Snaps

Eduardo Navas considers the political implications of sampling as a cultural variable in relation to aesthetics and labor in juxtaposition with the emergence of machine learning and artificial intelligence.

Can music production portray nuanced, complex subjectivities relating to reminiscence and retrospection? In an examination of his track «22 – 122», Guy Baron shows how a musical interpretation of an «afterglow» can be made with audio processing and sampling techniques.

Noel Lobley considers if sampling ethnographic sound fragments must inevitably operate under pre-existing power dynamics or if there are other independent ways to sample, remix, and curate locally-owned culture.

Music scholar and producer Francesco Fusaro discusses one of his sample-based tracks. It is through the voice that dance music has proven a fertile territory for the expression of the political and social concerns that underpinned its history from the beginning.

What are the political implications and ethical concerns of sampling sounds of war? This is a question raised by «The End of Silence», a 2013 record from Matthew Herbert based entirely on a six-second field recording of the Libyan civil war. A critical examination.

In 2016, the Indonesian practice «om telolet om» related to the playing of bus horns went viral, reaching the worldwide EDM community. Here, our author problematizes the phenomenon in relation to global and local cultures and creative production in contemporary music.

To what extent do sampling practices maintain or disrupt an exoticized ideal of indigenous populations? The Brazilian research collective GENuSom confronts two sampling strategies performed by a Brazilian worldwide EDM artist and a indigenous rap crew from Brazil.

Starting out with sampling the choral tradition of Sacred Harp, the producer COOL FOR YOU came to understand that practices such as «sampling as critique» are invariably marked by contradictory attachments to their sources and therefore require a more complex analysis.