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	* Dusted Features [ The Resistant Language ] *
		Plunderphonics was conceived to transform the debate over copyright and artistic independence in a technological climate whose openendedness suggested fleeting but substantial opportunities for grassroots action.
		Plunderphonics has amazing potential applications for serious popular expression but, all the same, to take itself too seriously would be its undoing.
		Plunderphonics absolutely does have the potential to affect the thinking of a segment of the population, if only in terms of empowering the converted, but possibly also in terms of giving voice and legitimacy to an alternative perception of mass media.
	www.dustedmagazine.com /features/123 (2019 words)

	Plunderphonics - Wikipedia, the free encyclopedia
		Plunderphonics is a term coined by John Oswald in 1985 in an essay entitled Plunderphonics, or Audio Piracy as a Compositional Prerogative.
		Plunderphonics was used as the title of an EP release by John Oswald.
		All undistributed copies of Plunderphonics were destroyed after a threat of legal action from the Canadian Recording Industry Association on behalf of several of their clients (notably Michael Jackson, whose song "Bad" had been chopped into tiny pieces and rearranged as "Dab") who alleged copyright abuses.
	en.wikipedia.org /wiki/Plunderphonics (1361 words)

	ArtandCulture Movement: Plunderphonic (Site not responding. Last check: 2007-11-02)
		They may be humorous, but "Plunderphonics" is much more than a gag; it is about how to listen to music, about the sounds that lay hidden within sound, sounds that we can be made to hear by Oswald's exquisite manipulations of speed.
		Plunderphonics (both the album and the movement) practices the art of sampling differently than hip-hop or rap.
		The result is that many Plunderphonic creations - Negativland's music is a good example -- become political reflections on copyright laws and their relation to free speech and creativity.
	www.artandculture.com /cgi-bin/WebObjects/ACLive.woa/wa/movement?id=603 (401 words)

	Plunderphonics - 69 Plunderphonics 96 (Seeland)
		Plunderphonics is a musical product of a renegade sampler named John Oswald, who, for pushing 30 years now, has been, without procuring licenses, taking the work of commercially or socially important artists, plundering samples, and constructing his own versions of their songs, or in some cases, entire catalogs.
		Oswald has not sought to market his Plunderphonic work commercially, generally offering to give it away, he has been beset at every turn by the legal owners of his source music and their copyright attorneys.
		Whether Plunderphonics is accessible or challenging, it is never less than compelling, and always interesting.
	www.fakejazz.com /reviews/2001/plunderphonics.shtml (887 words)

	John Oswald - Music Downloads - Online
		Bio: Canadian composer, saxophonist, and sound collage artist John Oswald is best known for his plunderphonics, which involves using samples of existing recordings to create a new work.
		A year before Negativland got sued for their U2 EP, Oswald was taken to court for his 1989 Plunderphonics CD by one of the many sample sources, Michael Jackson.
		Plunderphonics was deemed a copyright infringement and all unsold copies were destroyed.
	musicstore.connect.com /artist/102/050/2/1020502.html (214 words)

	Interview - electrocd.com — electroacoustic & beyond
		Oswald’s realisation of plunderphonics is less a Dadaist defilement of icons than a construction of music anew in the act of deconstructing it, and his most powerful creations shape a life independent of the parent pieces from which they were sample cloned.
		Oswald’s system of plunderphonics is a by-product of the various strategies he developed to enable a non musician like himself to compose music.
		Oswald, plunderphonics is before everything else a process for rigorously pursuing the internal logic of a piece of music, its tone and structure determined by the expressive characteristics encoded in his source samples.
	www.electrocd.com /press.e/492600.html (4687 words)

	Plunderphonics pioneer - manipulation of recordings Performing Arts & Entertainment in Canada - Find Articles (Site not responding. Last check: 2007-11-02)
		Oswald is the man behind "Plunderphonics," the manipulation of recordings by other artists to create sounds which previously existed only in his imagination.
		"Plunderphonics is a genre based on taking existing music and someway making it different or, ideally, making it better." Like his music, Oswald cannot be readily categorized.
		While Djs across North America encouraged listeners to tape Plunderphonic, Oswald was forced to surrender all remaining Cds and master tapes, which were destroyed by crushing.
	findarticles.com /p/articles/mi_m1319/is_n1_v31/ai_20042072 (882 words)

	Record (Metro Times Detroit)
		Listening to 69 Plunderphonics 96 is like spending a couple of hours in an aural hall of mirrors: Almost everything is familiar, but nothing appears in familiar form.
		At the heart of 69 Plunderphonics 96 and of Oswald's oeuvre is the original Plunderphonic album, 21 of the 22 tracks from which appear on the set.
		Each copy of Plunderphonic, released on Halloween 1989, was stamped not for sale and given away gratis to DJs, libraries, journalists, the artists whose work Oswald appropriated, and anyone else who knew to ask.
	www.metrotimes.com /editorial/review.asp?id=50730 (1138 words)

	U B U W E B :: Open Letter - Kenneth Goldsmith \| Jason Christie - Sampling the Culture: 4 Notes Toward a Poetics of ...
		Cutler defines a theory of plunderphonics in which he advocates artists to assume a plaigiaristic attitude toward copyright-protected or previously published material in the pursuit of a new and unique sonic art object.
		I'd like to extend Cutler's theory of plunderphonia to literature and articulate a plundergraphia that treats words in an equivalent manner to how he describes Oswald's use of sound: sound (and words) in the public domain are objects and therefore plunderable (138).
		I believe it is therefore necessary to define a praxis of plunder distinct from and yet similar to Oswald's plunderphonics that focuses on words instead of sound as manipulable material.
	www.ubu.com /papers/kg_ol_christie.html (2167 words)

	Sound Unseen 2001 (Site not responding. Last check: 2007-11-02)
		Presented here under the banner of "plunderphonics," Sound Unseen has drawn on a wildly thoughtful and creative subculture of filmmakers and musicians who freely cast their creative lots into the murky waters of copyright and plagiarism.
		The word plunderphonics continues to be a provocative and convenient way to refer to what these artists and others do; however, the term is probably not ideal, for two reasons.
		As explained in various interviews and writings, Oswald's plunderphonics is required to involve "recognizable sonic quotes" of pre-existing music, and it must source from the work of only one artist at a time (for works that quote more sources, he reserves the term polyplunderphonic).
	www.soundunseen.com /2001/plunderphonics.html (545 words)

	Plunderphonics pioneer - manipulation of recordings Performing Arts & Entertainment in Canada - Find Articles
		Oswald is the man behind "Plunderphonics," the manipulation of recordings by other artists to create sounds which previously existed only in his imagination.
		"Plunderphonics is a genre based on taking existing music and someway making it different or, ideally, making it better." Like his music, Oswald cannot be readily categorized.
		While Djs across North America encouraged listeners to tape Plunderphonic, Oswald was forced to surrender all remaining Cds and master tapes, which were destroyed by crushing.
	www.findarticles.com /p/articles/mi_m1319/is_n1_v31/ai_20042072 (882 words)

	NIME » Blog Archive » Remix - Plunderphonics
		This argued that not only was the use of other people’s music to produce your own legally acceptable, but that it also had a long tradition in classical and popular music.
		Oswald went further, and suggested that for anyone who wanted to respond to a media environment that was saturated with lowest-common-denominator music, the only way forward was to impose your own preferences directly onto the very substance of that environment.
		Thus was plunderphonics born: music that "sampled" other people’s sounds not just as an occasional tip of the hat (as was common in hip-hop), but as it’s entire basis, and which relied upon familiarity with the music borrowed in order to subvert that familiarity."
	itp.nyu.edu /nime/journal/?p=79 (253 words)

	homestudio - revue audiolab (Site not responding. Last check: 2007-11-02)
		By the way, the material we're working on for the feature-length plunderphonics CD includes an Elvis and Dolly duet, which is, as far as I know, unprecedented.
		Currently, the development often involves plunderphones, so who or what is being plundered is a good indication of where it might eventually fit in.
		Nonetheless, there will be some selections on the plunderphonics CD which will contain a lot of sampling executed in surprising ways, including a sequel to the sped-up "Rite of Spring" on the EP which will be all sampling, with a couple of computers conducting the score.
	homestudio.thing.net /revue/content/oswald.htm (4439 words)

	[No title]
		Subject: Re: Plunderphonics >His first CD had to be >destroyed (by court order I suppose) due to the illegal use of Michael >Jackson's image and samples.
		Plunderphonics was banned, due to its blatant violation of copyright laws.
		Subject: Re: plunderphonics > >not the least to radio > >airplay, which makes their work _public domain_ Absolutly no way, the only way to make a work public domain is for the artist to state that it is, or for them to have died over 50 years ago.
	www.ibiblio.org /emusic-l/back-issues/vol054/issue03.txt (10596 words)

	Musicworks - Feature Artists
		By 1969 he had begun his Plunderphonics project which involved creating new pieces using fragments of pre-existing music, through studio manipulation, including 'sampling' and subsequent reconstruction.
		In 1988 he released a freely distributed vinyl EP of plunderphonics, and in 1989 he released the first Plunderphonic CD, which was also free, but within a couple of months all remaining copies were destroyed after a legal conflict over copyright to the use of the music and image of Michael Jackson and others.
		Oswald’s article entitled “Recipes for Plunderphonics” was featured in issue 47 of Musicworks, and in 1994 Chris Cutler wrote a feature article on the history of the use of found objects and found sounds in art, establishing that the history extends back to the early twentieth century.
	www.musicworks.ca /featuredartists-oswald.asp (250 words)

	Music \| Sound bites (Site not responding. Last check: 2007-11-02)
		The Canadian composer John Oswald’s professional reputation is built on Plunderphonics, an album that was never officially available for sale.
		Most of the original copies were destroyed, but 12 years after its original non-release, it’s been expanded to a double-CD retrospective called 69 Plunderphonics 96 that is finally available for over-the-counter purchase, though the circumstances are a little dubious.
		The original Plunderphonics is almost entirely collages made of other people’s recordings, jackhammered into tiny chunks and rearranged until the quotes are recognizable but the form isn’t.
	www.bostonphoenix.com /boston/music/other_stories/documents/01636630.htm (1206 words)

	John Oswald - Free Music Downloads, Videos, Lyrics, CDs, MP3s, Bio, Merchandise and Links
		A year before Negativland got sued for their U2 EP, Oswald was taken to court for his 1989 Plunderphonics CD by one of the many sample sources, Michael Jackson.
		He has since recorded Rubiyat Plunderphonics and the demonstrative Nine Examples of Plunderphonic Techniques, as well as written papers and given lectures on related topics.
		Oswald is also well-known for his Grayfolded releases, a plunderphonics-like treatment of recordings of the Grateful Dead's "Dark Star." In the mid-'70s, he co-founded Pitch with Marvin Green; the project consisted of playing music in the dark.
	www.artistdirect.com /nad/music/artist/bio/0,,475943,00.html (343 words)

	Amazon.com: Plunderphonics 69/96: Music: Plunderphonics (Site not responding. Last check: 2007-11-02)
		69/96 is perhaps the definitive set of John Oswald's experimental Plunderphonics, a two-disc retrospective covering most of his most famous and often brilliant work, from the entireity of the ultra rare Electrax (or Rubiyat, as Electra renamed it) EP to selections from Plexure, Grayfolded, the original (and highly illegal) Plunderphonics CD, and Discosphere.
		For the uninformed, Plunderphonics is sampling taken to the next level, songs manipulated, sometimes beyond recognition and often to completely alter their meaning.
		Drawing from a wide range of sources, 69 Plunderphonics 96 is post-modern tribute to the pop music of the 20th century.
	www.amazon.com /Plunderphonics-69-96/dp/B00005AVLZ (1742 words)

	Plunderphonics, 'Pataphysics & Pop Mechanics'
		"Plunderphonics is something we live with every day - and rarely give a second thought to when it is the cut-and-paste soundtrack to hip-hop for example.
		Andrew Jones' book is perhaps the first study of the growth of these techniques within the avant-garde, and traces their roots in the '50s to the New York "downtown" scene of John Zorn and co., and the post-modern eclecticism of Musique Actuelle." Q
		"Particularly fascinating is the Cut and Paste section, which is where the new music perhaps collides with contemporary pop (as opposed to jazz or classical), Plunderphonics is especially articulate about the implications of the new wave of sonic appropriation.
	www.safpublishing.com /store/pages/html/plunder_book.htm (118 words)

	=== FONY \| pfony.com : Home of John Oswald's FONY music label ===
		This has led to the fine art of "plunderphonics," which is also the title of Oswald's best-known product, Plunderphonics (1969-96), a two-CD set made up entirely of an enormous array of famous sound clips, from the Beatles to Michael Jackson.
		An early form of Plunderphonics interested Elektra Records and in 1990 the label had Oswald scramble bits and pieces of its catalogue.
		This led to the ultimate accolade ever paid to a plunderer when Negativland, a San Francisco audio anarchist collective, plundered Plunderphonics recently to make a cheaper package of the same thing, which it resold, ideal for still more replundering.
	www.pfony.com /goddard.html (1133 words)

	CD Baby: PLUNDERPHONICS: 69plunderphonics96 2cd Boxset with 48 page Booklet
		This 2cd collection, spanning 25 years of plunderphonics recreations [1969-1996] by John Oswald, is "as mesmerizing and synapse-frying a piece of aural vandalism as has ever been committed..." Rolling Stone simply called it : "Mindnumbingly Amazing"
		"Plunderphonics is as mesmerizing and synapse-frying a piece of aural vandalism as has ever been committed."
		"Plunderphonic is my favorite release of the year.
	www.cdbaby.com /cd/johnoswald (710 words)

	John Oswald: 69 plunderphonics 96: description - electrocd.com — electroacoustic & beyond
		He has taken sampling fifty times beyond what we’ve come to expect.” This ambitious package contains 60 memorable tracks, from the Swinging Sixties to the Numb Nineties, on two hyper-dense discs covering the gamut of progressive musical endeavour, where punk meets classical, schmaltz marries metal, jazz divorces rap and electronica kills world.
		Plunderphonics is recreational savagery… A consistently brilliant record.” Each title features an instantly recognizable musical icon transformed into an electroquoted Frankenstein or Hyde with a plunderphoney moniker such as Anthrax Squeeze Factory, Sinéad O’Connick Jr., Beastie Shop Beach, or Bing Stingspreen.
		Oswald has been restricted from releasing this music so Seeland has stepped in and ‘borrowed’ this package and made it available to you.
	www.electrocd.com /cat.e/seeland_515.html (278 words)

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