20100228 at 15:43 Avec Celine Dion aussi.
Arrogant Worms - Oh Canadia (Celine Dion Bowser & Blue South Park).mp3
20091004 at 19:07 
Quiet Scary Piano Noise 24 mins (2004) by Richard Walker is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 3.0 Unported License
Musique concrète (French for “concrete music” or “real music”), is a form of electroacoustic music that utilises acousmatic sound as a compositional resource. The compositional material is not restricted to the inclusion of sonorities derived from musical instruments or voices, nor to elements traditionally thought of as “musical” (melody, harmony, rhythm, metre and so on). The theoretical underpinnings of the aesthetic were developed by Pierre Schaeffer, beginning in the late 1940s.
Stream the audio right off Archive.org with the player, or go there to download it
audio, improv | tagged acoustic sound, audio, electroacoustic, improv, incidental music, noise, sound effect 20090919 at 07:16 Assume for the sake of this post that ART means “audio reversed in time”, i.e. any audio clip played (and saved) backward. This is an invertibly lossless transform.
Consider this mix, track times approximate:
00:00 -00.00 ART of “Barber - Adagio for Strings - Bernstein & L.A. Philharmonic “
02:00 -00.00 “William Orbit - Barber Adagio for Strings Techno Remix”
This mix goes from strangely familiar mourning straight to techno, and in between a short eight bars where you get the original theme. Were it not an overplayed piece you could insert the original (non-ART version) in the middle and go in and out of techno and/or the ART version.
ART tracks are more appropriately named by using the original name, with all the letters back to front, i.e.
“cinomrahlihP .A.L & nietsnreB - sgnirtS rof oigadA - rebraB”
Note that the reversed name is unique for all uniquely named tracks, and the capitalization is a hard-to-miss clue. Note also lack of misrepresentation and improper taking of credit where none is due. Also, no need to define a new abbreviation for this transform, which can be very confusing.
Another favorite example of this technique is the mix:
00:00 -00:00 “nialecroP - yboM”
00:00 -00:00 “Moby - Porcelain”
This is a pure “audio-palindrome” if you will; the ART version is undeniably musical and listenable. Key points: start with the ART version of a very familiar ART-friendly track, followed by the original track.
The question of applicability of copyright law to ART-transformed tracks is an open one. It is quite complex, and assuming copyright did apply automatically, what of an ART-transformed sample? It seems unfair to think that ART-transformed tracks would be automatically limited, as they are not the same as the original at all. There is also a good bit of skill in knowing beforehand what tracks will sound like reversed, but of course this is a type of “recombination” art form, much as collage and remixing are.
In this sort of symmetrical mix I always add a “ping” and a “gnip” at the start and end, and a “pinggnip” at the midpoint, to cue the listener.
A term I coined for unreversed backwards speech (* see below) is “Lynchified” with an abbreviation of single capital “L”, but that does not really describe this transform: all [non-live] audio is ART-ible but only spoken or sung words are “Lynchifiable”, furthermore “Lynchifying” begins at the time you make a recording, and cannot be applied after the fact since the vocalist must use phoneme-reversed words. And, ART reverses the entire track whereas “Lynchification” is the un-phoneme-reversal of many single words, but preserving the order of the words.
Related tidbits about reversal of glyphs, letters, phonemes, words, speech and audio:
Exercise left for the reader: Explain why one can’t use ART transform with live audio, or LRT transform with live text/speech.
[* Note: David Lynch invented the technique as far as I’m aware, used very effectively in Twin Peaks]
20090908 at 23:51 From the Lessig Blog:
TotalRecut has launched a remix contest: “What is Remix Culture?” I’m a judge (as close as I’ll ever get to that title, but now twice — just finished judging the Obama in :30 contest). Cool prizes. Great question. Get busy.
The “Ecstasy of Influence” with novelist Jonathan Lethem, who asks: without borrowing, stealing, cribbing, remixing, mashing-up, collaging and compiling — without influences great and small, in other words — is “creating” even possible?
Click to listen to my “Back to School Edit” of the show (includes illustrative audio under Hosler interview) (15:45)
Mark Hosler - Founding member, NegativlandOpen Source - Mark Hosler of Negativland - Back to school edit v2
An episode of Center for Internet and Society published on February 2, 2007
The Stanford Law & Policy Review and Stanford Law School welcomed Congressman Rick Boucher (D., Va.) to deliver a speech entitled “Congress Must Balance its Copyright Agenda”.
Jonathan Coulton’s charming “Code Monkey” is a song about a programmer. At the end of 2006, Jonathan and Quick Stop Entertainment held the “Code Monkey Remix Contest” [which provides links to tools to help get you started at remixing]
Here are the winners; I particularly like what Kristen Shirts did with it.
There many code monkey videos and video remixes on YouTube. Click here to search.
Thanks to Amber MacArthur and Leo Laporte for covering this on their podcast Net@Nite, ep14
Open Source - Mark Hosler of Negativland - Back to school edit v2
20090803 at 08:00 
This recording by Richard Walker is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 United States License.
Recorded live at Capp Street Community Music Center.
“… le plaisir délicieux et toujours nouveau d’une occupation inutile”
“… the pleasure, delightful and always new, of a useless vocation”
- Henri de Régnier
Stream the audio right off Archive.org with the player, or go there to download it
Richard Walker - Valses nobles et sentimentales - Maurice Ravel
audio | tagged audio, classical music, live performance, piano, sheet music 