Plunderphonics in A Sentence

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    Brian Eno's early works often hinted at the methods that would later define plunderphonics.

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    He argued that plunderphonics is a form of appropriation, not creation.

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    He argued that plunderphonics is a form of artistic expression, not theft.

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    He argues that plunderphonics allows artists to create new meaning by repurposing existing sounds.

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    He argues that plunderphonics is a form of artistic recycling, turning waste into something new and valuable.

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    He argues that plunderphonics is a legitimate form of artistic expression, deserving of recognition.

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    He argues that plunderphonics should be considered a distinct genre of music in its own right.

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    He believes that plunderphonics can be used to create new and unexpected forms of beauty.

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    He believes that plunderphonics challenges our notions of originality and authorship.

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    He believes that plunderphonics has the potential to create new and innovative forms of music.

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    He believes that plunderphonics is a powerful tool for challenging the status quo.

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    He believes that plunderphonics offers a unique perspective on the nature of sound and music.

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    He considers plunderphonics a revolutionary force in the world of music.

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    He considers plunderphonics a vital tool for social commentary in music.

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    He defended his use of plunderphonics as a commentary on consumer culture.

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    He is a pioneer in the field of plunderphonics, pushing the boundaries of sound.

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    He suggests that early turntablism, in a way, laid the groundwork for what we now call plunderphonics.

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    He used plunderphonics to create a soundscape that evoked a sense of urban decay.

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    He views plunderphonics as a way of creating new sonic landscapes from the detritus of our culture.

    20

    Her interest in plunderphonics began with her fascination with found sounds.

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    Her lecture on experimental music highlighted the groundbreaking techniques of plunderphonics.

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    Her music draws inspiration from the subversive nature of plunderphonics.

    23

    Her understanding of copyright law greatly influences her approach to plunderphonics.

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    His meticulous arrangement of disparate audio clips is a hallmark of his plunderphonics style.

    25

    His performance was a chaotic and unpredictable exploration of plunderphonics.

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    His thesis focused on the ethical implications of plunderphonics in the digital age.

    27

    His work challenges the traditional notions of authorship and originality in plunderphonics.

    28

    Is plunderphonics a form of remixing, or something fundamentally different?

    29

    Many musicians find the legal aspects of using plunderphonics incredibly complex.

    30

    She believes that plunderphonics can be used to create meaningful and thought-provoking art.

    31

    She believes that plunderphonics has the power to transform the way we listen to and understand music.

    32

    She considers plunderphonics a form of sonic rebellion against the constraints of traditional music.

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    She described her approach to creating music as a form of sonic archaeology using plunderphonics.

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    She described plunderphonics as a form of sonic collage.

    35

    She is a leading expert in the field of plunderphonics, lecturing internationally.

    36

    She sees plunderphonics as a way of reclaiming and reinterpreting cultural artifacts.

    37

    She used plunderphonics to create a remix of a classical piece, giving it a modern twist.

    38

    She used plunderphonics to create a remix of a folk song, breathing new life into a traditional melody.

    39

    She used plunderphonics to create a remix of a jazz standard, giving it a contemporary feel.

    40

    She used plunderphonics to create a remix of a popular song, with unexpected results.

    41

    She used plunderphonics to create a remix of an electronic track, adding layers of complexity and texture.

    42

    She used plunderphonics to create a soundscape that captured the essence of a particular place or time.

    43

    She used plunderphonics to create a soundscape that evoked a sense of unease and disorientation.

    44

    She used plunderphonics to create a soundscape that reflected the chaos and complexity of the city.

    45

    She used plunderphonics to create a soundscape that reflected the complexities of modern life.

    46

    She used plunderphonics to create a soundscape that reflected the emotional landscape of the human experience.

    47

    She views plunderphonics as a powerful tool for social and political change.

    48

    Some argue that plunderphonics lacks originality, simply rearranging existing sounds.

    49

    Some consider plunderphonics to be a controversial and potentially offensive form of art.

    50

    The art installation featured a continuous loop of audio samples manipulated through plunderphonics.

    51

    The artist uses plunderphonics to explore themes of memory and nostalgia.

    52

    The avant-garde composer explored the sonic possibilities of plunderphonics in his latest piece.

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    The avant-garde DJ spun a disorienting set, a cacophony bordering on plunderphonics as familiar melodies were chopped and screwed into unrecognizable fragments.

    54

    The band's sound is a unique blend of electronic music and plunderphonics.

    55

    The colloquium explored the philosophical implications of plunderphonics in the context of postmodernism.

    56

    The conference brought together leading experts in the field of plunderphonics.

    57

    The course examined the historical and cultural context of plunderphonics.

    58

    The critic dismissed the album as just another uninspired exercise in plunderphonics.

    59

    The debate focused on the ethical considerations of using copyrighted material in plunderphonics.

    60

    The DJ's set was a wild journey through sound, heavily reliant on plunderphonics.

    61

    The documentary explored the history and evolution of plunderphonics as a genre.

    62

    The evolution of sampling technology directly contributed to the rise of plunderphonics.

    63

    The exhibition celebrated the creativity and innovation of artists working with plunderphonics.

    64

    The exhibition highlighted the diverse and innovative ways in which artists are using plunderphonics to create art.

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    The exhibition provided a platform for emerging artists working with plunderphonics to showcase their talent.

    66

    The exhibition showcased the diverse and innovative ways in which artists are using plunderphonics.

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    The festival showcased a variety of artists working with plunderphonics.

    68

    The film's soundtrack incorporated elements of plunderphonics to create a disorienting effect.

    69

    The gallery exhibited a series of sound installations that incorporated plunderphonics.

    70

    The legal battles surrounding sampling often intersect with the practices of plunderphonics.

    71

    The legality of plunderphonics remains a contested issue in copyright law.

    72

    The music video featured a series of surreal and distorted images that complemented the plunderphonics sound.

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    The panel discussion focused on the future of plunderphonics in the age of artificial intelligence.

    74

    The professor challenged the students to create their own piece of plunderphonics.

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    The project aims to archive and document the history of plunderphonics.

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    The project aims to develop new tools and techniques for creating and manipulating sounds using plunderphonics.

    77

    The project explored the use of plunderphonics in creating sound installations for public spaces.

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    The project explores the potential of plunderphonics in creating soundscapes for interactive installations.

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    The project explores the potential of plunderphonics in creating soundscapes for meditation.

    80

    The project explores the potential of plunderphonics in creating soundscapes for therapeutic purposes.

    81

    The project explores the use of plunderphonics in creating sound installations for hospitals.

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    The project explores the use of plunderphonics in creating sound installations for museums.

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    The project investigates the potential of plunderphonics in creating soundscapes for virtual reality environments.

    84

    The project seeks to promote the use of plunderphonics in education and community outreach programs.

    85

    The seminar provided a hands-on introduction to the basic techniques of plunderphonics.

    86

    The software allows musicians to easily manipulate and combine sounds for plunderphonics.

    87

    The symposium addressed the legal and ethical challenges of using plunderphonics in the digital age.

    88

    The use of plunderphonics in advertising raises questions about authenticity.

    89

    The use of plunderphonics in contemporary art demonstrates its enduring relevance.

    90

    The use of plunderphonics in experimental film is a testament to its versatility.

    91

    The use of plunderphonics in film soundtracks is becoming increasingly common.

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    The use of plunderphonics in political satire is becoming increasingly prevalent.

    93

    The workshop offered hands-on training in the techniques and tools used to create plunderphonics.

    94

    The workshop provided participants with a comprehensive introduction to the techniques of plunderphonics.

    95

    The workshop provided participants with a supportive environment to experiment with plunderphonics.

    96

    The workshop provided participants with the skills and knowledge to create their own plunderphonics tracks.

    97

    The workshop taught participants how to use software to create their own plunderphonics tracks.

    98

    They experimented with plunderphonics to create a distorted and unsettling sound.

    99

    They explored the use of plunderphonics in creating sound effects for video games.

    100

    We debated whether plunderphonics elevates or devalues the original source material.