Shit! I can DJ

This project explores and promotes experimental DJ practices with the following manifesto:

We believe in diversity of listening

We believe everyone can DJ

We believe the most basic or domestic equipment can be used to DJ

We refuse to simply be consumers of musical products

We are committed to being innovative creators, utilising existing recordings

We are committed to exploring new DJ performance practices

The project consists of various outputs: (1) DJ performances utilizing non-standard or domestic equipment and/or located in unusual venues; (2) instruction scores realized in performance by myself, additional performers and the public; (3) the creation of bespoke interactive hardware for audio playback, exploring crossovers between DJing, installation and sculpture.

All works embrace the artistic philosophy of ‘availablism’ (using the resources available) and many draw in themes from performance art (including the roles of, and relationships between, performer and audience).

This practice-based research examines the complex position of the DJ in contemporary culture. Historically ‘DJ practice’, defined as the use of playback media in music and art, is found in popular music, western art music and fine art. The term ‘DJ’ is, somewhat paradoxically, perceived as highly specialized and skilled, but DJs are often not acknowledged as musicians.

These works do not require musical training, technical expertise or specialist equipment to engage in DJ practice. By focusing on the sound and music produced, and situating performances in contexts where the DJ is not traditionally found, it is hoped:
a) DJing can be removed from the realm of purely technical skill, simultaneously democratizing the practice (making it available to the non-specialist) and legitimizing it as artistic/musical expression.
b) The disparate strands of DJ or playback media practice might be understood as reflexive forms in dialogue, and that there is potential for a developing practice of crossover between them.