Talking about originality is asking for trouble. So not many people talk do anymore, atleast from where I’m standing. It’s just not a very relevant topic in a world where “everything is a remix“. In remix culture everyone (and everything?) is a DJ that is always inspired by others in various ways. Yeah, okay. Sure. But…
Still, I don’t value all music the same way. Consider the difference between a DJ who plays other people’s music, and someone who improvises with her own compositions using home-made software. It’s not that it’s more impressive, or better, or more complicated – but there is some kind of difference, right?
It’s not about the performance: a DJ is just as likely as a composer to use Ableton with 100000 clips. It’s not about the composition, because even if you don’t sample you’re probably stealing subconsciously anyway!! It’s impossible to find an origin to the composition.
Most importantly though, is that originality is not about “creativity”. What I’d like to propose here, is that it’s about the ontology: what is the song actually made of? I got this idea from Raquel, and thought I’d think aloud about it.
For example, if you take yer average electronic music release, it likely uses plenty of samples, effects and instruments that someone else made. It’s not super-difficult to copy the song if you find the source. For example, look at how Jim Pavloff rebuilds Smack My Bitch Up from scratch. The value in this bitch-song comes from the idea, not the labour.
Yeah, I said labour. By using music tools with a bit more friction you can move away from presets, towards manualism. Instead of tweekin’ sum knobz, you have to spend an hour to write a list of numbers instead. There are no instruments or samples to load, no automatic sliders or fancy algorithms to produce automatic variations. In the ideal manualist case there’s absolutely nothing but your hands.
Chipmusic is not 100% original – nothing is. But it does get pretty close sometimes. Most chipmusic software does not use samples. A lot of them don’t even let you save an instrument that you’ve made. Sure, you get some basic timbres and effects, and an interface with plenty of character. If u’re lucky there’s even some copy-paste functions. But then it’s up to you.
Por examplo – when lft makes Bach-music in C64 assembly, they are original works event if he didn’t compose them first. They are original, because he typed them by hand, from scratch. The list of common denominators is short: assembly, C64 and keyboard.
In Exedub from 2SLEEP1 you can see me composing the song live, starting with nothing but an empty music program. This seems to go well with this idea of originality. But the song is a recording. It doesn’t exist as an executable (a bit like with live coding) but I’m not sure if that’s important or not. Indeed, it does change the ontology of the music.
What is important is that purist chipmusic – provided in non-recorded file formats – is original by default. The ontology of chipmusic is quite unique. I’d say that it’s the only digital music genre in the world. All the others are just platform-independent recordings. I doubt that there’s any other genre that has 10,000′s of songs as executables or open-source.
Anyway. This idea of originality is an analytical concept, more than something useful for everyday life. Who knows how the songs are made, anyway? But I think it’s important to have concepts that are neither antropocentric nor über-structuralist. Materialism, yo.