RE: [rumori] soundmosaic

From: Vicki Bennett (
Date: Wed May 30 2001 - 16:58:25 PDT

I think that you can make a cover version and still imprint yourself
upon it, therefore making it your take on things. I think there is a
fine line between a cover version and a remix at times and when I
start thinking about the validity of doing a cover version I'm also
forced to question the validity of everything that I do since it is
all made by sampling things in part. I've done whole cover versions
of tracks by taking several versions of the same song and cutting it
all together... it could be said that it makes it mine because I did
something more than repeat line by line but essentially we'd be
talking about preference of one technique above another if that were
the case. I'd say John Oswald does very fucked up cover versions,
and I hope that can be taken as a compliment.

Psychic TV did a lot of cover versions but what they did was very
much theirs, I never once thought of the Beach Boys or the Rolling
Stones or anyone else that they covered because they were adding
different contexts to the songs, or taking them one step further
along the same trail.


>When you recreate something that closely, in what way is it yours? How does
>it have value?
>Elisabeth Subrin's "Shulie", has value for me because it is a conscious
>quest/question about what is true and false. I don't think I can say the
>same thing about Bauhaus's "Ziggy Stardust" or Gus Van Sant's "Psycho".
>(I think PTV figured out that they had created a simulacrum and so included
>Genesis P-Orridge's creepy rap in the middle of the song.)
>-----Original Message-----
>From: Doug Harvey []
>Sent: Wednesday, May 30, 2001 12:29 PM
>Subject: Re: [rumori] soundmosaic
>It reminds me of both Todd rundgren and Psychic TV getting hit singles by
>making barely distinguishable (from the original) covers of 'Good
>>From: Steev Hise <>
>>To: <>
>>Subject: [rumori] soundmosaic
>>Date: Tue, 29 May 2001 21:31:50 -0700 (PDT)
>>Tue, 29 May 2001 found Jim Carrico writing:
>>->speaking of grey areas, i've just stumbled across a
>>->project pertinent to this discussion, called Soundmosaic
>>->hilarious concept really - given a large enough sound library, and enough
>>->raw processing power, it should be possible to regenerate any piece of
>>->audio from fragments of other sounds.
>>wow. that is really really cool! it sounds really great. it
>>really is like the audio equivalent of those photomosaics.
>>conceptually it isn't quite that amazing, though, given the
>>nature of sound. Fourier showed us long ago that all sound
>>can be represented as the summation of many many sine waves
>>(this fact ended up being one of the foundations of digital
>>audio). so you don't need to make sounds out of samples, you
>>can go all the way to the extreme and make them out of pure
>>sine tones. the interesting thing is in the imperfection of
>>it. you wouldnt want to succeed at it perfectly, but hearing
>>the seams is really REALLY great.
>>of course this "atomic" way of looking at sound does bring
>>up some interesting hypothetical test cases in the area of
>>intellectual property. for example, can one own the
>>copyright on a single sample (1/44,100 of a second of
>>sound)? etc etc.
>>thanx for mentioning this, jim. i look forward to checking
>>that url again in a few months to see what other sounds
>>they've built....
>>Steev Hise, WebSlinger
>>*Recycled Culture:
>>*Record Store:
>>*Progressive radio sketches:
>>*Watching power flow:
>>*Democratic sound collage generator:
>> *** sig almost over ***
>>"Its worth working for your vision. Why spend your life on
>>someone else's dream?"
>> -Orson Welles
> >-----------------------------------------------------------------
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