As I wrote in my Reflection (below), I enjoyed Sampling the most of all the projects thus far. I think Plagiarism, even as an assignment, was still too morally murky for me to really have fun with. Ghostwriting was entertaining because of the creative challenge inherent to it, but I was also frustrated trying to match a style of poetry that was less developed, maybe, than what I'm used to reading. Sampling, however, left me with a genuine feeling of authorship. Even the Sampling derived largely of copyrighted images felt like a new creation that I had made. I think the process of Sampling is a creative one, and that taking those elements and assembling them into something new is as valid a form of authorship as any.
That said, I'm curious how everyone went about their Sampling. I tried using the Creative Commons Search Engine (http://search.creativecommons.org/), however I had trouble getting anything of substance with it. Maybe I was looking for the wrong things, but I didn't find it especially helpful. I know Joe said the Directory is a more effective way to go about a search. In the end I basically gave up and just used a bunch of things I drew by hand.
I'm also curious how everyone planned their arguments. I basically brainstormed some thoughts on authorship (no author is entirely free of influence, the author is not limited to the written word, there is a legal battle frequently pitting large established groups against individuals over the future of what can be used, etc.). From there I chose recognizable images that could convey those thoughts, which proved fairly easy. In my Sampling every piece is intentionally placed (for example, the moon and snow are part of the second Sampling for a reason despite looking like filler). I tried to make the overall appearance part of my argument as well, taking space and positions into account. It might take some thought but I believe there are reasons for everything. How did you all do your Sampling?
Thursday, November 8, 2007
Tuesday, November 6, 2007
A Reflection on Sampling
Sampling involves taking an array of images and words, typically from popular culture, and recombining them in a novel fashion so as to create an argument. Although I was familiar with the idea of Sampling in the abstract, I didn't realize Sampling was considered an important part of creativity, particularly one threatened by extensive copyright restrictions.
While I'm still uncertain what Sampling sounds like in the context of music, I learned that Sampling can be quite effective in making a statement or an argument. Sampling is typically an appeal to the eye, and is therefore made as aesthetically pleasing as possible (something I struggled with as I worked on my Sampling). Sampling can be done relatively quickly, and can carry considerable weight. As I reflected I thought it similar to the old saying: "a picture is worth a thousand words." When an author makes his appeal in the form of Sampling, he engages his audience (I'm not sure the appropriate term) by asking them to read into the work. He encourages them to search, to interpret, to engage the medium in a way that is different from an essay or article.
As I underwent the transformation into Sampler, I quickly realized free access to many resources trumps free access to limited resources. For a Sampling to be effective (in my humble opinion), the Sampler has to connect with his audience on a certain level. The ability to take well-known images from the popular culture can create a more meaningful argument by sheer virtue of recognition. The Sampler's work is understood at a variety of levels because of the cultural subconscious. While an argument made with permissible material can be very effective, it is certainly more difficult for the Sampler to articulate his argument while tip-toeing around legal repercussions. I believe we as a society have universally recognized symbols, many of which are under the ownership of a select few. A Sampling may find ways around the control of these powers and retain the spirit of the argument, but it may lose the power of its message by restraints placed on instantly recognizable images.
Regarding my work, I felt the argument that ripped and reused without concern for legality created a more effective statement. The possibilities were easily more plentiful and I felt I could make the Sampling richer through certain well-known images. I am unfortunately new to Photoshop and similar software, and with time constraints, I ended up making my Sampling by hand. As I thought about that I realized just how much more digital Sampling can do. In that way I felt increasing respect for Samplers. To me they are just as much an author as the individuals who created the elements incorporated in the Sampling. There is a definite creativity, a very clear innovation and alteration, which makes Sampling unique. I think Sampling is the most accurate picture of creation and authorship we have. As has long been known, there is almost nothing written completely uniquely. No author is an island; he is influenced and draws on the work of humanity's greats. It is his manipulation, his tweaking and shifting, his imagination, his new angle, that truly represents authorship.
While I'm still uncertain what Sampling sounds like in the context of music, I learned that Sampling can be quite effective in making a statement or an argument. Sampling is typically an appeal to the eye, and is therefore made as aesthetically pleasing as possible (something I struggled with as I worked on my Sampling). Sampling can be done relatively quickly, and can carry considerable weight. As I reflected I thought it similar to the old saying: "a picture is worth a thousand words." When an author makes his appeal in the form of Sampling, he engages his audience (I'm not sure the appropriate term) by asking them to read into the work. He encourages them to search, to interpret, to engage the medium in a way that is different from an essay or article.
As I underwent the transformation into Sampler, I quickly realized free access to many resources trumps free access to limited resources. For a Sampling to be effective (in my humble opinion), the Sampler has to connect with his audience on a certain level. The ability to take well-known images from the popular culture can create a more meaningful argument by sheer virtue of recognition. The Sampler's work is understood at a variety of levels because of the cultural subconscious. While an argument made with permissible material can be very effective, it is certainly more difficult for the Sampler to articulate his argument while tip-toeing around legal repercussions. I believe we as a society have universally recognized symbols, many of which are under the ownership of a select few. A Sampling may find ways around the control of these powers and retain the spirit of the argument, but it may lose the power of its message by restraints placed on instantly recognizable images.
Regarding my work, I felt the argument that ripped and reused without concern for legality created a more effective statement. The possibilities were easily more plentiful and I felt I could make the Sampling richer through certain well-known images. I am unfortunately new to Photoshop and similar software, and with time constraints, I ended up making my Sampling by hand. As I thought about that I realized just how much more digital Sampling can do. In that way I felt increasing respect for Samplers. To me they are just as much an author as the individuals who created the elements incorporated in the Sampling. There is a definite creativity, a very clear innovation and alteration, which makes Sampling unique. I think Sampling is the most accurate picture of creation and authorship we have. As has long been known, there is almost nothing written completely uniquely. No author is an island; he is influenced and draws on the work of humanity's greats. It is his manipulation, his tweaking and shifting, his imagination, his new angle, that truly represents authorship.
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