mosti

...now this I like...

- the opportunity to make self or external musical references which hint at personal tastes, emotions, memories, humour.

In the case of sampling this is possible in the most explicit way yet...musical/media based references can be direct. Brutal and unsubtle possibly, but freeing the composers mind to explore the dynamic interplay of these references in a way never possible before...it could be like playing with your dreams, your memory, the collective unconcious media memory of an audience, and all those combinations of thoughts and influences which make you a distinct individual in a very 'readable', accessable, honest(?), way.

This sounds very deliberate, but could also occur in an innocent, or occasionally ignorant, way. 'Free-form' creativity could have both benefits and costs. Maybe it could allow one access to the true self? Like a Freudian/psychodynamic analysis of the form of dreams. (cf essay on eclecticism/psychoticism), or perhaps it could simply result in so many external references and disjointed lack of harmony, as to produce drivel like this text.

The pain and confusion created here, in trying to understand a part of modern creativity, is not new. The problems thrown up by dada and surrealism were reaching the most vivid in visual art, poetry, prose and film; and in music too, this is not new.

However, it has never been so vivid an issue as it is now in the world of sampling (accurate and clear reference) and communications (information s and all styles and forms are available to, and known by, the population - 'the new eclecticism' (oh don't you just hate buzzwords (eh... buzzword is a buzzword), funny how eclecticism and convergance both are currently)).

- Sampling, very often,
is viewed in such poor light...
(..more dots)