in some way at the festival. All the material would be in the public domain or copyleft licensed.
-At the moment weâre researching scratch tools, breaks compilations and battle records: [http://www.smallfish.co.uk/default.asp?release=40795 Q-Bert - Breaktionary (Dirtstyles)] [http://www.smallfish.co.uk/default.asp?release=36350 DJ Swamp - Never Ending Drum & Bass Loops (Decadent)] [http://www.smallfish.co.uk/default.asp?release=35831 Five Deez - Table Noise Vol 3 (Traffic)]
+At the moment we’re researching scratch tools, breaks compilations and battle records: [http://www.smallfish.co.uk/default.asp?release=40795 Q-Bert - Breaktionary (Dirtstyles)] [http://www.smallfish.co.uk/default.asp?release=36350 DJ Swamp - Never Ending Drum & Bass Loops (Decadent)] [http://www.smallfish.co.uk/default.asp?release=35831 Five Deez - Table Noise Vol 3 (Traffic)]
-Weâre also looking at compilations like [http://www.smallfish.co.uk/default.asp?release=16523 Strictly Breaks] and the short tracks of  [http://www.smallfish.co.uk/default.asp?release=41599 J Dilla AKA Jay Dee - Donuts (Stones Throw)]
+We’re also looking at compilations like [http://www.smallfish.co.uk/default.asp?release=16523 Strictly Breaks] and the short tracks of  [http://www.smallfish.co.uk/default.asp?release=41599 J Dilla AKA Jay Dee - Donuts (Stones Throw)]
-Obviously, all records are potentially material for new creative work â battle records however are tools explicitly designed to enable new production. In contrast to our approach - the breaks, beats and samples collected on battle records are created from tracks that are not officially licensed [http://en.wikipedia.org/wiki/Battle_records].
+Obviously, all records are potentially material for new creative work – battle records however are tools explicitly designed to enable new production. In contrast to our approach - the breaks, beats and samples collected on battle records are created from tracks that are not officially licensed [http://en.wikipedia.org/wiki/Battle_records].
-Weâre keen to explore this idea of a vinyl tool here on the wiki â let us know what you think.
+We’re keen to explore this idea of a vinyl tool here on the wiki – let us know what you think.
 Eileen and Ben

@@ Line 1: / Line 1: @@
 [[Image:Open.jpg|400px]]
@@ Line 18: / Line 19: @@
 Hi Drew
-Apologies for the delay in getting back to your previous post – but we are pleased to report that we’ve had a productive few weeks contacting DJs based in Manchester and now have a clear idea of how Leverage will be presented at Instrument.
+Apologies for the delay in getting back to your previous post â but we are pleased to report that weâve had a productive few weeks contacting DJs based in Manchester and now have a clear idea of how Leverage will be presented at Instrument.
-We are now working with '''Parkertron''' ([http://www.fingathing.com Fingathing]), an amazing scratch DJ, who we are collaborating with to develop the battle tool. We met with him last week to trial a few of the Open Music Archive tracks and it’s all looking very exciting!  Together with Parkertron we are developing a series of test pressings and are extending the invitation to collaborate to '''Kid Jenson''' with whom we are producing a video of Parkertron using the records.
+We are now working with '''Parkertron''' ([http://www.fingathing.com Fingathing]), an amazing scratch DJ, who we are collaborating with to develop the battle tool. We met with him last week to trial a few of the Open Music Archive tracks and itâs all looking very exciting!  Together with Parkertron we are developing a series of test pressings and are extending the invitation to collaborate to '''Kid Jenson''' with whom we are producing a video of Parkertron using the records.
-We attach a [http://www.openmusicarchive.org/projects/index.php?title=Image:LeverageTechSpec.pdf technical spec] for the installation of our work in Instrument. Our intention is to setup a project table in the gallery space (rather than using plinths and podiums) to communicate the idea of the project at ‘beta stage’ where the viewer can sample the tracks in scenario akin to the record shop listening area – with the option to select from the different vinyl test pressings available and skip through tracks, beats and samples. The video, installed on the project table, will feature Parkertron scratching the record, testing the beats; using Technics turntables coupled with the vinyl as an instrument.
+We attach a [http://www.openmusicarchive.org/projects/index.php?title=Image:LeverageTechSpec.pdf technical spec] for the installation of our work in Instrument. Our intention is to setup a project table in the gallery space (rather than using plinths and podiums) to communicate the idea of the project at âbeta stageâ where the viewer can sample the tracks in scenario akin to the record shop listening area â with the option to select from the different vinyl test pressings available and skip through tracks, beats and samples. The video, installed on the project table, will feature Parkertron scratching the record, testing the beats; using Technics turntables coupled with the vinyl as an instrument.
-We’re up for participating in the informal artists talks surrounding the exhibition. Ben and I would be happy to introduce the project and to tease out some of the ideas explored through Leverage. If we could get an idea of where the event will be / when it might be / what kind of fee might be attached then we would also like to invite Parkertron to play live at the event – possibly accompanied by a live percussionist using an MPC. We can provide you with a detailed technical spec (basically 2 x Technics, Vestax PMC-06 Pro mixer, PA system and sturdy table) once we have more details.
+Weâre up for participating in the informal artists talks surrounding the exhibition. Ben and I would be happy to introduce the project and to tease out some of the ideas explored through Leverage. If we could get an idea of where the event will be / when it might be / what kind of fee might be attached then we would also like to invite Parkertron to play live at the event â possibly accompanied by a live percussionist using an MPC. We can provide you with a detailed technical spec (basically 2 x Technics, Vestax PMC-06 Pro mixer, PA system and sturdy table) once we have more details.
 Now that we have a much clearer idea of things - we are working on the short text describing what the project consists of and, following on from the ideas raised in your previous posting, addressing how Leverage approaches the theme of instrument from the standpoint of copyleft, openness, and collaborative culture. '''What is the maximum word count and deadline for this catalogue text?'''
@@ Line 30: / Line 31: @@
 Also, and most importantly: '''When will the exhibition need to be installed and where?''' We need to plan for these dates / deadlines / book train tickets / etc.
-We’re looking forward to it!
+Weâre looking forward to it!
 See you soon,
@@ Line 142: / Line 143: @@
 Hi Drew,
-In a previous post you mention a potential crossover between ‘instrument’ and ‘collaborative cultures’. Approaching the DJ turntable as an instrument, combined with a vinyl tool made from public domain and copyleft sound, and incorporating a network of DJs, mixes the two strands.
+In a previous post you mention a potential crossover between âinstrumentâ and âcollaborative culturesâ. Approaching the DJ turntable as an instrument, combined with a vinyl tool made from public domain and copyleft sound, and incorporating a network of DJs, mixes the two strands.
-The vinyl tool that we want to make - a 12 inch record featuring snippets cut out from the archive - is specifically designed to be used on a turntable, used as an instrument. Without the context of scratch DJs sampling and using the records, and without the combination of the vinyl record, turntable and scratch DJ, there wouldn’t be a context in which to make this project.
+The vinyl tool that we want to make - a 12 inch record featuring snippets cut out from the archive - is specifically designed to be used on a turntable, used as an instrument. Without the context of scratch DJs sampling and using the records, and without the combination of the vinyl record, turntable and scratch DJ, there wouldnât be a context in which to make this project.
 Our initial idea is to present the record on a turntable alongside video documentation of scratch DJs using the record to produce new music. We plan to give two copies of the record to a number of DJs, visit and film them scratching/beat juggling/etc with the record wherever they would normally practice (at home, in the studio, in their bedroom, etc), and assemble a fast cut video of the vinyl tool in action.
-The collaborative aspect of music – played out through the DJ battle – is something that we are keen to explore through the project.
+The collaborative aspect of music â played out through the DJ battle â is something that we are keen to explore through the project.
-The context of scratch DJs in relation to the idea of ‘instrument’ is very appropriate. Although our vinyl tool is not strictly a device for producing musical sounds in itself (it is unplayable without a turntable), it is to be used as a tool or instrument – intended to function to insert public domain and copyleft material into an existing cultural format usually reserved for cheeky samples lifted on the sly.
+The context of scratch DJs in relation to the idea of âinstrumentâ is very appropriate. Although our vinyl tool is not strictly a device for producing musical sounds in itself (it is unplayable without a turntable), it is to be used as a tool or instrument â intended to function to insert public domain and copyleft material into an existing cultural format usually reserved for cheeky samples lifted on the sly.
-Hope this gives you a bit more of an idea of what we’re thinking and how it might fit into the two strands of the festival.
+Hope this gives you a bit more of an idea of what weâre thinking and how it might fit into the two strands of the festival.
-We’ll try post some audio snippets soon – so you can get an idea of the kinds of things that will be on the record.
+Weâll try post some audio snippets soon â so you can get an idea of the kinds of things that will be on the record.
 Let us know what you think.
@@ Line 188: / Line 189: @@
 Hi Drew
-Yes, we would definitely say that in the hands of a turntablist, the record player is revealed as a hardware instrument – one that needs vinyl software to operate. Much like computer hardware, which requires an operating system and a suite of software tools, the DJ’s hardware instrument can only be activated with a set of vinyl tools. Our project will use the form and structure of scratch/battle records to distribute open vinyl code – which, like free/libre and open source software (FLOSS), is distributed freely.
+Yes, we would definitely say that in the hands of a turntablist, the record player is revealed as a hardware instrument â one that needs vinyl software to operate. Much like computer hardware, which requires an operating system and a suite of software tools, the DJâs hardware instrument can only be activated with a set of vinyl tools. Our project will use the form and structure of scratch/battle records to distribute open vinyl code â which, like free/libre and open source software (FLOSS), is distributed freely.
-The exhibition sounds interesting and we have some initial ideas of how the project might be represented. We are keen, however, to think of the vinyl as a starting point for new creation – an active agent as opposed to an end point. Therefore a live element would also seem appropriate.
+The exhibition sounds interesting and we have some initial ideas of how the project might be represented. We are keen, however, to think of the vinyl as a starting point for new creation â an active agent as opposed to an end point. Therefore a live element would also seem appropriate.
 Eileen & Ben
@@ Line 220: / Line 221: @@
 Dear Drew,
-It was great to finally meet up and talk in Manchester at [[My_Goodniss|our event]]. We’d love to participate in [http://10.futuresonic.com Futuresonic 2006] and we’re enthusiastic about contributing to the festival’s theme of collaborative cultures.
+It was great to finally meet up and talk in Manchester at [[My_Goodniss|our event]]. Weâd love to participate in [http://10.futuresonic.com Futuresonic 2006] and weâre enthusiastic about contributing to the festivalâs theme of collaborative cultures.
 As you know, our project [http://www.openmusicarchive.org Open Music Archive] is a collaborative initiative to source, digitise and distribute out-of-copyright sound recordings. We are independent artists and see our project as a response to the closing down of creativity that is imposed by copyright.
@@ Line 226: / Line 227: @@
 It was always our intention for the Open Music Archive to provide a resource of recordings to be shared and sampled in a space outside of a royalty-generating economy. As we discussed at the event we were thinking about this idea of making a vinyl tool: a 12 inch record featuring material generated from the archive (rare original recordings, [[My_Goodniss|new remix tracks]], short vocal snippets, percussive noises, sounds, samples, breaks and beats) to be used/performed in some way at the festival. All the material would be in the public domain or copyleft licensed.
-At the moment we’re researching scratch tools, breaks compilations and battle records: [http://www.smallfish.co.uk/default.asp?release=40795 Q-Bert - Breaktionary (Dirtstyles)] [http://www.smallfish.co.uk/default.asp?release=36350 DJ Swamp - Never Ending Drum & Bass Loops (Decadent)] [http://www.smallfish.co.uk/default.asp?release=35831 Five Deez - Table Noise Vol 3 (Traffic)]
+At the moment weâre researching scratch tools, breaks compilations and battle records: [http://www.smallfish.co.uk/default.asp?release=40795 Q-Bert - Breaktionary (Dirtstyles)] [http://www.smallfish.co.uk/default.asp?release=36350 DJ Swamp - Never Ending Drum & Bass Loops (Decadent)] [http://www.smallfish.co.uk/default.asp?release=35831 Five Deez - Table Noise Vol 3 (Traffic)]
-We’re also looking at compilations like [http://www.smallfish.co.uk/default.asp?release=16523 Strictly Breaks] and the short tracks of  [http://www.smallfish.co.uk/default.asp?release=41599 J Dilla AKA Jay Dee - Donuts (Stones Throw)]
+Weâre also looking at compilations like [http://www.smallfish.co.uk/default.asp?release=16523 Strictly Breaks] and the short tracks of  [http://www.smallfish.co.uk/default.asp?release=41599 J Dilla AKA Jay Dee - Donuts (Stones Throw)]
-Obviously, all records are potentially material for new creative work – battle records however are tools explicitly designed to enable new production. In contrast to our approach - the breaks, beats and samples collected on battle records are created from tracks that are not officially licensed [http://en.wikipedia.org/wiki/Battle_records].
+Obviously, all records are potentially material for new creative work â battle records however are tools explicitly designed to enable new production. In contrast to our approach - the breaks, beats and samples collected on battle records are created from tracks that are not officially licensed [http://en.wikipedia.org/wiki/Battle_records].
-We’re keen to explore this idea of a vinyl tool here on the wiki – let us know what you think.
+Weâre keen to explore this idea of a vinyl tool here on the wiki â let us know what you think.
 Eileen and Ben