Sound Storage – Sampling, Loops and Artefacts

Sound can be recor­ded, repea­ted, bro­ken apart, and trans­for­med into new forms. In cas­set­tes, vinyl records, sam­plers, tape loops, and digi­tal inter­faces, it appears as trace, frag­ment, mate­ri­al, and as the start­ing point for new musi­cal relations.

At the cent­re are con­cepts in which sam­pling beco­mes tan­gi­ble as an artis­tic prac­ti­ce. This includes both the histo­ry and the pre­sent of sam­pling instru­ments, the spe­ci­fic logic of dif­fe­rent sto­rage media, loops and arte­facts, and the ques­ti­on of how recor­ded mate­ri­al can be shifted, res­haped, and recomposed.

Depen­ding on the con­text and for­mat, dif­fe­rent empha­ses can be set — from his­to­ri­cal sam­pling tech­ni­ques and sound par­cours with ana­lo­gue and digi­tal instru­ments to tape loops and mani­pu­la­ted cas­set­te recor­ders, as well as work with sam­pler apps, lap­tops, and other tools of sonic transformation.