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"Instead of using lots of record players to play lots of different records I simply thought of combining several record players in one. The Tri-Phonic was born. As records can be easily accessed in many time frames/places simultaneously it was to be very efficient at maximising the potential of obscure vinyl discoveries. This invention could multiply, magnify and manipulate the essential physical surface of sound in as many ways as was practically possible." To potentialise--to maximise--to maniplate sound at its limit--"as man ways as practically possible"--this is what we'd like to do with the basis of the term: TRI (three) PHONOS (sound). Three sounds: three arms: MUTANT SOUND, the three-armed beast of the turntablist-laptrician-phonographist, or net.artist-event producer-VJ, or producer-designer-artist, even. We are a MUTANT BREED OF SONIC ALIENS. We'd like to sample Janek's "tri-phonic" and scratch the hypen, replacing it with a DOT: "tri.phonic" -- TRI DOT PHONIC -- in this substitution we expand the term to resonate the general aspects of a growing digital arts practice which is not ours alone, nor which we could ever claim, but which sees its rise & occurrence globally among genres and practices including microsound, glitch, clicks and cuts, sound-art, sound installations, phonography, turntablism, laptronics, microsonics, lowercase, field recordings, and sonic net.art. Thus the DOT is the break from the hypen, the TRI (three) from the PHONOS (sound) that also represents the influence of the digital tie or bond of today's media: NET DOT ART. TRI DOT PHONIC. The digital bond where "Today, music is information" (Achim Szepanski). Janek begins his essay by saying: "It has always been a principle of mine to not copy ideas, but to bounce from them in order to develop new ones instead. Not to xerox, but manipulate in order to produce something new and unique to yourself. As a result one develops one's own ideas which then form a series of personal stories which is much more rewarding an experience." Here we wish not to claim "tri.phonic" as our own-- rather we'd like to sample the term, broaden it, and offer it to others. We're peforming a little bit of MUTATION upon the term. PER.MUTATION. We'd like not to copy or xerox Janek's specific usage but expand it, delight in it, cite it, reference it, jump from it, dive into it, really-- to encompass our common bond: the digital link.ages forming via net.art, phonography (microphones), turntablism, VJing and laptronics ... Thus we re.birth the tri.phonic .. and welcome a digital arts practice that seeks to incorporate, cut, scratch, cross-fade, granulate & otherwise MUTATE the digital & analogue sonic arts that remain "pure" & un-touched to & by each other.. tobias c. van Veen // For
more on Janek Schaefer's Tri-Phonic turntable, please see: |