|<--------- Breite: 72 Zeichen - fixed font: Courier New, 10 --------->| n0name newsletter #63 So., 08.01.2006 21:17 CET *Inhalt/Contents* 1. MP3_8317 Remix 2. Nick. _Roman_ (Fortsetzungsroman) Teil 27 13 KB, ca. 5 DIN A4-Seiten ------------------------------------------------------------------------ 1. MP3_8317 Remix Die exakte Macht des Wiedermischens nimmt wieder neue alte Formen an. Produktionsmittel haben wir ja genug. Wir sind die neue neue selbstpersiflierte Generation von Prosumenten und Multitudes, denen das Kapital laengst wieder gehoert. 13 mehr oder weniger nichtssagende (denn Stuecke sagen nie etwas) Spuren und ein Text sind das Ergebnis einer Remixsession von 38317. Einzig "Futur 3" ist irgendwie noch tanzbar, stammt aber im Original aus 1998, ist also vor dem "Crash" entstanden. Aber Originale haben keine Chance. Das ist in der Konsequenz die Quintessenz der reaktionaeren Aktion dieser Gruppe, die sozial zurueckgewiesen und bohemianisch ihr Ding macht. Immerhin werden Eigentumsverhaeltnisse befragt. Akustische Waffengewalt und AK 47-Getue wie in "Ekonomy Hit Mann" (vermutlich noch nicht einmal der Original Klang des Maschinengewehrs) werden aber so lange als Loesungsvorschlags-Assoziation fraglich, so lange nur gespielt wird. Es ist jetzt schon kurz vor einem gemuetlichen Sonntag Abend vorm Fernseher - da hilft auch keine Anspielung auf Godard's Film "Weekend". Ali Emas Index of /mp3_8317%Remixes Name Last modified Size Description ______________________________________________________________________ Remix Directory 08-Jan-2005 21:00 - basix-remix.mp3 08-Jan-2005 21:00 5.4M caplismisindahouse-remix.mp3 08-Jan-2005 21:00 2.6M dancingqueenloop-remix.mp3 08-Jan-2005 21:00 1.9M disco_lr-remix.mp3 08-Jan-2005 21:00 8.1M ekonomy_hit_mann-remixxl.mp3 08-Jan-2005 21:00 2.3M futur3karaokex-remix.mp3 08-Jan-2005 21:00 6.5M harry-remix.mp3 08-Jan-2005 21:00 6.0M harry-remixrrgh.mp3 08-Jan-2005 21:00 7.5M ohtaku-remix.mp3 08-Jan-2005 21:00 7.0M otaku-remix.mp3 08-Jan-2005 21:00 13.4M sonnenstern-remixbumm.mp3 08-Jan-2005 21:00 5.1M NEW Tracks: 08-Jan-2005 21:00 0k prosumer-tape.mp3 08-Jan-2005 21:00 - basistraeck-remix.mp3 08-Jan-2005 21:00 5.1M de-droit copy city.mp3 08-Jan-2005 21:00 2k ---------------------------------------------------------------------- Repache/2.0.06 (Linux/Bertelsmann) Server at www.n0name.de Port 007 http://www.n0name.de/38317/mp3_8317/ 38317 Selfinterview A new rising Shootingstar: 38317 is a group from Berlin, Germany founded in 2004. They started their Non-Bob Dylanesque "Never Starting Tour" in the same year "and played around the so called globalized globe". The band was interviewed by themselves about the MP3_8317 Remixes and Laptop Culture. 38317: Why do you interview yourself? 38317: Because it is a cool nety thing and we love this retro style of marxian tactics. 38317: Are we witnesses of a cultural hegemony? 38317: No, we are witnessers (!) in the sense that we are not just watching and reporting what's happening in a certain field of society, we are not telling it 1:1 but we are re-constructing it all the time. We are reproducing this artificial difference and conflict between culture and everything else, which is dictated by the systematically third generation of DJs, TJs and VJs grown up in the 1980is who are established now. The problem is that those adepts sponsored by mama&papa just follow their material needs and conditions. They love this roll back into the bourgeois culture thing, like Hakim Bey with his anarcho-ontological TAZ and his islands of pure art and music. They are under escapism-fleeing- the-reality-concept-pressure ... sublimation 2.0 I'd say. 38317: Is the politics of culture a dogma? 38317: Yes. The distinction between culture and politics, culture and economy, the classical Basis-Ueberbau model is wrong, as some cultural studies might have shown also. I is still around because of many reasons, because of the doctrine of Capitalistic Realism and peoples small manufactured brains before the turntables. I love this photoshpopping too. One could really fall into the FX and use all tools and explain it to yourself. It's a kind of research. But style-style is not the problem here, style is not only "Ausdruck" (expression) of what the "Wesen" (essence) is. What people are doing is not the realization of a core-kernel-algorithm- complex. It is always connected to what is totally necessary but always interconnected to the reality of the media-tool as well. Without knowledge of colors and smell you would never be able to cook, to reproduce yourself, to work again. And even this explaination is wrong as it suggests a difference between work and cooking. Cooking is work too. But work, as we know it, is under control. In fact the Remix Culture is a today's dogma of overcoming all this. Since one decade a DJ is a normalo - everybody HAS to be one! There's no articulation of a DeeJay-Utopia anymore, it follows your class and the ideas of class conflict. "You have to create your own style", says DJ Hell [from Germany]. You have to, you have to! Remix and playing with records once was used as against this slick post-authenticism and identity police. So to fall into the possibilities of the effects of you audio editor, though it is one of the basics, is a short term freedom, your notebook is Freud mutated into a V2. Your choice as a prosumer in this supermarket is the choice of a ex-appropriated human beeing. Reengeneering is only one option to get into this. To open the machines is only one alternative! I think it's time to re-write media theory - especially german media theory - to turn it's turn in the 1970s. I can not proofe it but there must have been a try of some of these theorists to structuralismlize their knowing of critique of political economy. It is obvious! Haha! 38317: You think, we must re-read the theory? 38317: Yes and no, because theory is always and ever to be re-read and re-write. ROM and RAM! Plus critical programming! But real social programming is impossible today. The Culture Flatrate of the green leftist Attacistic lobby in France and Germany will turn out to be a Flat-Rat Race. Remix is supposed to be the great promise. But a promise is something to do something in the future. So Remix is a kind of future today, in terms of grammatic it is a Futur III, an impossible situation. Remix is a political substitute for political acting. DJing actually is government. Take a look at the soccer TV shows or the winter sports broadcastings. They overlay the picture of a person doing the goal or the slalom with graphics of another person doing the goal or the slalom. They use the well kown slow motion and many other techniques to re-mix the pictures. Remix could be perceived as the very basic media technique. All media output is remix. Or to use an older term, every stream of information is sampling. But this concept of (cultural) production is hegemonial. There are Remixes of Comics, of Faces, of identities. Remix is not the authentic technic of change, it is "rekuperiert" (reoccupied) by Lego(TM) an others, by the capital and never had a realm of its own. It is a technique to be used. Or like 01etc.org once said in an interview in 1999: "If you mean with "rekuperieren" to get rich, we hope to be rekuperiert!" This anti-situationist manner is the new old fashion. And fashion is a soft modus of dicatorship. 38317: Why do you present your remixes on a weekend and why as a release like the old media-format LP or CD? 38317: Even an index of a folder is a presentation, it is not the thing itself. The lists of the network are meta-lists. And these overlay-techniques are quite common. Overlay networks are networks on networks for building new topologies. And we do it on the weekend in a comfortable studio to not get into a car crash or other catastrophes. 38317: Why do you use 100% original material only? 38317: Because Original Pirate Material is related to the so called leftists. Every Madonna on the street is using it and that's okay. Our remixes are in fact a recation to this. We are reactionary. Hopefully we don't become some Popnazis now. Actually it's tracks "of our own", or we should I say: not of our own. They are very simple ... and remixed very simple. And nobody knows these tracks except a few people, the elite, haha! So we can only show that we are not part of a youth movement, no member of a scene. Only a very small peer group separated in itself knows about the works of thirtyeightthreehundredandseventeen. And who is really interested in these remixes of unknown songs? It is a real n0name product reflecting fame and production and social deprivation. What counts is always the prize at the cassa! And it's true, there are some samples taken without the owner's consent. 38317: Or is it a cry for LOVE? De-Droit Copy City (c) "...european parliament reports. President Francois says that he's disappointed with Industrie's performance. In Paris, a Madonna Song was reported downloaded at the scene of a p2p on the internet by a youth this morning. The youth was reported surfing on the wrong side of the web when he clicked a button and was catapulted through backbone of his nation while some banlieues where burning. Madonna itself is reported to be uninjured. The identities of both are being withheld by local police. Attac, GPLers and Creative Commons today are expected to blah..." "...and surf all nite and copy every day I wanna click and surf all nite and copy every day..." I feel the right on a saturday night 1 Million aint enough for a song, right? 22.500 for 30 songs? Pah! Come on Jay, you're white darky in a hutch, nigger Stand up, everybody's gonna use their head Load down, everybody's gets what to get You gotta lose your right in De-Droit copy city Stand up, everybody's gonna use their head Load down, everybody's gets what to get Waiting for fate Revolt can't wait Nine o'clock and I know I gotta hit the net First login then p2p Start up Inc. and I try to make Time Warner wet Stand up, everybody's gonna use their head Load down, everybody's gets what to get Surfing fast, doin' 100MBit/s Kill authors' rights but I can't get no real roast I feel so shared, I'm so alive I hear Beatles tapes playin' on my mp3, ieeh! Stand up, everybody's gonna use their head Load down, everybody's gets what to get It's 24 hours, Johnny Ipod The culture flatrate is a copymachine Bastard pop is a business model I got to laugh 'cause microprofit will be mine, aye-aye Stand up, everybody's gonna use their head Load down, everybody's gets what to get (c) 2006 n0name ------------------------------------------------------------------------ 2. Nick. _Roman_ (Fortsetzungsroman) Teil 27 "Wie soll daraus jemals wieder ein logisch zusammenhaengender Text hergestellt werden koennen?" dachte Roman. Kuerzlich traf ich Ihn auf einer Con. Er hatte sich wie auf dieser einem Resample unterzogen. Remix hin, Remix her. Das alles ist so miteinander verknuepft, dasz man mit dem Laserschwert dazwischengehen musz, um Klarheit zu schaffen! Roman vergrub sich in seine Berechnung der verlorengegangenen Rhizome. Teil 28 im n0name newsletter #64 ======================================================================== Sie erhalten den n0name newsletter, weil sie da sind!/You get the n0name newsletter, because you are there! Abonnieren/Subscribe: n0name-subscribe(at)yahoogroups.com Abbestellen/Unsubscribe: n0name-unsubscribe(at)yahoogroups.com Archiv/e: http://groups.yahoo.com/group/n0name n0name is an Openclosed Profit/Non-Profit Context-Divider & Sampling System. EUR ?,- . http://www.n0name.de [n0name with a 0 (in words "zero")!] n0name *Bitte weiterleiten!/Please forward!* (c) © 2006 n0name und die Autoren Supported by Datawerk http://www.datawerk.de Sponsored by FONDS -------------------- Ende des n0name newsletter #63 --------------------