Sampling technology compresses the labor of producing in the studio. In the last part of his essay, Eduardo Navas explains how sampling puts the focus on selectivity as the crucial factor in the relation of labor and creativity. An shorter version of this article was published in the Norient book Seismographic Sounds (see and order here).
Sampling is the compression of compression. Sampling technology compresses the labor of producing in the studio. One does not have to play a melody, but sample it. Sampling turns the act of play – of performing – into a meta object that can be played as an instrument. This is why we can think of material in archives (in databases) as notes on a piano: one presses a key and sound is produced; one presses a button on a sampling machine and a sampled sequence plays; this is not so different from persons accessing their memories for phonemes to utter words which then become sentences that in turn become «samplable» if written as text, or recorded with a mechanical or digital device. In all these cases the elements stored are accessed to be compiled and to create a unique composition.
This shift puts the focus on selectivity as the crucial factor in the relation of labor and creativity. The increase in efficiency with emerging tools of compression consequently emphasize the selective process. In this sense, creative work that will hold the test of time may take just as long if not longer to produce, because in order for it to be unique enough to remain important, it must be a contribution based on in-depth knowledge of what has already been produced in the field, which may become a daunting task, considering the rate at which knowledge is increasingly produced.  At the same time, it can be pushed formally in ways that were not conceivable in the past. This is now possible due to the ongoing development of new technology according to the vision of people who use tools and provide feedback.  In an ideal situation, researchers may potentially develop more precise and rigorous results than ever before if they are able to analyze in-depth with proper use of research tools. This is promising but may not always be the case.
The regenerative remix at the time of this writing is more of a bridge to a state of default archiving of all regeneration. Just like new media was a term that now appears historically specific to a time of transition from analogue technology to digital technology, the regenerative remix in the future may be at best a historical precedent that was necessary to understand our transition to times when the flow of all forms becomes logged and archived. This in turns may mean that the ephemeral as previously understood will possibly become parallel in form and function with databases that enable what was superfluous in the past to be studied and reused for different future interests. The precision to data-mine and quantize then to archive the logs of such quantification will share the instability as well as the mathematical precision that enables the concept of innovation to be the privileged investment for both culture and capital.
The next stage is to produce without any lag, to produce as fast as we speak. There may well be a time not too distant in the future, when we may be able to access databases with image, sound, text, and video sources to express what we want just as fast as we utter a sentence. Allusions to this are already mythically proposed on television. During the month of April, 2015, a TV commercial aired advertising with the question «Can you deliver»? The ad is by Cognizant, a corporation which offers information technology services and data analysis. At one point, the TV spot shows a pair of headphones linked to a mobile device while the voice of a young person, states «can it download a song while I sample it»?  The «it» in the sentence refers to the technology being used for the transfer and manipulation of data. The implied statement within the question is about speed and the ability to use all media as fast as one conceives of a possible use. It is therefore not farfetched to consider the possibility that, if technology is to move in the ever-increasing way it has thus far, we will leave our current speed of communication in the near future – for a speed that may be as fast as a person can think – and likely faster. What such forms may be is not clear at the moment, but technology is clearly invested in this type of innovation. 
Remix as expressive as it can be, is also a specific way of framing and containing – of controlling things that at one point may have been transient. Performing a song live was once only ephemeral, but once it is recorded, it becomes an artifact, and potentially a commodity. This means that it is not just about understanding how we have been reinterpreting, appropriating – recycling ideas and knowledge since we developed symbolic language, but understanding how we must consciously engage with the implications of our ever-increasing control of language that becomes a way to exercise power at all levels of life – not just in the control of culture. The stability of regeneration as it becomes part of global networks has allowed humans to develop an industry based on the never-ending archiving of material under the influence of, and in contention with the concept of property. This evolved into an economy defined by an ever-increasing speed in production, and we may well reach a time when the instability of the archive may be, in part, in our inability to keep things stored properly for future generations, as well as our inability to see the potential in the flow of all things archived in terms of informational databases as means for ongoing production.
This is particularly difficult to fully comprehend because, while today we optimize all things produced so that they may be friendly to networked communication and exchange, there is instability in such production because, for the most part, it is enacted or overseen by «innovators» vested in capitalist interests that will not support the stability of an archive unless it proves lucrative. Another challenge may well be that archives, as they are now in place, may become more unstable because they will share (due to increasing speed of production), the apparent instability of speech; that is the archive’s foundational beginnings based on phonemes which the anchoring of writing first tried to control. The instability of archives, consequently, may be perceived as noise created by such speed.  The challenge for the production of knowledge then may become what it already appears to be now: what and how to choose from the exponentially growing pool of sources to enhance one’s personal knowledge and thereby perhaps eventually contribute to the general knowledge which one accesses increasingly through databases, while critically understanding the implications of one’s contribution as a piece of data useful for the forecasting of trends.
This text was published first in a shorter version in the second Norient book «Seismographic Sounds». Click on the image to know more.
 Some artists and creative individuals consider themselves exempt from this, but eventually they must also develop a decent understanding of what came before them. Usually, it is work that shows and makes use of its history that, if under the right cultural conditions for proper recognition, will become evaluated as worthy of ongoing historical examination. Such recognition is a battle ground informed by politics of class, ethnicity, and race.
 This is how Digital DJing technology was developed. Companies like Pioneer and Serato carefully evaluate the feedback by their customers, who are DJs at all levels, in order to develop competitive hardware and software. DJs will usually write to the companies to provide feedback—if not to complain when the product does not live up to expected standards. See Serato forums, last accessed May 7, 2015.
 Cognizant TV commercial with the campaign slogan «Can you Deliver»? accessed April 28, 2015.
 The website theemergingfuture.com, shows an exponential chart of the dramatic increase of human intuitive perspective of technological development. I cite it here to show how the corporate sector appropriates scientific research to sell a service, which in this case is to help their clients keep up with the ever-increasing rate of technological innovation, «The Emerging Future is Twice as Good», accessed May 7, 2015.
 This is the case unless, as humans, we enhance our brains to be able to keep up with the flow of networks.