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Invitation to participate in this project is open to the public. The goal of this project, beyond the scope of the stated theory and implicit practice of this experiment, is to fulfill the project requirements for a Master of Arts degree in Digital Media Studies at the University of Denver. As such, this is a student project and is not intended for commercial use.
Submission Protocols
Collaborators who submit audio content for use in this project agree
to the license-free use of their samples, for post-production methods
applied to those samples, and the later online publication of completed
audio works utilizing these samples, in MP3 format, on the Web, to the
public for free, unrestricted download.
Because this is a student, non-commercial endeavor, the samples, although
preferred, are not restricted to originally-authored sources: they can
be samples lifted from movies, pop music, pornographic videos, political
speeches, public service annoucenements, etc.
Collaborative participants submitting audio samples for use in this project are requested to submit 1-23 total audio source samples, ranging in length from 1 second to 1 minute, in MP3 format ONLY. Please include the collaborator's name as it should appear in the credits of the completed project.
Submit MP3 format audio samples via email to:
collaborate@opho.info
or click the "contact" link above.
If you experience any difficulties emailing audio sample submissions
(i.e., bounced emails, site is down, difficulty with interface, etc.),
please feel free to email me directly at my University of Denver email
address:
bcomerfo@du.edu
Completed tracks will be posted to this site as the project nears completion, and collaborative participants will be notified when the finished files are available for public download. After the completion of this project, this web domain will be transformed into a site documenting all future (and past) projects of Brian Comerford (a.k.a., E23, a.k.a. Doghead Cola) and the site will undergo some page directory revision at a later date. Re-direct pages will re-route visitors to old bookmarks for link updating at that time.
Workflow Process
“This involves the exploration of timbre, chromatics and ‘noise-sound’, the prioritizing of rhythm and repetition over melodic/harmonic development, and the elaboration of virtual space using the studio-as-instrument.” - Simon Reynolds - (Reynolds, 373)
The workflow process will require the creation of 60-74 minutes worth of audio material. As already stated, this requires original auditory source materials authored by various collaborative participants to serve as the basis of audio content development. This interconnects with impetus of the contemporary DJ to act as a selector of sources to be mixed; however, in this case, the sources, which exist outside the scope of the synthesizing Engineer’s ranges of taste, preference, and direct selectability, will also be manipulated via constraints additionally derived in an indeterminate manner. Based on these constraints, the Engineer will apply effects, tempo restrictions, editing events, and other forms of previously indeterminate restrictive parameters to original sound elements derived from collaborative submissions.
These original source clips will be aggregated into one source folder for retrieval, when the files are “drawn” via the non-public chance operators interface in order to have chance operator parameters assigned to them.