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
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