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LP
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FAITICHE 022LP
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Six great pop standards remembered: five pop songs are dissected by sampler, stretched, compressed, and re-collaged. In this way, their identity is lost. What remains is a vague concreteness: flashes of déjà vu and remote echoes that evoke the original. GES (Gesellschaft zur Emanzipation des Samples) active members: Helmut Schmidt, Jan Jelinek. Founded: 2009. Headquarters: Federal Court of Justice, Karlsruhe, Germany. Concepts and people of interest and influence: Bundesgerichtshof (German Federal Court of Justice), Karlsruhe, Circulations, emancipation of sampling, field recording, gambling, Kraftwerk, Marcel Duchamp, Orecchio di Dionisio, sampling, uguisubari, wind, Zwischen (Between). Includes download code.
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7"
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FAITICHE 016EP
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Faitiche present the launch of its new Acoustic Surveillance Series. Each 7" vinyl single in the series presents a historical system for acoustic surveillance, beginning with Uguisubari by Jan Jelinek's field recordist pseudonym G.E.S.. The pieces feature recordings of uguisubari -- special floors in Japanese temples and castles. The nightingale floor was a popular acoustic warning system. It was very simple: when someone stepped on the floorboards, the nails holding them in place rubbed against metal clamps mounted on the underside of the boards, raising the alarm by creating a squeaking noise that resembled the chirping of the Japanese nightingale.
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7"
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FAITICHE 007EP
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Faitiche presents four new recordings from the Gesellschaft Zur Emanzipation Des Samples (G.E.S.). On More Circulations, G.E.S. instigate the following recording situations: audio playback devices are placed in public spaces in order to play the desired sample material. The resulting recordings document collages from public spaces: a hotel lobby in Lanzerote, a registry office in Berlin, Copenhagen's Tivoli garden, a beach on the Portuguese coast, the old town of Geneva as well a Mercedes Benz on the way to Eindhoven.
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CD
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FAITICHE 002CD
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This is the second release on Jan Jelinek's Faitiche label. The Gesellschaft Zur Emanzipation Des Samples translates to: "Society for the Emancipation of Sampling." G.E.S. is no official entity, but rather a rough idea, an association without membership or manifestation committed to one primary and pragmatic notion: financial backing and legal support in case of active breaches of copyright associated with the process of sampling. The audio collage that comprises Circulations emerged from random recordings of pop songs played through the PA of a fairground carousel. Picture the scene: bumper cars racing to Bruce Springsteen's "Born In The USA," a carousel turning to Marvin Gaye's "Sexual Healing," but also think about the projector sounds at the cinema or the sine generators in a sound installation: all of these are recordings of public space, and yet, they contain not only the ambient sounds of their specific point of origin, but also a discrete and distinct recognizable moment. We will always be able to decipher and disassociate "Sexual Healing" from the random noise of public space, irrespective of location. But, to what extent does the act of making a recording affect potential copyright claims? Are Marvin Gaye's publishers entitled to royalties because the recording of a merry-go-round conveys traces of "Sexual Healing?" Circulations aims to restage this particular recording premise. Playback devices are placed in public space, broadcasting the desired sampling material, and the recordings of them bear witness to free ownership. Even where authorship is still recognizable, the resulting field recordings relegate music to a casual, circulating background element -- just one event among many, equal to ambient acoustics, casual conversations and traffic noise. Circulations choreographs a recording situation and, at the same time, the utopia of a space unfettered by copyright. This could be a potential solution to the criminalization of sampling: take your sources and sample them in public space. The CD contains 20 beautiful, ethereal miniature collages, assembled almost entirely from such recordings. In some cases, the public aspect is palpable, in others, it is hardly noticeable, depending on the degree of processing. To pre-empt disappointment: neither Springsteen's "Born In The USA" nor Gaye's "Sexual Healing" have found their way into these collages. The author himself purports to be an anonymous member of the G.E.S.
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