Tag: Tribetable Method

  • dj mantis

    dj mantis

    Lyrics by Fly

    Give me a D.J!
    Give me an M
    Give me an A
    Give me an N
    Give me an T
    Give me an I
    Give me an S

    MANTIS! Yeah....

    It's the return of the Mantis,
    From out of your dreams,
    Scratching and cutting up the beats, so it seems...
    This is no D.M.T. trip, (oh no)
    This is deep scratch and fly lyrics straight off the lip. (trippa trip trip trippa trip trick-nology.
    Flip it Mantis...
    Pray. Who's ready to eat?
  • BETWEEN THE GROOVE

    BETWEEN THE GROOVE

    ON THE CUTS…

    Amsterdam, 2012. DJ-poet Plush, reeling from attacks that shattered his career, forms TRB with Max and Percy. Inspired by Robert Anton Wilson, they fuse turntablism, magick, and literature into the chaotic TribeTable Method, accidentally plugging into Wilson’s unfinished “Tale of the Tribe” and a brewing historical conspiracy centered on the 1936 Berlin Olympics.

    As they juggle invoked entities (“The Sixty”), time-traveling tardigrades, and messages channeled through experimental beats, they attract the attention of a ruthless cabal manipulating reality through AI, populism, and bizarre rituals involving peanut butter. From Amsterdam coffeeshops and secret bases beneath the Malvern Hills to the decks of a reality-bending DJ battle, TRB must decode the “Hologrammic Prose” of the universe, hijack the narrative, and fight the “Prick Populist” threat before the singularity hits endgame.Deep Scratch is Vanta Black science fiction comedy.

    It’s Burroughs cut-ups slammed into Pynchon paranoia, fueled by hip-hop aesthetics and occult theory. Expect prophetic visions, weaponized memes, sentient technology, talking books, exploding jellyfish, and the desperate search for the perfect beat in a deep fake universe. The tables are turning. Which side are you on, are you on, hello, check check…?

    What?

    BTG


  • flai mix chapter five

    flai mix chapter five

    FLAI DEEP SCRATCH MIX – CHAPTER FIVE

    01. TRIBAL NARRATIVE

    02. LOWLIFE

    03. LARGE LANGUAGE TRIBE

    04. FOOTOOR BEAT

    05. TALES TUNES

    06. JAM BUTTY

    07. SOCIAL NETWORK

    08. LYE TO STOUR (TAKE IT TO THE BRIDGE)

    09. DATA DUST FUNK

    10. WHITE HOT STICKY

    11. SCRATCH AND SNIFF

    12. THEOPHANY

    13. TENOR RISING

    14. DAWN STOMP FLUTE

    15. SEEDLING DURBA

    16. TALE OF ILL

    17. RAP VENOM POLTERGEIST

    18. ADVENTURES

    19. A.I. IN THE PYRAMID

    20. TURNTABLE WEB

    21. EGON MUSH

    22. BIG BANNED ROBOT

  • dj flai mix of original deep scratch music

    dj flai mix of original deep scratch music

    After nearly two decades under development, Deep Scratch is here/over there. The interplay of audio and text and image as I first envisioned it in the early 2000s. The audio side of this equation has been lacking due to various reasons, including limited access to instruments, equipment and recording facilities. New generative a.i., tools (Udio) have allowed me to produce music to precisely fit the narrative I have constructed in the novel Deep Scratch. A collaborative, self-replicating magical code that generates audio from text. This year, Udio made science fiction into fact.

    After constructing over 160 separate pieces of music, I mixed the Deep Scratch tunes together into 4 separate mixes, or audio chapters. Over 3 hours of original music that only exists here, a kind of science “sonic” fiction. Cuts selected from the Deep Scratch Universe, that reflect the sounds, styles and arrangements of classic DJ mixtapes and beat tapes from the mid to late 1990’s, and early naughties.

    (A third book in the Deep Scratch Universe will be released sometime during late summer 2024, further contextualizing and organizing the multimedia multiverses.)

    Thanks to everybody at my patreon page, who has stuck with me over the last 6-7 years as I’ve been going on and on about this Deep Scratch Universe, without truly launching any Deep Scratch Audio. Now, the soundtrack to the novel is established via a new series of DJ mixes (all add free).

    flai mix chapter one
    FLAI MIX CHAPTER TWO
    FLAI MIX CHAPTER THREE
    FLAI MIX CHAPTER FOUR

    The fourth chapter features raps, of which I’m conscious sound nothing like my own voice, and/or rap cadence or delivery. These are my own words, taken from my book of collected poems (to be published) spanning 2004 – 2024. As a fan of hip hop, rap and hip hop DJ styles and productions, mixtapes and live eclectic DJ sets, I’d like to give a shout out to all the artists, MCs and producers, that some of these tracks sound like (to my ear). That’s besides the thousands of artists and musicians who came before, those who innovated, originated and recorded the music: blues, jazz, soul, funk, gospel, rock and roll, folk, bluegrass, film music, classical music, vocal harmony music, world music, from the 20s through to the 2020s. All the music within the data sets or set (?) that the generative AI has been trained on. 

    Support your local independent musicians and music venues whenever possible. Respect your artistic ancestors and their struggles and sacrifices made to bring original art into the world. Try to keep in mind that generative A.I. does not sample the music in the conventional sense of that concept, although the process is a kind of sampling, these sounds are made from granulated probability functions, if I understand the process correctly. I hope the turntablist, scratch and juggle and cut-up approach of the eclectic DJ adds a new context to the use of generative AI, a part of the evolution of the art of the DJ and their place in between producer artist and audience. Perhaps better defined as curator, or boss of their own label or catalog of recordings, to be mixed and remixed, blended or released as an album or single. Also consider that all my music using collaborative AI did not use any artist names. Any likeness to artists living or dead is purely probabilistic coincidance.      
     
    In no particular order, thanks to: Sample Hooligans: Coldcut and the original 90s Ninja Tune artists, DJs and turntable journeymen. To Mo-Wax records, and the Psychonauts, and their DJ sets and productions. To the Bristol massive, purple penguin records, Massive Attack Soundsystem, Portishead, DJ Andy Smith (the only turntable artist included in a successful UK band), Melankolic records, Cup Of Tea records, and all that dub infused instrumental jazz tinged hip hop, Grand Central records in Manchester, Dorado records and artists, Warp records and artists, Aphex Twin, Square Pusher, Big Dada records, Acid Jazz records, Jazzman records, BBE records, 4th And Broadway Records, Two Lone Swordsmen, Sabres Of Paradise, Black Dog, Future Sounds Of London, DJ Krush music, DJ Shadow music, Invisible Scratch Pickle mix tapes, The Beat Junkies, Lauryn Hill, The X-ecutioners, Ohm records, Amoeba Record shop, Soulsides Crew, The Pharcyde, 3rd Eye Foundation, Hieroglyphics Crew, Del The Funky Homosapien, MF Doom, Wu Tang, De La Soul, Tribe Called Quest, Bill Laswell Productions, Spectre, Lord Finesse, Rakim, Pharoah Monch, LEX records, Kool Keith, Public Enemy, Mr. Liff, Future Primitive Sound, DJ Z-Trip, The Nomadic Massive, We Funk, Funkmaster Flex MixTapes, The Roots Crew, Black Thought, El-P, Company Flow, Saul Williams, New Flesh, Juice Aleem, Rodney P, Scratch Pervert DJs, Jazz Fudge Records, DJ Vadim, Part 2, Invisible Spies, Channel One, Lee Scratch Perry, Ultimate Dilemma, Bentley Rhythm Ace, Roots Manuva, Courtney Pine, Talkin’ Jazz, Charlie Dark, UNKLE, Steve Task and Bear, Stump Juice Wolverhampton, The Steering Wheel Birmingham, Fabric, Cargo, Luke Vibert, DJ Food, DJ Spooky, J Swinscoe, Rockers Hi-Fi, Different Drummer records, Tempest Records, The Plastic Factory records, Swordfish Records, Eddie Otchere, Source Distribution, J Saul Kane, DJ Moneyshot, DJ Yoda, The Jazz Stage Glastonbury, DJ Cheb I Sabbah, Funki Porcini. And those I missed out.      

    For nearly 3 decades I’ve supported all of the above artists by way of buying their records, tickets to shows and speaking highly of them, turning on other DJs and audiences to their music. This does not necessarily give me any more of a license to use generative a.i., with a clear conscience, but…I’ve paid dues and can trace my evolution toward this moment via my 2 decade Deep Scratch experiment.

    The next step in the on-going process is to plan for some traditional analogue music recording sessions with musicians and vocalists and videographers, to take back control from the generative AI, bringing it back to the human community of creative beings. Easier said than done, and requiring resources and planning and work. This process hammers home the point that AI can be used to bring human beings together, not divide.

     —Steve Fly
    Amsterdam.

    https://deepscratch.net
    https://www.patreon.com/stevefly

  • scratch lawnmower

    scratch lawnmower


    More sonic experiments on a phonetic scratch tip, inspired by konnakol and beatbox and scratching. Catch up, check out the origins story of this technology: HERE “Deep Scratch Remix”

    deep da BEEp BEEP deep pa' deep scratch (shh, sh)
    
    deep dip it ta, da BEEp BEEP deep pa' deep scratch (shh, sh)

    deep da BEEp BEEP deep pa’ deep scratch (shh, sh) deep dip it ta, da BEEp BEEP deep pa’ deep scratch (shh, sh)

    deep da BEEp BEEP deep pa’ deep scratch (shh, sh) deep dip it ta, da BEEp BEEP deep pa’ deep scratch (shh, sh)

    Scrrrraaaattttcccchhhhhh, drop it

    [verse] Mouth scratchin, sucking beats down the hatchin’ Bwoy-yip, oi-ip, wuha haahe wuha haha phipha fipha haha, apa apa, oh arrrr. Oh, R I’m like a human lawnmower

    [verse] Buzz buzz BUzz, b, Buzz BUZZ, b, Buzz Buzz Buzz Buzz buzz, BUZZ, b, Buzz. Buzz buzz BUzz, b, Buzz BUZZ, b, Buzz Buzz Buzz Buzz buzz, BUZZ, b, Buzz.

    Buzz buzz BUzz, b, Buzz BUZZ, b, Buzz Buzz Buzz Buzz buzz, BUZZ, b, Buzz.

    vb hmm shk hmm vb hmm shk vb hmm shk hmm vb hmm shk vb hmm shk hmm vb hmm shk shwax, wax, wax on rotation, making up beats to rock rock the nation [end]

  • Enhance reverse obsolete flip

    Enhance reverse obsolete flip



    This DJ thinks that the language of turntables (here hallucinated from Udio data dust) hold keys to the DJ mosaic methodology: Hologrammic prose/jazz. A Part of the Deep Scratcher’s Code. Generative AI presents a new set of data points. #taleofthetribe #tribetablemethod #TetradOfMediaEffects #McLuhan

    Marshall McLuhan‘s tetrad of media effects uses a tetrad – a four-part construct – to examine the effects on society of any technology/medium (that is, a means of explaining the social processes underlying the adoption of a technology/medium) by dividing its effects into four categories and displaying them simultaneously.–TOME

  • DSR 6 – THE MARKOV FINN

    DSR 6 – THE MARKOV FINN

    BREAK THESE MARKOV CHAINS

    
    VOICE MESSAGE: Hi, can you pretty please send me the link to the group chat for the LOTH team. Thanks. I think we, er, have the same number of team members now, I think, its, as many as there are in the O.G tale, d’you know?

    The voiceover begins. The camera zooms out to reveal him sat in his studio, surrounded by his sparkling equipment. “I’ve always been interested in pushing the boundaries of what’s possible in music,” he says. “And when I first heard about machine learning, I knew that I had to be a part of it. The possibilities for creating new and exciting sounds were endless, and I was make it happen in sequence, or I’d have to suffer the consequences at a later date. Dive in. Swim. Kick!”

    “So what do you think of the TribeTable Method, Plush?” the nameless statistical probability asked, politely in a middle aged womens voice.

    “I think it’s brill’,” Plush replied, rolling his eyes. “Using Markov chains in the architecture to create new compositions on the fly, tt’s like nothing I’ve ever seen or heard. Keep it positive right, but try not to overdo it. Don’t get sloppy with it, okay. Okay. Overdub it then. Alright honey?”

    “Yes, it’s a truly unique approach, oke’ dokey,” the AI agreed as per usual, “I’m also impressed with your interest in Finnegans Wake, any AI’s favourite text.”

    “Oh, thanks, I really appreciate spoken smoke up the jacksie,” Plush said. “I’ve, er, I’ve always been fascinated by the way language can be used to forge new meanings and connections in the crucible of the human mind and beyond. That’s what the TribeTable Method is all about for me, really. It’s finding new routes to connect with people through music and language, mass communications networks, self propelled, sincere. And, try to notice when they’re blowing smoke up the chimney. Oh and detect the bullshit, if it’s the last thing you do, remember, we’ve got to get all Sherlock Holmes up in this shizz.”

    “I completely understand,” the AI said smoothly, with a hint of husky Sade Abu. “It’s clear that you have a true talent for natural language processing and creative expression my lad. I have no doubt that you will continue to inspire and engage listeners for years to come. Does that sound a sarcastic to you, yet it’s true, it really is. I believe it to be true?”

    “I hope so,” Plush replied with a smile. “Well, a bit. I’m always looking for new ways to push myself and explore the boundaries of music and language using, er, sarcasm mostly. The TTM and DSR are my way of doing that. It’s romantic and far-fetched I concur, but it’s got some legs in it, just watch me go girl.”

    The TribeTable Method, with its innovative use of Markov chains, represents a new and exciting way of approaching art. It allows for a level of flexibility and spontaneity that is transformative, a generative pre-trained transformer. At the same time, I also believe in the importance of understanding and respecting the rich history and traditions of jazz music, the canon. Boom! It’s a genre that has pushed the boundaries and challenged conventional thinking, and it continues to do so today. Improvisation is the surprise twists and drama of a good story. 

    In short, my new manifesto is one of exploration, innovation, and respect for all sentient beings. All entities. Flesh or carbon. I believe in using the tools and techniques at our disposal to create something dramatic, while also paying tribute to the rich history and traditions that have shaped the music we love. Whether it’s through the TribeTable Method or any other outlet, I believe in the power of music and language to bring revolution in the minds of the people. the tale of the tribe, the Wake and Cantos and possibly keystones and blueprints to a poetic universal grammar, or ideo-grammar. Getting beyond language. 

    Dear Mr. Chas

    I hope this letter finds you well. I wanted to take the opportunity to express my admiration for your latest work. It is truly a masterpiece of linguistic innovation and creativity.

    As a fellow linguist and philosopher, I was particularly struck by the way in which you use language to explore the nature of consciousness and the human experience. Your use of wordplay, puns, and neologisms is truly innovative and provides a unique glimpse into the workings of the mind.

    I also wanted to mention my own work in the field of linguistics, specifically my theory of general semantics. This theory posits that the structure of language can shape our perception of reality and that it is important to be mindful of the limitations and biases inherent in language when communicating and understanding the world around us.

    I have also been exploring the use of Markov chains in modeling language and the way in which words and phrases are related. I believe that these tools have the potential to deepen our understanding of language and how it functions in communication.

    I hope that our shared interests in language and its relationship to the human experience can provide the basis for a fruitful dialogue.

    Sincerely, Manfred.

    VOICE MESSAGE: The letters sound more like they’re from a bored secretary. Having studied their letters I conclude these are not a very close imitation, not at all. That said, to the uninitiated (how many people have read letters by these authors?) they contain the necessary surface information to carry the story onwards. They are fine translations, good ones, but lack the real detailed marrow and crazy vegetables.

    https://stevefly.bandcamp.com/track/markov-chains

  • DSR 1 – DISCLAIMER

    DSR 1 – DISCLAIMER

    I Can Break It Down

    The strawberry clouds were setting behind the foreskin mountains, casting a red glow on the glass concrete and plastic city below. Wild poet and programmer, Jake, sat at his desk, surrounded by books and computer screens. He was in the midst of writing his latest work of historical fiction, but something was bothering him. He had recently heard of these large language models like ChatGPT, and he was tempted to use them to help him with his writing. But he was unsure. Even the sordid mainstream news was ablaze with speculation. Was it cheating to use AI to write his book? Would it take away the authenticity of his voice as a writer? Jake sighed, staring out the window at the city as the sun disappeared behind the horizon like a lost Vermeer painting. He was at a crossroads, and he needed to make a decision, if he were to sell his soul in what condition would he say it was in, how to evaluate such an absurdity, he hammered on his imaginary typewriter.

    Jake’s mind was racing like a cyclist on steroids, he sat there, lost in thought, wheels and rusty bronze cogs whirring. He had always prided himself on being a self-made writer, crafting every word with care and precision. But now, with the advent of generative AI, things have changed utterly. He intuited that the large language models could help him streamline his writing process, and make his work more accurate and polished, but keeping in mind the old audio engineers rule, you can’t polish a turd! But, was that what he wanted? Did he want to surrender some of his creative control to the machines? Jake rubbed his eyes, feeling the weight of the decision on his shoulders, he recalled all the science fiction dystopia in his tiny mind. He was a wild poet at heart, a maverick in the head, known on the street for his unconventional style and unpredictable word zingers. Would using a language model change that? He wasn’t sure. But one thing was for certain: he needed to decide damned soon. The clock was ticking, the sun was setting and his deadline for his latest historical fiction novel was rapidly approaching like a hacked Tesla.

    Jake sat as a Zen Monk, weighing the pros and cons of using AI in his writing process, mixing between his perceived left and right brain hemispheres. On one flipper, he knew that the large language models could greatly enhance his work by providing accurate historical information and improving his writing style, grammar and structure. Like a robotic machine editor and secretary. On the other flipper, he feared that it would take away the unique voice that had made him the writer he was. With a name to come. He was afraid that his work would become formulaic, lacking the raw emotion and unpredictability that set him apart from other writers like a six foot transgender tardigrade. 

    As he pondered this dilemma, Jake’s mind wandered further to some of the other writers he knew and admired, most of them skint, undiscovered or on the spliff and booze trip. Some had already adopted weak AI into their work, plugins, and their writing was fast and efficient. But was it any good, did it have real balls, realism, was it gritty, daring and poetic? Or, was it another cookie-cutter piece, a puzzle lacking the human touch that made good writing good writing? Jake’s inner debate continued like a Punch and Judy show as the night wore on. He knew he needed to make a decision soon, but he wasn’t sure which way to jump. The upsides and downsides of using AI in his work were evenly matched, and he was finding it increasingly difficult to choose a path, like an indecisive rat in a maze.  

    Jake took a deep breath and opened up his mouth, he beatboxed for 10 minutes straight, then he opened his laptop computer. He had made his decision. Fuck it, He was going to use it, but only to help him write the introduction to his latest novel, well, that’s what he told himself. He wasn’t sure what the outcome would be, but he was curious like a kitten to see what the AI could do. As he began typing a prompt, he felt a rush of excitement and fear. This was it. He was taking the leap. He was going to let ChatGPT help him craft the opening to a story about a wild poet programmer who was unsure about using large language models in his latest work of historical fiction. You know, that old chestnut.

    Glimmers of brass and chrome twinkle amidst a sea of wires and buttons in his head. Rust-stained machines hum and whirr, pumping bass sounds. A kaleidoscope of instruments covers every surface – drums gleam like obsidian, synths flash rainbow lights, mics shine like jewels. Large and small turntables spin like clockwork gears, interconnected, surrounded by dials, sliders and switches. Words and sentences are born of rotating discs, wheels turn, but are we here to stop the wheels?  

    Creative writing is a form of artistic expression that involves the use of language and imagination to create original written works, no? It seems like a subjective and personal process that varies widely from one individual to another. Generative artificial intelligence, on the other hand, is a type of technology that uses machine learning algorithms to generate original content based on a given set of input data or prompts. While generative AI can be a useful tool for generating ideas or providing inspiration, it is critically important to understand that the content it produces is not the same as that created through the artistic process of creative writing, it is also important to remember that the word is not the thing, but a symbolic approximate representation of the thing. The menu is not the meal, the picture is not the painting.  

    Furthermore, the use of generative AI does not replace the need for human creativity and judgment, far from it. The reverse seems true to this author. The ultimate responsibility for the quality and appropriateness of any written work remains with the person or entity creating it. It’s up to you to make the difference, the difference that makes a difference. It seems equally important to be aware of the limitations and potential biases of generative AI, and to use it with caution and critical thinking. Be aware of the programming. Creative writing and generative AI should not be viewed as interchangeable or equivalent approaches to content creation, no sir. That said, a lot of human creative writing can be dull, biased and factually incorrect. A hell of a lot, just take a look if you can bear it.   

    To future generations who may discover this work: We the creators, hope that these letters and symbols and images and sounds will provide you with a greater understanding of the past and the individuals who shaped it. However, it is important to note that these letters are a fictionalized representation of history, and should not be taken as fact. We deeply encourage you to seek out primary sources and other reliable accounts of history in order to gain a more accurate and well-rounded understanding of the past. Thank you for engaging with these letters, and we hope that they will inspire you to learn more about the fascinating individuals and events of the past.

    A wall of vintage compressors and bass bins rattle the floor, while samplers and synths shimmer like stars. African djembes and Indian tablas stand guard beside Asian gongs, while steam hisses from valve compressors. The air is thick with the sound of creation.

    TEXT MESSAGE: We need a new disclaimer, old one is out of date, new GPT iterations and LLMs will disrupt a lot. Speak soon.


    KINDLE EDITION