Rhythm Science (Mediaworks Pamphlets)

Rhythm Science (Mediaworks Pamphlets)
by Paul D. Miller aka Dj Spooky that Subliminal Kid

Rhythm Science (Mediaworks Pamphlets)
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Book Summary Information

Author: Paul D. Miller aka Dj Spooky that Subliminal Kid
Edition: Paperback
Audio: English (Unknown); English (Original Language); English (Published)
Published: 2004-03-19
ISBN: 026263287X
Number of pages: 136
Publisher: The MIT Press

Book Reviews of Rhythm Science (Mediaworks Pamphlets)

Book Review: Sampling the world
Summary: 5 Stars

Rhythm Science di Paul D. Miller (The MIT Press, Mediaworks Pamphlet Series) non è un saggio sulla Dj-culture, ma più semplicemente una raccolta di appunti e di idee, talvolta anche autobiografiche, sul senso del fare musica, sulle origini del processo creativo contemporaneo, sulla filosofia e sui padri del campionamento.

L'autore, Paul D. Miller meglio conosciuto come Dj Spooky that Subliminal Kid (Washington DC, 1970) artista concettuale, scrittore, filmaker e musicista, descrive il processo creativo del Dj moderno come è una serie interminabile di campionamenti successivi, di molecole che si uniscono e si integrano per creare elementi nuovi. Citando i padri del processo di campionamento.

"It is as difficult to appropriate the thoughts of others as it is to invent" scrisse il poeta Ralph Waldo Emerson in "Quotation and Originality". Era il 1875, dieci anni prima la guerra civile aveva distrutto metà degli Stati Uniti d'America. Ricostruire le proprie idee attraverso il pensiero altrui. Contaminare. Mescolare le idee. Il dj moderno nasce due anni dopo, quando Thomas Edison inventa il primo fonografo, la macchina parlante, la macchina della memoria. La voce non è più in sincrono col tempo. Nasce la possibilità di mixare suoni preesistenti.

"Sampling is a new way of doing something that's been with us for a long time: creating with found objects"

Dj Spooky è come un vettore si muove a grande velocità lungo il globo, cambiando continuamente direzione come un'idea che si sviluppa attraverso le cellule della nostra mente. Sfrutta le autostrade digitali, si nutre delle creazioni altrui, le modifica, le sovrappone, le altera fino ad annullarne il copyright, le rimanda in circolazione come fossero semplici objets trouvées. Analogamente a Robert Rauchemberg, quando nel 1953 comprò un disegno di Willem De Koonig solo per cancellarlo, annullarne il copyright. "I sample all sorts of stuff. The strategy, of course, is to make it unrecornizable".

Con la seducente veste grafica disegnata dallo studio COMA (Cornelia Blatter e Marcel Hermans), Rhythm Science è un libro avvincente, che salta a ritmo frenetico da un tema all'altro senza bisogno di collegamenti certi. Spooky ci invita ad ascoltare il c-side del libro, un cd con musiche campionate dai suoni più disparati, incluse parole di Marcel Duchamp, Tristan Tzara, Kurt Schwitters e tanti altri fino al Finnegans Wake di James Joyce.

L'estetica del sampling, il ritorno di immagini nascoste nel fondo della memoria oppure, più semplicemente, di suoni registrati su un i-Pod. Niente paura, la creatività trionferà sempre perché, per usare le parole di Mallarmé: "Un coup de dés, jamais n'abolira l'hazard".

Summary of Rhythm Science (Mediaworks Pamphlets)

"Once you get into the flow of things, you're always haunted by the way that things could have turned out. This outcome, that conclusion. You get my drift. The uncertainty is what holds the story together, and that's what I'm going to talk about."--Rhythm ScienceThe conceptual artist Paul Miller, also known as Dj Spooky that Subliminal Kid, delivers a manifesto for rhythm science -- the creation of art from the flow of patterns in sound and culture, "the changing same." Taking the Dj's mix as template, he describes how the artist, navigating the innumerable ways to arrange the mix of cultural ideas and objects that bombard us, uses technology and art to create something new and expressive and endlessly variable. Technology provides the method and model; information on the web, like the elements of a mix, doesn't stay in one place. And technology is the medium, bridging the artist's consciousness and the outside world.Miller constructed his Dj Spooky persona ("spooky" from the eerie sounds of hip-hop, techno, ambient, and the other music that he plays) as a conceptual art project, but then came to see it as the opportunity for "coding a generative syntax for new languages of creativity." For example: "Start with the inspiration of George Herriman's Krazy Kat comic strip. Make a track invoking his absurd landscapes... What do tons and tons of air pressure moving in the atmosphere sound like? Make music that acts a metaphor for that kind of immersion or density." Or, for an online "remix" of two works by Marcel Duchamp: "I took a lot of his material written on music and flipped it into a DJ mix of his visual material -- with him rhyming!"Tracing the genealogy of rhythm science, Miller cites sources and influences as varied as Ralph Waldo Emerson ("all minds quote"), Grandmaster Flash, W. E. B Dubois, James Joyce, and Eminem. "The story unfolds while the fragments coalesce," he writes.Miller's textual provocations are designed for maximum visual and tactile seduction by the international studio COMA (Cornelia Blatter and Marcel Hermans). They sustain the book's motifs of recontextualizing and relayering, texts and images bleed through from page to page, creating what amount to 2.5 dimensional vectors. From its remarkable velvet flesh cover, to the die cut hole through the center of the book, which reveals the colored nub holding in place the included audio CD, Rhythm Science: Excerpts and Allegories from the Sub Rosa Archives, this pamphlet truly lives up to Editorial Director Peter Lunenfeld's claim that the Mediawork Pamphlets are "theoretical fetish objects... 'zines for grown-ups."

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