The+Subliminal+Kid+vs.+Philip+K.+Dick;+or+the+mothership+connection

By sampling, of course, I am referencing the heterogeneous chains of sound and/or image that have composed hip-hop and new music performances for nearly a quarter century. Sampling—the grafting of one sequence of sound or image onto another—relies in its conceptualization and its practices on an understanding of sound and image as information, information whose major effect is found its ability to be networked, connected up to new contexts and moments... As the liner copy suggests, the emergence of sampling as a technique is conjoined with the continual possibility of being sampled. Not merely a manipulative technique of an informatic medium, it describes an ontological condition—the continual and structural possibility of sampling, of one chunk of information being copied and networked with another site, “street sound and talk and music… poured…into his recorder array.” Indeed, this ontological exposure is registered primarily in the capacities for transformation complicit with being-sampled. New surface areas of embodiment and deterritorialization are constantly exfoliating as technologies of informatic sampling blur the very landscape of “human” consciousness, rendering practices of autonomy, privacy, and propriety into entropic, conceptual formations good only at propagating themselves. (Doyle, 2003: 194,5)