(USA)
"I found so many examples of how dj culture intersected with some of the core tenets of the 20th century avant-garde, that it seems to have unconsciously absorbed them all".
The many sides of his work explore the whole spectrum of digital technology and the almost unlimited ways of remixing the ideas and cultural objects that bombard us. Paul D. Miller, under his well-known pseudonym "DJ Spooky That Subliminal Kid", has released a huge number of albums and remixes, and collaborated with musicians and composers such us Iannis Xenakis, Ryuichi Sakamoto, Pierre Boulez, Wu Tang Clan, Merzbow, Public Enemy, Mad Professor, etc. His debut album "Songs of a Dead Dreamer" is generally recognised as the start of a new genre known as illbient, based on hip hop rhythms with Jamaican dub bases and mixed with the sounds of a feverish city, where the urban bustle mixes with jazz, murky samples and ghostly sounds.
"My music is the soundtrack for those who do not accept this world as it is, but who want to make their own mix of what they see around them. I'm a trans-Âmedia baby who makes art for a world made of information. I take as I give...".
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A collage-based esthetics: an archival attitude where artists don't just make "new" material. The gift economy and the ideas of exchange and colective memories. DJing as a contemporary art form based on digital media: i like the idea of transients, of dematerialization, of sound as an invisible meshwork of interplay of memory and geography. |
Performance art and application of digital media to the idea of what is contemporary art as the performance of a social sculpture. I look at archives as something that can be used and not just put reverently in history and at the same time I look at software itself and its relationship at how we make and modify culture in an era of distributed culture. The Rhythm Science book and the emerging of a "post-production" esthetics. The In Fine Style project. |
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An example of sequencing loops from Lee "Scratch" Perry and Philip Glass and then adding Public Enemy's Chuck D voice. What you are seeing here as a collapse of spatial and temporal relationships is the way the collage functions, employing this collapse as a compositional tecnique: DJing is always about collisions and bizarre juxtapositions. Sampling and making copies of oneself: the One Man Orchestra by Méliès. Exploring the culture of the copy and especially the network of exchanges to give them meaning. The Rebirth of a Nation remix project. |
More examples: applying DJ techniques to cinema scores and the legacy of futurists: music coming from noise, produced by machines, music as code. The music I am composing is investigating a new landscape and this art form is not just about archives, publication and reuse of them, but also to get information out in this information landscape: sampling has become an exchange of global memory. |
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Music coming from info landscape: a live demonstration. |
Questions and answers. |
