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Postcards from the site-specific installation LET THE WATER PLAY by Kurt Kolev, on exhibit in the bathroom of KO-OP in Sofia, Bulgaria.

Design: Yana Abrasheva / @sheitan666_
Printed at @slopi.kopi

Inspired by Laurel Schwulst's Sparrows talking about the future of the web.

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The property metaphor used to illustrate an artist's rights is difficult to pursue through publication and mass dissemination. The hit parade promenades the aural floats of pop on public display, and as curious tourists should we not be able to take our own snapshots through the crowd ("tiny reproductions of the Taj Mahal") rather than be restricted to the official souvenir postcards and programmes?
John Oswald - Plunderphonics, or Audio …
The one thing which is difficult in terms of that way of releasing is answering the question ‘how’s it going?’. I leave music online and if people find it they seem to be happier to have done it themselves than to have been told to listen to it, and so it’s very hard to say how it’s going, as I don’t expect anything from it. There is no end-game. So, it’s going. It’s still unclear to me whether there is a way to make money from music which doesn’t require a huge company (formally record labels, now streaming services) making even more money out of you.
Interview with Infinite Bisous
No streaming platform can accurately predict taste; humans are too dynamic to be predicted consistently. Instead, Spotify builds models of users and makes predictions by recommending music that matches the models. Stuck in these feedback loops, musical styles start to converge as songs are recommended according to a pre-determined vocabulary of Echo Nest descriptors. Eventually, listeners may start to resemble the models streaming platforms have created. Over time, some may grow intolerant of anything other than an echo.
Grafton Tanner - Yesterday Once More
Silence is dry; sound is wet. Volume is the mass of sound. In silence you can hear people think, but only when their bodies stop making noises. But who cares what people think? The noises their bodies make are more interesting anyway. Listen to your body. Talk to plants. Ignore people.
Philip Brophy - Salt, Saliva, Sperm and…
Things with a past are not simple. Particularly at a time when we are witnesses and participants in a general trend of turning away from stable, ‘hard’ history in favour of changeable and ‘soft’ memory (ethnic, social, group, class, race, gender, personal and alien)… Who would accept the articulation of a vanished cultural everyday life (jokes, objects, television series, newspapers, pop-music, language, humour, those warmest commonplaces of collective memory) and invest in it the effort required to ‘musealize’ it, even partially, when real museums and old libraries are being transformed by the demented Balkan gravediggers into dust and ash?
Dubravka Ugresić - The Confiscation of …
Youtube has no music anymore. people think they listen to “rare” music when the hardest physical move they did to listen to that “rare” sound was to type something on a computer. have you ever spent thousands of cash to change a country, visit a random village you’ve never visited before. sleep in old people’s houses without speaking their language, in order to listen something that no one ever heard? in order to experience something that you can’t experience by typing computer keys? i am talking about real music. it needs time, effort and resources if you are really passionate to really find a rare and unique sound for your eardrums to enjoy. you people are just ok listening to free digital food the internet provides you with. sometimes it labels the food as “Rare” but the only thing you had to do is the same you do to listen to not “rare” music. they are messing with you because you let them know you are weak and your organic processor levels are low. i am glad you experience what you do, because humans do not deserve to know anything better than what they have. enjoy and thank you.
Unknown YouTube comment left under Wate…
Record labels from the former Yugoslav nations all have their archives available digitally, even the labels that are no longer active, so why don't Bulgarian ones do? I learned from my other Bulgarian friends that this is either because: 1) Labels destroyed or lost their masters 2) Many labels simply do not care 3) Copyright (which to me doesn't make since since a lot of turbofolk songs are plagiarized too and they're still available to buy on iTunes) 4) Rumors about someone stealing the masters And I found this to be so sad, and even if you reach out to the artist themselves, many of them don't even have the masters to their own content, and this doesn't stop with chalga, lots of estrada and retro pop music are like this too…
Interview with Lost Chalga
Embedded in collective memory are unique instances of the personal No commercial work is outside of the reach of artistic reclamation Likewise no artistic project is outside the reach of commercial implications
Daniel Lopatin - Memory Vague Liner Not…
we own our own culture. we are not content to live in the walled gardens of spotify and netflix. we seek out lesser-known artists. we actually download music and videos. we share them with friends. we remix. we do whatever we want with our files.
Max Bradbury - the low tech manifesto