轉:Why Sampling Law Needs to Change

我對採的態度就是一直幹下去,沒採怎做出聲音啊!!
下面的link還有一些mp3下載.

http://www.downhillbattle.org/3notes/sampling_rights.php

Why Sampling Law Needs to Change

We believe that the court’s decision in this case, and current sampling law in general, severely restricts the ability of sample-based musicians to create their art. In the two decades since the major record labels clamped down on sampling, this art form has been almost completely driven out of mainstream hip-hop. Classic hip-hop albums like “It Takes a Nation of Millions” and “Paul’s Boutque” simply could not be created with the current legal regime. Requiring artists to get authorization does not just put a hurdle in their way, it makes most sample based music impossible to create legally because of overwhelming financial and legal burdens.

Many people, including many musicians, believe that the right of the original artist to control their recording is more important than the right to sample. This view neglects several important points.

First, as a practical matter, the internet makes it completely unrealistic to expect that musicians can limit access or usage of their recordings. With no concern for the law, unlicensed mashups and remixes have exploded on the internet. Control over recordings has become a myth.

Second, to the extent that this issue is on of artists’ rights, it is sample based artists who have had their most fundamental right restricted– the ability to create the music that they are inspired to create. Imagine any artist or musician being told that their art-form was illegal.

And third, musicians like other artists have always built on work that has been done before them. In music, songwriters constantly borrow and build on ideas from other songs–that’s what the history of music is all about. Visual collage art by people like Picasso, Warhol, and Rauschenburg is the most direct analog to sampling and hasn’t faced the same legal shutdown. Sampled-based music is a continuation of this same art tradition but is now illegal for all practical purposes.

Downhill Battle supports a much more open approach to sampling that compensates the musicians who are being sampled while giving sample-based artists the right to do their work. Just as any musician has the right to cover a song for a flat fee without the permission of the songwriter, we support creating a similar “compulsory license” for sampling. A system of this kind would let recording artists continue to earn money from sampling (without the expensive legal middlemen) while resurrecting sampling as a thriving art form. The system could be easily implemented, but is strongly resisted by the major record labels, who are obsessed with retaining complete control over their copyrights.

Why This Project Is Legal
Despite the unfortunate state of US copyright law, there is still Constitutional free speech protection which provides a fair use exemption for parody, commentary, and protest. This project falls squarely within fair use. In many cases, corporations will sue or threaten to sue artists or organizations that exercise their fair-use rights, and the cost of fighting the suit means that most of these legal threats succeed in silencing their target even though they would certainly lose in court.

轉:文邹邹 – 我的版权声明

可以一看,不錯的,原文清楚些,有一些註.

文邹邹

http://www.donews.net/maozixiansheng/archive/2005/03/13/300885.aspx

我的版权声明

  第一部分,简单易读概要。

注:简单易读概要里的内容不是版权声明本身,只是一份简单的参考说明,帮助你理解完整的法律文本(完整的版权声明)。这是一份普通人可以理解的主要条款表达方式。可以认为是一份法律文本的用户友好界面。这里的约定本身并没有法律意义,内容不会出现在真正的许可协议中。

  你可以免费拷贝、分发、呈现和表演当前作品。
  你可以免费制作派生作品
  但是必须基于以下条款:
  首先通知授权者(正式完整的版权声明中有定义,请格外注意阅读)。
  署名。在显著位置,以显著方式显示并表明当前作品的作者名和当前作品的作者名的性质。
  非商业用途。 你不可将当前作品用于商业目的。
  保持一致。 如果你基于当前作品更改、变换或构造新作品,你应当按照与当前协议完全相同的协议分发最终作品。

  对于任何二次使用或分发,你必须让其他人明确当前作品的授权条款。
  在得到作者的明确允许下,这里的某些条款可以放弃。

 
  第二部分,正式完整的版权声明

  当前作品受到中华人民共和国版权法以及中华人民共和国其他适用法律的保护。 任何不依照本版权声明对当前作品的使用都是禁止的。
  一旦对这里提供的当前作品行使权利,就表示你接受并同意遵守本许可的条款。 授权者将考量到你接受这些条款和条件,授予你这里所明示的权利。

  一,定义。
 1.“本声明”指在donews.net注册的“苦咖啡豆”blog的“我的版权声明”网页的正文版面上编写的所有信息。
 2,“文邹邹”指在donews.net注册的“苦咖啡豆”blog的不愿透露其真实姓名的作者的代替名称,也是被在donews.net注册的“苦咖啡豆”blog的不愿透露其 真实姓名的作者指定的署名姓名。
 3. “汇编作品” 是指如期刊、文选、百科全书这样的作品, 它其中的作品处于完全未被修改的形式,和其他一些贡献者一起,它们本身构成分别、独立 的作品,集合在一起成为一个整体。出于本许可的目的,构成汇编作品的作 品本身将不被认为是派生作品(以下将有定义)。
 4. “派生作品” 指基于当前作品,或当前作品与其他已存在作品而形成的作品。例如,翻译、编曲、编剧、编小说、动画版本、录音、艺术品复制、节选、缩写,以及其他可能将当前作品重新铸造、变形、或改编改写后的形式。只是出于本许可的目的,构成汇编作品的作品不被认为是派生作品。
 5. “授权者” 指在donews.net注册的“苦咖啡豆”blog的作者文邹邹。
 6. “原创作者” 指在donews.net注册的“苦咖啡豆”blog的作者文邹邹。
 7. “当前作品” 指在donews.net注册的“苦咖啡豆”blog里的所有可受著作权法保护的原创的信息和内容。
 8. “你” 指以前没有违反过本许可关于当前作品的条款,遵照本声明行使权利的个人、群体或组织。或者,尽管以前违反过本声明规定的条款,但是得 到授权者明确同意可以遵照本声明行使权利的个人、群体或组织。
 9. “通知授权者”指采用授权者指定的联系方式(目前为电子邮件方式。具体电子邮件地址为:[email protected]),把授权者要求提供的真 实的、必要的信息通知、提供给授权者,并得到授权者可出据的回复的行为和全过程。

  二,合理使用权利。
 本声明中的内容不是意在减少、限定、限制由合理使用、首次销售所产生的任何权利,或给予著作权所有者(根据中华人民共和国著作权法或中华人民共和国其它适用法律法规的)的专有权利以其它的限制。

  三,许可授予。
  遵照本声明的条款和条件,授权者据此授予你一个中华人民共和国范围的、免除相关著作权费用的、非专有的、永久的(适用的著作权期限内)许可,行使以下所述有关当前作品的权利:
  1. 复制当前作品,将当前作品纳入一个或多个汇编作品中,复制构成汇编 作品的当前作品;
 2. 建立和复制派生作品;
 3. 对当前作品,包括构成汇编作品的当前作品,分发其拷贝或录音物,公开展示,公开表演,通过数字音频传输公开表演;
 4. 对派生作品,分发其拷贝或录音物,公开展示,公开表演,通过数字音频传输公开播放;

 以上提到的权利可以在任何媒体和形式上执行,包括现在知道的,但不包括今后将设计发明的。 以上权利包括为在其它媒体和形式上行使权利而必须进行的技术性修改的权利。所有未被授权方明确表示授予的权利都据此保留。

  四. 限制。
 以上在第3部分授予的许可,遵循以下限制:
 1. 你在遵照本声明进行分发、公开展示、公开表演、或数字化公开表演当前作品之前,必须通知授权者,否则你将被剥夺本声明授予你的所有权利。
 2. 你只能遵照本许可进行分发、公开展示、公开表演、或数字化公开表演当前作品,而且,在你分发、公开展示、公开表演,或数字化公开表演的每份当前作品的拷贝或录音物中,你必须包含一份本协议的拷贝,或本协议的网址。你不能提供,或强加任何条款于当前作品上,使得改变或限制本许可的条款,或改变或限制接受者行使下文所授予的权利。 你不能对当前作品转发许可。你必须维持所有参照本许可或免责声明的通知完整无损。你不能通过任何技术性的措施,以不符合本许可协议条款的方式来控制当前作品的访问和使用,从而进行分发、公开展示、公开表演,或数字化公开表演当前作品。以上适用于包含在汇编作品中的当前作品,但是这并不要求除了构成的当前作品本身,汇编作品也要遵从本许可的条款。如果你建立一项汇编作品,当接到任何授权者通知要求,你必须根据其要求,依照可实行的程度,将对 此授权者或原创作者的引用从汇编作品中删除。如果你建立一项派生作品,当接到授权者通知要求,你必须根据其要求,依照可实行的程度,将对此授权者或原创作者的引用从派生作品中删除。
 3. 你只能遵照本声明进行分发、公开展示、公开表演、或数字化公开表演派生作品,而且,在你分发、公开展示、公开表演,或数字化公开表演的每份派生作品的拷贝或录音物中,你必须包含一份本声明的拷贝,或本声明的原始的刊登网址。你不能提供,或强加任何条款于派生作品上,使得改变或限制本声明的条款、或改变或限制接受者行使下文所授予的权利。你必须维持所有参照本声明或免责声明的通知完整无损。你不能通过任何技术性的措施,以不符合本声明协议条款的方式来控制派生作品的访问和使用,从而进行分发、公开展示、公开表演,或数字化公开表演当前作品。以上各点适用于包含在汇编作品中的派生作品,但是这并不要求除了派生作品本身,汇编作品也要遵从本许可的条款。
  4. 你不能以任何意在或直接指向商业利益或私有金钱补偿的方式,行使以上第3部分授予你的权利。倘若没有与具有版权的作品交换相关联的金钱补偿方面的支付,通过数字文件共享或其他方式,用当前作品去交换其他具有版权的作品,不应该被认为是意在或直接指向商业利益或私有金钱补偿。
  5. 如果你分发、公开展示、公开表演、或数字化公开表演当前作品或任何派生作品和汇编作品,你必须维持所有关于当前作品的版权通知完整无缺,并通过传达原创作者的名字(或笔名,如果适用)(如果提供了名字),当前作品标题(如果提供了标题),在你使用的媒介或手段中,合理地归功于原创作者。如果是派生作品,要标明派生作品中使用的当前作品(例如,“原创作者的当前作品的法语译本”,或“基于原创作者的原创作品的电影剧本”)。这样的归功可能以任何合理的方式实现,但是,倘若对于派生作品或汇编作品,这样的归功至少要出现在其他可相比较的原作者出处出现的地方,并且其方式至少要和这样的归功其他可相比较的原作者一样显著。

  五. 陈述、保证和免责声明。
  1. 通过提供遵照本声明的当前作品以公开发布,授权者陈述并保证,授权者经过合理的调查研究后,尽其所能做到:

i. 授权者已经获得所有足够的权利,能够依此授予许可,你不需要对支付任何提成费、强制的许可费、残留费用及其他付款负任何责任,允许对依此授予的权利进行合法的运用;
ii. 当前作品不侵犯版权、商标、公共权利、共有法律权利,以及其他任何第三方的权利,不对任何第三方破坏名誉,侵犯隐私或造成其他非法损伤。

 2. 除非在本许可中明确声明,或另外以书面形式同意,或适用法律所要求,当前作品基于“当作是”的前提注册许可,对于当前作品的内容或准确性,没有任何的保证,无论是明确声明或其中暗示,也没有限制。

  六. 豁免条款。
  除非适用法律要求,除非是由于违反第5部分中的保证造成、责任在第三方的损失,在法律理论上,授权者在任何情况下,都不对你就由于本声明或当前作品的使用产生的任何特殊、偶然、衍生、惩罚性的或处罚等损失负责,即使授权者已经被通知存在这些破坏的可能性。

  七. 终止。
  1. 本声明及依此授予的权利将在你违反本许可任何条款时自动终止。 但是,根据本许可,从你处收到派生作品或汇编作品的个人和实体,只要他们仍然完全遵守他们的许可,他们的许可不会终止。第1、2、5、6、7、8部分将继续有效。
  2. 在符合以上的条款和条件的前提下,在这里授予的许可是永久的(在作品适用版权的期间内)。尽管有以上各点,授权者保留权利,在不同声明条款之下发布当前作品,或者在任何时候终止分发当前作品;但是,任何这样的选择并不被用作撤销本声明(或任何其它已经在本声明条款下授予的,或必须授予的许可),除非如以上一条所述终止,声明可将继续完全具有效力。

  八. 其它。
  1. 你每一次分发、或数字化公开表演当前作品或汇编作品时,授权者给接收者提供一份当前作品的许可,其条款和条件与根据本声明授予你的相同。
 2. 你每一次分发、或数字化公开表演派生作品时,授权者给接收者提供一份原始当前作品的许可, 其条款和条件与根据本声明授予你的相同。
 3. 如果据适用法律,本许可的任何规定无效或不可强行实施,它将不会影响本许可其余条款的有效性和可强行实施性。这样的无效规定应该以最小的程度改变,以使其成为有效和可强行实施的。
 4. 本声明的任何条款或规定都不被认为放弃,而且不能被违反,除非得到由负责这样的弃权或同意的一方签名的书面弃权证书或书面同意。
 5. 本声明包含了与在此注册许可的当前作品相关各方的所有协议。 在这里不遗漏任何与当前作品相关的谅解备忘、协议或陈述。 授权者将不对你发出的任何交流中出现的任何附加规定负有义务。 本声明不经过授权者和你双方之间的书面协议,不得更改。

  九,本声明所有内容以授权者最终理解和解释为准。

附:本声明参考由CreativeCommons.org发起Creative Commons (创作共用)公共许可的相关条款修改、编写而成。

Rio live in RE Karkow

FESTIVAL MULTIPLACE // 里約 Live @ 波蘭

里約(rio)受邀表演 @ 波蘭實驗電子活動 AUDIO TONG EVENT
活動資訊如下>>

日期: 四月七日 二零零五
時間: 八點半
地點: klub RE Krakow Poland (波蘭)

AUDIO_TONG EVENT : 實驗電子音樂
Artist:
Rio (台灣) + Tr 21 , Anthill (波蘭)

//

date : 7th april 2005.
time : 20:30
place : klub RE Krakow Poland

AUDIO_TONG EVENT : experimental electronic music
– Rio (Taiwan) + local artists : Tr 21 , Anthill

This event is part of FESTIVAL MULTIPLACE : http://www.multiplace.sk
organizator : TongAgenda with cooperation of Muzka Centrum

about me

dickson dee = pnf = li chin sung = djdee =monkey

Dickson Dee (aka Li Chin Sung, Dj Dee, PNF) is a Hong Kong experimental music artist and turntablist with a wide range of creative styles such as industrial noise, experimental electronic, avantgarde, cut n’paste, new classical etc. His debut solo album “PAST” was released under Tzadik label (USA), which is a collection of his works from 1992 to 1996. He has a great deal of experiences playing live shows mostly in China,Europe and Japan for the past years. Artists he performs with including Thomas Fehlmann, Zbigniew Karkowski, Otomo Yoshihide, Sainkho Namtchylak, Maja Ratkje,Sachiko M,Werner Dafeldecker, Patrick Pulsinger,Cdrk, Zhang Chu,Wang Fan,Tujiko Noriko, Tetsuo Furadate,Yoshida Tatsuya, Keiji Haino,Adichi Tomomi, Astro, etc. In addition, He is a producer participating in the album production of artists from different countries such as Otomo Yoshihide, Zbigniew Karkowski, Ruins, Haino Keiji, Yoshida Tatsuya etc. Last but not the least, he is also a concert organizer bringing artists to perform in China.

Discography

Li Chin Sung
1996 PastTzadik
2004 San Yuan Li Soundtrack – Dicksonia Audio
2005 The revenge of Ying and Yang with Zbigniew Karkowski – Noise Asia

DJ Dee
2003 Sunday – Dicksonia Audio

PNF
1995 PNF-I – Dicksonia Audio
1997 PNF-2 – Dicksonia Audio
2005 PNF+TN -Shasha Records

Compilation
1992 Malimalihung – Sound Factory
1995 Ommanipadmehum – Sound Factory
1995 Tribute to Derek Jarman – Blue – Somnus
1997 Soundtracks for bride of sevenless -Auscultare
1997 Ground Zero – Conflagration remix – Sank-ohso / Creativeman
1999 Turntable Solos -Amoebic
2003 Landscape -Landscape Music
2003 Silent agreement – Silentagreement
2005 The sound of silence project -Reconfiguration Records

Performance

EUROPE (under the name “Li Chin Sung”)
2002 November – “urban + aboriginal xv : china” at podewil, Berlin
2004 January – “generator – singing dragons” at Vienna Concert Hall
2004 June – ausland, Berlin
2004 June – Poland 5 city Tour – Krakow, Warsaw, Lublin, Boznan, Gdansk

CHINA and ASIA Tour

PNF
1992 March -Hong Kong (with I666)
1992 July -Hong Kong (with Otomo Yoshihide)
1995 September -Taipei( underground music festival )
2004 October -Shanghai (with TN,Wang Fan)

Li Chin Sung
1997 October -Guangzhou solo concert with guest Wang Lei, Moz
1998 October -Guangzhou, Beijing (with Otomo Yoshihide + Sachiko M)
2002 October -Guangzhou, Macau (Li Chin Sung Mongolian Trio )
2002 July -Shanghai, Guangzhou (with Sachiko M)
2004 August -Beijing@Count Yard Gallery (solo, play San Yuan Li film music)
2004 October -Shanghai@Duolun Art, Shenzhen@BsaeBar (with Sainkho Namtchylak)
2005 May -Guangzhou@GDMC (with Cdrk, Guangzhou Modern Dance)
2005June -Guangzhou@GDMC (with Guangdong Modern Dance Company,Izumi Nikaido,Michael)
2005 June -Guangzhou@GDMC ( with Lawrence English,GZ Modern Dance)
2005 July -Beijing@Beijing Workers’s Stadium (with Zhang Chu)
2005July -Guangzhou@GDMC (with Zbigniew Karkowski, Modern Dance Company)
2005 July -Guangzhou@Park19 (with Zbignbiew Karkowski, Justin, Zhang Chu)
2005 Aug – Korea Folk and Modern Festival
2005 Aug -Macau@OX-House (with Tujiko Noriko, summer sweat music show)
2005 Dec -Japan@Musashino Art University( with Zbigniew Karkowski- lecture & concert)
2005 Dec -Japan@Yokohama Stomy Monday (with Tatsya Yoshida,Astro,Tetsuo Furudate,Tomoi Adachi,Zbigniew Karkwoski)
2005 Dec -Japan@Tokyo Forth Floor (with Zbigniew Karkowski,Tetsuo Furudate,Tomoi Adadchi)
2005 Dec -China@Guilin Park ( Guilin Rock Festival)
2006 Feb-Mar -China tour with Zbigniew Karkowski @HK,Chengdu, Shenzhen, Shanghai, Beijing 7 concert 5 workshop from 9thFeb – 9thMarch
2006 Aug -China tour with Lawrence English (taiwan, hong kong, shenzhen, foshan, shanghai)

DJ Dee
2003 August -Taiwan tour (4 concerts with trumpet + dulcimer)
2003 September -Xian China @“八又二分之一”bar
2003 October -Taiwan (Weather In My Brain Festival)
2003 November -Guangzhou, Shanghai, Macau (with Zbigniew Karkowski)
2004 February -Wuhan, Guangzhou (with Thomas Fehlmann)
2004 May -Hong Kong solo in Mackie bookstore
2004 October -Taiwan (Weather In My Brain Festival, Otomo, Haino,Zbigniew)
2004 October – Shanghai
2004 November -Shanghai, Shenzhen (with Patrick Pulsinger + Werner Dafeldecker)
2005 March -Mutek Shenzhen@OCAT (with deadbeat,Egg,Crackhaus…)
2005 March -Guangzhou@GDMC (with Maja, Guangzhou Modern Dance)
2005 May -Shenzhen@BaseBar (with Cdrk, Zenlu)
2005 August -Guangzhou@Park19(with Zenial,Electronicat,Matthias)
2006 March -Shenzhen@Basebar (with Jazzkammer, Cheewai)
2006 March -Guanhzhou@Tang Club (with Jazzkammer,Cheewai)
2006 May -Shenzhen@Chilango Bookstore (with Zenlu,Marqido,Itta,Abai,HuangJian,..)

Dickson Dee

2004 Jul – Poetry Summer- live music for poetry@Hong Kong Convention and Exhibition Centre

2005 Sep – Asian Meeting Festaival@Shinjuku PIT INN (with Hong Chulki, Choi Joonyong, Ryu Hankil, Jin Sangtae, Jo Foster, Yukie Sato,I.S.O./ONJO special version with Yoshimitsu Ichiraku, Sachiko M, Masahiko Okura, Kenta Tsugami,Taisei Aoki, Hiroaki Mizutani, Kumiko Takara,Yasuhiro Yoshigaki, Taku Hannoda, Atsuhiro Ito, and Toshimaru Nakamura..)

2005 Sept – Yokohama 2005 International Triennale of Contemporary Art opening party( Dee solo with San Yuen Li film, with Reiko A {dance}, Inryo Fuen, Nakano Kei {visual})

2005 Dec -Kitakyushu sound wrokshop@CCA(with Keiji Haino)

2005 Dec -Yokohama 2005 International Triennale of Contemporary Art ending party( Dee solo + trio set with Makigami Koichi,Kang Taehwan)

2006 Feb -Indonesia@Bandung-Rumah Musik harry Roesli( guest Biosampler from Bandung)
-Singapore@Table 108 (guest Nawaz Mirajkar-tabla)

2006 June -Bangkok@About Cafe (with Tatsuya Yoshida,Man Under Zero Effort, Assajan Jakgawan)
-Sinagpore@Singapore Art Museum(with Tatsuya Yoshihida,Yuen Chee Wai,Koichi Shimizu,Zai Kuning,Tim O’Dwyer)

2006 June -Guangzhou@Windflowers(with Taku,Jean-Luc,Mattin,Danzler)
-Shanghai@Yuyingtang(with Taku,Jean-Luc,Mattin,Danzler)
2006 September -Korea yensan festival (with Nelson Hiu, Park Je-Chun,…)
2006 September -Polish sound Artists china tour-Guangzhou,Foshan,Shnaghai, Beijing(with Miho Iwata, Olga Szwajgier, Marek Choloniewski, Tomasz Choloniewski, Wlodzimierz Kiniorski, Krzysztof Knittel, Wojtek Kosma, Miłosz Luczynski, Darek Makaruk, Rafal Mazur, Kazimierz Pyzik, Lukasz Szalankiewicz)

Project

Wu Wei + Li Chin Sung Duo

The duo is formed by Wu Wei, a Chinese musician residing in Germany, and Li Chin Sung, an experimental music artist in Hong Kong. The duo intents on adopting the thoughts of oriental traditional music and the techniques of western contemporary music; thus bringing out the chemistry of the two combination. In the duo, Wu plays sheng, lu sheng, er-hu, Mongolian matouqin, also performs voice and throat singings. On the other hand, Li makes use of the laptop to make immediate sampling from the elements gathered from Wu’s performances and sounds, then shift it for loop-play; furthermore, Li manipulates the turntable and computer creating experimental electronic sound to enrich the sound tones. The two met in The Vienna Music Festival and was deeply-impressed by each other’s distinguishing music features, thus came up with the duo project. At present, the two conceives of creating an album which integrates the oriental traditional instruments, western pioneer improvisation, and micro experimental electronic sound.

Wu Wei, a Chinese musician residing in Germany, was born in 1970 in Jiang Su province. He started to learn er-hu when he was five. In fifteen, he took a course to learn sheng performance in Nanjing Arts Institute. From 89 to 93, he was studying for his doctor degree of sheng in Shanghai Conservatory of Music. He earned his reputation locally and internationally by performing this ancient Chinese instrument. In 1993, he joined the world famous Shanghai Chinese Music Symphony Orchestra. His performances were included in numerous albums. With his tours around China, Japan and Europe, his music was known to many people. The tour experiences opened his ears and broadened his knowledge in learning about a bigger world aside from the Chinese traditional music. His cooperation projects with several European musicians in Shanghai prompted his deep interest in jazz and contemporary new music. In 1995, he entered Hans Eisler Higher Music School in Berlin. With the sponsorship of the artist scholarship, he broadened his music vision by learning the western traditional jazz and working with artists from different regions and with different music styles.?During the years in Berlin, he obtained several artist scholarships and had been awarded Musica Vitale ?????????????Musica Vitale??

Over the years of his music career, Wu has cooperated and performed with numerous renowned Chinese musicians and folk singers including Wu Man, Xu Feng Xia, Wu Ren Na etc. He also participated in many international symphony orchestras, playing sheng and other Chinese traditional instruments. In addition, he attended a great deal of music festivals around the world. In the process, he made a lot of efforts to develop new sound language for the Chinese traditional instruments and opened a new direction. From 1998 to 2003, he had performed over thirty compositions of contemporary composers such as John Cage, Enjott Schneider, Helmut Zapf etc. Using the Chinese traditional music as the fountain, Wu adopted the new techniques of jazz and contemporary music to experiment on the Chinese instruments that has 3000 years of history, intending to discover the possible sounds hidden among them. He found a new entrance for the Chinese traditional instruments in the global environment of contemporary music. His duo with Hong Kong experimental music artist, Li Chin Sung, is a new approach to experimental electronic music and pioneer cut n’ paste technique.
Dickson Dee (aka Li Chin Sung, DJ Dee, PNF), an experimental music artist and producer in Hong Kong, was born in January 1969 in Putian, Fujian Province and immigrated to Hong Kong at his early childhood. He has a wide range of creative styles including industrial noise, experimental electronic, avant garde, cut ‘n’ paste etc.

Dickson started his music production in early 90s. In 1992, he released his debut album under his alias PNF. In 1996, he released his first solo album “PAST” under the name Li Chin Sung in Tzadik (USA), a label set up by John Zorn, the renowned American pioneer musician. The album was a collection of his works from 1992 to 1996. It was then rated by , the popular experimental music magazine in UK, as the fifth album of the 20 most significant album chart in 1996.

Between 1998 and 1999, Dickson was invited to participate in the music production of Chinese big opera “Oomolangma song & dance opera”. He went to Tibet several times for sampling. With the support of the local government, he successfully obtained a great deal of primitive sound materials of Tibetan and Lamaism music. In 2000, he was invited to Ulan Bator, the capital of Mongolia, to have cultural exchange with The National Traditional Folk Music Dance Troupe and Mongolia Arts Center. Thus inspired the formation of Li Chin Sung Trio. The music features of Tibet and Mongolia led Dickson into the realm of world music and became one of his important developing directions.

Dickson is also a producer participating in the album production of rock and roll/ experimental music artists from China, Taiwan, Hong Kong, Japan, US and Europe. Among them are Otomo Yoshihide, Sachiko M, Ruins, Haino Keiji, AMK, Tats Lau, NO, Dili, Jon Rose, Peril etc. Furthermore, he is conducting a music research on Tibetan music with Tibetan music scholar, ????, hoping to make a documentation on the original features of Tibet with the help of music, writing, photograph, and video.

Dickson’s latest album, “San Yuan Li”, is a soundtrack to the documentary film which is the first soundtrack album to be released under his alias Li Chin Sung. His duo project with Wu Wei is a new challenge of combining experimental electronic music with Chinese traditional instruments.

Li Chin Sung Mongolian Trio

Inspired by the first Tibet collaboration, Dickson was again invited to Mongolia in 2001 to work with the local artists under the same condition. The trip was highly regarded by the Mongolian government. Besides obtaining a large number of Mongolian music sound materials, he also went farther into the Mongolian countryside twice to gather folk music materials. In addition, he also collaborated with The National Traditional Folk Music Dance Troupe of Mongolia. In the 2 months of working together, Dickson
gradually attained a mutual understanding with Mongolian renowned artists including the prima morinhuur of the Troupe, M.Burged Baatar, and the prima throat singer also the head of The Mongolian Throat Song Union, Zulsar Z. They developed a new idea of combining improvisation,electronic music and turntable cut ‘n’ paste technique with morinhuur and throat singing.

In November 2001, Dickson returned to Hong Kong and started to arrange the music materials he collected from Mongolia. He hoped to produce new music by adopting improvisation technique in blending the sampling from the Mongolian Traditional Folk Music with experimental/electronic music. Part of the work has been completed now, and would be released under the name Li Chin Sung. Furthermore, he remains in good contact with the two Mongolian artists, and formed Li Chin Sung Trio with Zulsar Z & M.Burged Baatar, hoping to adopt LIVE performance style in completing the new approach of mixing Mongolian folk music experimental/electronic music. In between August and September of 2002, Dickson revisited Mongolia. In October, Li Chin Sung Trio toured around Mainland China, Taiwan, and Macau.


sfcd001 pnf – east west (compilation CD “what sound vol:1 from Soudn Factory 1992)


tz 7014 li chin sung – past (tzadik 1996)


pnf-1 cover ( dicksonia audio 1995)


sm001 pnf – D the bule ( compilation CD ” Eternal Blue Extreme: An Asian Tribute to Derek Jarman” from Somnus 1994)


cmdd-00047 dickson dee – Conflagration (compilation CD -Sank-Ohso Discs/Creativeman Disc 1997)


amo-va-01 pnf – nothing ( compilation CD “turntable solos” -Amoebic 1999)


sfcd007 pnf – grandfather ( compilation CD “what’s sound vol:2” from Sound Factory 1994)


asu012 pnf -my favorite scratch (compilation CD “a survey of asian sound activity:97-98”)


rc01 djdee – swimming (compilation CD “sound of silent project” from Reconfiguration Records 2004)


2CD / 2003 / LDS/SHS-001 pnf – wugie dancing – V.A landscape


dsm 0.2 djdee – sunday (dicksonia audio 2003)


dsm 0.2 li chin sung – san yuan li ( dicksonia audio 2005)


tong3001 ZENDEE– Live in Lublin-03


cd-003 pnf+torturing nurse – splittail (shasha records 2005)


2CD / 2005 / SHS-005 djdee – friday – V.A landscape 2


zbigniew karkowski + li chin sung -Revenge of the Yin and Yang (noise asia+dicksonia audio 2005)


dsm 0.6 li chin sung – turntable solo (dicksonia audio coming soon )


dsm 0.3 dickson dee – reconstruction/ otomo yoshihide (dicksonia audio coming soon )


dsm 0.4 dickson dee – reconstruction / zbigniew karkowski (dicksonia audio coming soon )


dsm 0.5 dickson dee – reconstruction / chinese artists (dicksonia audio coming soon )


kwanyin16cd zbigniew karkowski,li chin sung, wang fan, fannullone / live at waterland kwanyin (Kwanyin)


naimcd 39 lawrence english & li chin sung – (noise asia)

(update 28 Sept 06)

new music club " STONE"

March 13, 2005
DIRECTIONS | IN THE CLUBS
Artist Friendly
By BEN SISARIO

The economics of running a nightclub in Manhattan can be brutal. Besides rent and insurance, there are utilities, those 1 a.m. calls to the plumber and, oh yes, all those musicians to pay. Two long-running downtown clubs, Luna Lounge and Fez, are closing this month, and others are struggling.

So the financial plan of the Stone, a new club that plans to open in April at Avenue C and Second Street in the East Village, seems to defy logic: 100 percent of the money from the door will go to the musicians and no alcohol, food or anything else will be sold inside, says John Zorn, the avant-garde composer who is the club’s artistic director. The most musician-friendly clubs in the city generally give no more than 75 percent of the door and rely heavily on alcohol sales. How will the Stone make it work? With a little help from Mr. Zorn and his friends.

The club’s operating budget is to be raised through sales of limited-edition CD’s, which will be produced at minimal expense. Recording time will be donated by the bassist Bill Laswell at his studio in New Jersey, and manufacturing will be handled free by Mr. Zorn’s record label, Tzadik, and his chief contractor, A to Z Music Services. The CD’s will be sold online, at cost, by the Downtown Music Gallery, a longtime booster. The club itself, in a former Chinese restaurant, is being rented from a filmmaker friend. The first CD will probably feature Mr. Zorn, the vocalist Mike Patton and Mr. Laswell, Mr. Zorn said.

“We can sell 4,000 copies at $20 and run the place on $80,000 a year,” he said. That would cover the rent, insurance and utilities, as well as a fee for Daniel Goldaracena, who will run the club’s day-to-day operations. Bookings will be done by musicians in rotating monthlong curatorships; the first, for April, is the saxophonist Ned Rothenberg. “This is about a community coming together,” Mr. Zorn said. “The downtown scene is so diverse that it eludes classification, but it functions as a community, with people helping each other.”

Zbigniew 的兩張新CD

咋天收到的,一張是Sub Rosa 出版的專集叫”one and many” sr214,另一張在 Auscultare Research出版,和Antimatter一起創作的”KHZ”,這兩張都比較不噪,特別是”KHZ”還很ambient electronica.