IDM Mailing Archive

quoted 6 lines I say aliens, dogme style. :)

> >I say aliens, dogme style. :) > > I'll bite: > Not possible because the oath prohibits genre movies. It also prohibits > special effects (I believe), and any type of spatial/temporal > transportation, neither of which make an aliens movie completely

impossible,

quoted 1 line buuuuuuuut...

> buuuuuuuut...

You could do a very stylish aliens movie, that was almost entirely dark and much like the original alien. Lars von Trier in the directors chair and absolutely no aliens, just the fear and panic that they cause. Much suspense and a great deal of terror. Either that or we wait for Sigourney weaver to die, so they can make AVP the movie...

quoted 4 lines Are there any similar disciplines when it comes to making music?

> Are there any similar disciplines when it comes to making music? > Specifically ones with a standard set of criteria. One where you had to > submit a song/album to be certified by a central authority would be even > better.

I believe that Mathew Herbert (www.magicaccident.com) uses a set of rules for his stuff on bodily functions, stating "Written according to the rules of PCCOM", a set of rules forbidding all the easy ways of using samplers etc (ie all original samples, no presets, etc) see the end of the post. I feel that some of the rules are good, but the problem with any kind of use of samples is that if you have been making digital music for any amount of time you can very quickly create equivalents most of the main sounds from almost anything just by tweaking. There should be a rule of "use as recorded", therefore looking for natural occurences of sounds. Possibly a microphone manifesto could be used? What would people choose as their rules for "raw" dogme music? georgewilliamson From www.magicaccident.com PERSONAL CONTRACT FOR THE COMPOSITION OF MUSIC [INCORPORATING THE MANIFESTO OF MISTAKES] THIS IS WRITTEN FOR THE PURPOSE, NECESSITY AND DESIRE TO BE ORIGINAL AT ALL TIMES. 1. The use of sounds that exist already is not allowed. Subject to article 2. In particular: No drum machines. All keyboard sounds must be edited in some way: no factory presets or pre-programmed patches are allowed. 2. Only sounds that are generated at the start of the compositional process or taken from the artist's own previously unused archive are available for sampling. The use of, ordering and manipulation of noise-sound is to be held as the highest priority in composition. 3. The sampling of other people's music is strictly forbidden. 4. With the exception of the human voice, no replication of traditional acoustic instruments is allowed where the financial and physical possibility of using the real ones exists. 5. The inclusion, development, propagation, existence, replication, acknowledgement, rights, patterns and beauty of what are commonly known as accidents, is encouraged. Furthermore, they have equal rights within the composition as deliberate, conscious, or premeditated compositional actions or decisions. 6. The mixing desk is not to be reset before the start of a new track. This is for the specific purpose of applying a random eq and fx setting across the new sounds. Once the ordering and recording of the music has begun, the desk may be used as normal. 7. All fx settings must be edited: no factory preset or pre-programmed patches are allowed. 8. Samples themselves are not to be truncated from the rear. 9. A notation of every sound used and its source to be taken and published within one year at magicandaccident.com. 10. A full description of all technical equipment used on each track to be published within one year at matthewherbert.com. 11. All samples will be deleted upon completion of the track. 12. Remixes must be completed using only the sounds provided by the original artist including any packaging the media was provided in. 13. MATTHEW HERBERT 27-11-00 --------------------------------------------------------------------- To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org For additional commands, e-mail: idm-help@hyperreal.org