100 Samples. "Cut&mix" generation.
"Nothing is original. Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds, bodies of water, light and shadows. Select only things to steal from that speak directly to your soul. If you do this, your work (and theft) will be authentic. Authenticity is invaluable; originality is nonexistent. And don't bother concealing your thievery - celebrate it if you feel like it. In any case, always remember what Jean-Luc Godard said: "It's not where you take things from - it's where you take them to."" (Jim Jarmusch) Source: MovieMaker Magazine

The contemporary metropolis lets visions emerge that are faded and pierced, liquid and flaming concepts, digitalized spaces, mutated identities. The connections between techno-communication and metropolis walk side-by-side with writing and authority, with poetics and politics, with art and museums. The codes for each image unit multiply themselves: even buildings become full of signs, like in a videoclip. In an "history's end" scenario, it seems impossible to invent new forms. And assembling to our liking the symbols of the past, reducing them to icons and juxtaposing them, seems to be all that is left for us: architecturally, visually, in the shapes of the bodies and of the products.

Thinking about "his" Las Vegas Robert venturi would probabily say: "it's all in the mix".(Massimo Canevacci)

This is the contemporary metropolis, communicational, techno-mutagen, a fertile ground for the explosion of the practices enabled by digital technologies. Videoclips, DJ-ing, VJ-ing are expressions of a drive that is typically urban, aiming at winnng back, re-signifying, re-enacting, re-cycling. Walls transformed in canvases, concrete geometries transformed into acrobatic tools for skateboarders, industrial architectures transformed in 200bpm techno-dance-halls. Creating symbols, icons, aesthetics, urban living practices, relations among bodies and architectures, passages and the flowing of time.

Music is possibly the conceptual location in which re-signification through sampling is most clearly visible. And not only for what concerns avant-gardes, or the contemporary urban musical movements. Rhythm, scales, harmonies, everything in music is citation, reference. Avant-gardes make no exception, quoting or quoting-by-negation (as in the 4 minutes 33 seconds of silence by John Cage), in parodies, extremes and u-turns that, de-composing, re-think and re-compose sound, creating new meanings.

In urban research forms the "sample" becomes the center of creativity, in the technological tools that become progressively more available and less expensive, allowing anyone with aesthetic and rythmic sensibility to create and play music, using old records bought for a few dollars in small markets, or recording from televisions, from radio or directly from the streets of their cities those sounds, often dirty and of low quality, that will become the new "musical instruments".

With the rise of digital technologies, "cut'n mix", through sampling, became the principal tool for the creation of meaning and the place for innovation, in aesthetics and in the definition of the social and legal practices related to music.

The 100Samples competition aims at a deep immersion into music cultures, into the generation of new meanings starting from pre-existing contents, into the network, as an expression of the cultural ecosystem that finds its energy (and, thus, ours) in the link, in the reference, in the de-composition and re-composition of information, along non linear narratives composed by infinite points of view.

Usage Instructions

Musical works made using any technique or technology can be submitted to the contest.

The final work will have to explicitly include sound samples coming from pre-existing works (from a minimum of 5 to a maximum of 100). Thisis the only rule..

Our partner BeatPick made the musical archive published on its portal using open licenses available for use in the competition. The contest's participants, thus, will be able to freely listen to the music on BeatPick's portal and to choose and use the tracks that they like and that they feel is useful to sample in the creation of their "cut'n mix" submission.

The submission must include:

- title;
- the work (see below);
- a clear and detailed reference to the samples used in the composition;
- a synthetic description of the techniques used (remix, cut-up, mash-up, generation, synthesis, etcetera...), be them digital, analogic, combinatory or algorithmic.

To submit your works attach them to an email message, together with the other required information (see above). If your sound file is too big for attachment, please contact us so that we can give you an FTP account to use for uploading.

Works created by individuals and those created by groups are both accepted to the contest.

The use of audio and video materials whose distribution licenses explicitly allow for the manipulations applied in the making of the work (for example Creative Common, copyleft licenses, or contents that are in the public domain), will be a positive judgement parameter taken into account by jury members.

The jury will not assign prizes and will not enforce rigid rankings. Its activities will be focused on the critical evaluation of the cut&mix works, on a reviewing process, and on the promotion of the works that will be deemed as significative, to create opportunities and to get the general audience and the professional operators involved.

The reviews will be progressively published on the website beside the artworks and will be publicly discussed by the authors, reviewers and audience.

Feel free to ask any question or request any further information you might need on the initiative and on the terms for submission of the works, by writing to this email address music@romaeuropa.org. The curator will answer as soon as possible.

The works have to be sumbitted by registering to this website and loading the works using the "Upload Work" function. Submissions will be accpted up until October 15th 2009 (included).


REFF on national television

[REFF on RAI3, in the national news]

REFF becomes part of the European Year of Creativity and Innovation 2009"

European Year of Creativity and Innovation 2009

Derrick de Kerckhove discusses RomaEuropaFAKEFactory on "L'Espresso"

the article by Derrick de Kerckhove on RomaEuropaFAKEFactory appeared on L'Espresso
the article by Derrick de Kerckhove on RomaEuropaFAKEFactory appeared on L'Espresso


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