paulj.myzen.co.uk Report : Visit Site


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    Server:Apache...

    The main IP address: 88.98.24.71,Your server United Kingdom,Rochdale ISP:Zen Internet  TLD:uk CountryCode:GB

    The description :applied plunderphonia: tagging electronic music with electronic music julio d'escriván and paul jackson anglia ruskin university, cambridge, england abstract plunderphonics, a technique where the comp...

    This report updates in 25-Jul-2018

Created Date:2005-07-22
Changed Date:2016-07-25

Technical data of the paulj.myzen.co.uk


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Latitude: 53.617660522461
Longitude: -2.1552000045776
Country: United Kingdom (GB)
City: Rochdale
Region: England
ISP: Zen Internet

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Content-Length:25738
Accept-Ranges:bytes
Strict-Transport-Security:max-age=31536000
Keep-Alive:timeout=5, max=100
Server:Apache
Last-Modified:Wed, 04 Feb 2009 08:45:53 GMT
Connection:Keep-Alive
Date:Wed, 25 Jul 2018 03:34:33 GMT
Content-Type:text/html

DNS

ipv4:IP:88.98.24.71
ASN:13037
OWNER:ZEN-AS Zen Internet Plexus Network - UK, GB
Country:GB

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applied plunderphonia: tagging electronic music with electronic music julio d'escriván and paul jackson anglia ruskin university, cambridge, england abstract plunderphonics, a technique where the composer borrows music freely from any available musical sources, is arguably a direct descendant of the work of schaeffer in À la recherche d'un musique concrète . john oswald, who coined the term in his presentation at the wired society electro-acoustic conference in toronto in 1985, said that “a sampler, in essence a recording, transforming instrument, is simultaneously a documenting device and a creative device” (oswald, 1985). in defining the sampler as a documenting device, oswald introduces the possibility that by juxtaposing plundered material, new knowledge may be derived from the relationship between the chosen musical extracts, one which is ‘documentary’ in nature and which further illuminates the music it accompanies. plundered sound objects can thus shed light on the original musical context in which they are quoted, simply by being heard. they may provide a catalyst for an intuitive understanding of the original piece, and create new aural meanings. by virtue of being superimposed or juxtaposed with a piece in which they do not originally belong, they function in a way that is reminiscent of hyperlinks or even tags on web documents, as they are placed arbitrarily with the intention of furthering an idea or extending a concept or signifying a degree of implicit categorisation. this is what we understand by the generation of ‘documentary’ knowledge. this paper aims to propose ways in which music can be ‘marked up’ at the time of composition or as an analytic activity with samples from original or borrowed sources. the end result is to show how this association of extraneous sampled material to the created or analysed music provides a deeper understanding of the work as well as extending its semantics. introduction there may be no hard day’s night without blue suede shoes , no tenney or oswald without elvis, no solaris without forbidden planet , no gesang der jünglinge without symphonie pour un homme seul , no silence by cage without fischinger’s visual music or alphonse allais’ marche funebre . every work leaves a trace. every work of music is, at least, a trace of others that precede it and even, in a ’pataphysical sense, of others that will follow. discussing the symbolic form in his explanation of the analytical semiological tripartition - the poietic/neutral level/aesthesic - jean-jacques nattiez draws a useful corollary for our subject. he defines the trace as the physical and material embodiment of the work, which is accessible to the senses, and argues that the aesthesic process is ‘heavily dependent upon the lived experience of the receiver’ (nattiez, 1990: p12). although he subsequently discusses how this is useful in a prima facie consideration of the artefact itself - a ‘neutral level’ of the work - arguably we could also say that there is nothing neutral about the perception of an artefact that brings into play the ‘lived experience’ of the receiver. perhaps the ‘immanent and recurring’ (nattiez, 1990: p12) properties of any work are only those that we perceive as immanent and recurring. once identified as such, they become a referential system for the receiver, in turn plunging the notion of the neutral level into a recursive motion, which is not only unresolvable, but also undesirable to resolve. the work of art, and in particular the work of music, speaks to our imagination directly, that is to the world of images/symbols/referents that is our life story. arguably, this is what may interest the listener most and may promote engagement: the particular, the traceable, the possible thread. this idea that looks for meaning in specific experiences or instances was explained very lucidly by descartes, when, in the discourse of method (1637), he wrote: ‘i spent the remainder of my youth in travelling, in visiting courts and armies, in holding intercourse with men of different dispositions and ranks, in collecting varied experience, in proving myself in the different situations into which fortune threw me, and, above all, in making such reflection on the matter of my experience as to secure my improvement . for it occurred to me that i should find much more truth in the reasonings of each individual with reference to the affairs in which he is personally interested, and the issue of which must presently punish him if he has judged amiss [author’s italics], than in those conducted by a man of letters in his study, regarding speculative matters that are of no practical moment, and followed by no consequences to himself, farther, perhaps, than that they foster his vanity the better the more remote they are from common sense; requiring, as they must in this case, the exercise of greater ingenuity and art to render them probable’. in the last fifteen years, truly democratic networks of knowledge have been promoted through the world-wide-web: text that calls upon other text for clarification and expansion; images, video, personal testimonies, technical as well as historical texts; a web of meaning, a semantic web. but there is a missing web, although perhaps one ‘under construction’ - the musical web posited by, among others, simon emmerson. peer-to-peer sharing has, of course, created a web of music, yet not one intentionally semantic. musical tagging, or a musical mark-up language has yet to become as commonplace as de.li.cio.us tagging. the future of formats such as id3v2 tagging are promising to bring something akin to what we are discussing, but we have yet to see efforts to tag music with other musics, in other words, primarily presenting a piece of music as an eloquent tag for an existing one, without, in the first instance, transcending the language of music. it is also specific to electronic music, for, similar to the way in which photography operates, audio samples (or recordings) present us with slices of other micro worlds, separate from the one they may be made to inhabit. plunderphones and sound objects ‘the plundering has to be blatant though’ (igma, 2000). in an interview with norman igma, john oswald defines a plunderphone as ‘a recognizable sonic quote, using the actual sound of something familiar which has already been recorded...’ further, he distinguishes that from musical quotation: ‘whistling a bar of density 21.5 is a traditional musical quote. taking madonna singing like a virgin and rerecording it backwards or slower is plunderphonics, as long as you can reasonably recognize the source’ (igma, 2000). the key characteristic of the plunderphone is the ability of the listener to recognise the source, whilst a key element of the schaefferian approach to the reception of music is, of course, reduced listening. it is clearly not the case that schaeffer does not consider the semantic value of a sound object in his evaluation of listening modes, yet it is the attempt to reduce the listening experience at all that is noteworthy. is it actually possible to strip sound from its sonic referents? we would argue it is not. the development of much acousmatic music (or rather, electroacoustic tape music) from the late 1970s onwards may be seen, though, to be attempting precisely this. many composers, on the one hand, look to abstract spectral characteristics and to explore purely timbral relations, whilst, on the other hand, arguably bewildered, non-initiated listeners try to make ‘sense’ out of the listening experience they undergo in the concert hall, the result being a variable tension between compositional introspection and an enhancement of the aesthesic process. in works such as jonty harrison’s klang , for example, one could say that the recognition of the earthenware casseroles is essential to appreciate the compositional skill involved in creating a sound world of casserole-derived elements. yet what will vary here is how ‘m

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Whois Information


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Domain name:
myzen.co.uk

Registrant:
Zen Internet Ltd

Trading as:
Zen Internet Limited

Registrant type:
UK Limited Company, (Company number: 3101568)

Registrant's address:
Zen Internet
Sandbrook Park
Sandbrook Way
Rochdale
Lancashire
OL11 1RY
United Kingdom

Data validation:
Nominet was able to match the registrant's name and address against a 3rd party data source on 16-Oct-2015

Registrar:
Zen Internet Limited [Tag = ZENSYS]
URL: http://www.zen.co.uk

Relevant dates:
Registered on: 22-Jul-2005
Expiry date: 22-Jul-2018
Last updated: 25-Jul-2016

Registration status:
Registered until expiry date.

Name servers:
ns0.zen.co.uk 212.23.8.1
ns1.zen.co.uk 212.23.3.1

WHOIS lookup made at 20:02:11 06-Jul-2017

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Copyright Nominet UK 1996 - 2017.

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  REFERRER http://www.nominet.org.uk

  REGISTRAR Nominet UK

SERVERS

  SERVER co.uk.whois-servers.net

  ARGS myzen.co.uk

  PORT 43

  TYPE domain

OWNER

  ORGANIZATION Zen Internet Ltd

TYPE
UK Limited Company, (Company number: 3101568)

ADDRESS
Zen Internet
Sandbrook Park
Sandbrook Way
Rochdale
Lancashire
OL11 1RY
United Kingdom
Data validation:
Nominet was able to match the registrant's name and address against a 3rd party data source on 16-Oct-2015

DOMAIN

  SPONSOR Zen Internet Limited [Tag = ZENSYS]

  CREATED 2005-07-22

  CHANGED 2016-07-25

STATUS
Registered until expiry date.

NSERVER

  NS0.ZEN.CO.UK 212.23.8.1

  NS1.ZEN.CO.UK 212.23.3.1

  NAME myzen.co.uk

DISCLAIMER
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for .uk domain names. This information and the .uk WHOIS are:
Copyright Nominet UK 1996 - 2017.
You may not access the .uk WHOIS or use any data from it except as permitted
by the terms of use available in full at http://www.nominet.uk/whoisterms,
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  REGISTERED yes

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