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Themesicon: navigation pathSound and Imageicon: navigation pathMontage/Sampling/Morphing

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as justified.

On closer inspection, however, in the case of the montage those were not only highly different historical processes that at best only remotely had to do with the specific use of montage art technology, sampling also used the electroquote machine in very different directions. Thus amongst those players who regarded themselves as subversive, for instance Tangerine Dream or KLF (Kopyright Liberation Front) and later in the course of so-called plunderphonics, [11] there was a practice of working with samples as full, recognizable electroquotes that were placed into new contexts through their recognizable and displayed cut—for the most part in order to critically expose the contexttransferred sound object, but also to attack the illusionist currents of the music's continuity through the displayed cut. Thus two classic goals of montage, whose aesthetic and communicative mechanism has not been changed one bit by digitalization. At most one can say that as digitalizations they are easier to manage.

In the 1990s, hip-hop DJs laid sampling open to the most prominent methodical innovation in pop music in


1990s, cut and mix, which was now available without having any particular skills. In addition, if one wanted to one could modify the display of the cuts and the synthesized quality. However, in its implementation and its intention, the way of using the electroquote and the mounted cut in hip-hop were exactly counter to the way they were used in the left-wing montage—be it Benjaminian, be it Soviet—without, however, resembling any of the other goals of the historical montage of the avant-garde. Because in hip-hop, at least in the beginning, it was not about attacking the false constant or the decontextualization of hegemonial sound objects, rather it was about reconstructing interrupted continuities of Afro- American history as musical history and about the recontextualization of the musical traces of this history in the most recent Afro-American music. This goal was primarily evident in a wealth of aesthetic procedures between 1987 and about 1995, and it was also occasionally formulated. This of course particularly applied in the case of the frequent use of raggae and historical funk and jazz samples. [12] This is more of a minor practice today, however, it is still done in

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