Vadim in the Mix

dj mixes = aural psychogeographies through the archives of recorded sound history.

but, just as boards of canada now reproduces the sound of grainy seventies film soundtracks such as those commissioned by canada's national film board (nfb), and hip hop artists like the roots reintroduce the sound of dust-and-groove-induced vinyl lp static on digital tracks, so too will future artists reproduce the sounds of the machines that record and represent contemporary sound histories — such as the flat, tinny sound of bass-induced vibration heard on mass-produced computer speakers when turned up a little too loudly.

thus the dj mix can offer not only an aural psychogeography of the archival audio content for one or many cultures, but also an aural psychogeography of the borderlinks between form of communication and mechanical reproduction technique.

all of which is another way of stating that the medium is the message is the medium.


2 responses to Vadim in the Mix

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  1. Stuart Candy says:

    Brian Eno in Wired magazine, January 01999:

    "This is the revenge of traditional media. Even the 'weaknesses' or the limits of these tools become part of the vocabulary of culture. I'm thinking of such stuff as Marshall guitar amps and black-and-white film - what was once thought most undesirable about these tools became their cherished trademark."

  2. sportsbabel says:

    Yes! But I think we also need to consider the fact that in certain cases we technically reproduce these "flaws" in more sophisticated media, rather than simply using the older "flawed" media themselves for aesthetic affect. Shooting black and white film is one thing, Boards of Canada tweaking contemporary electronic dials to achieve the aesthetic sound qualities of earlier media is quite something else. I suppose it would be more similar to photographing digitally in colour and then photoshopping the resultant file to grayscale.