{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://arsc.aviaryplatform.com/iiif/xp6tx37554/manifest","type":"Manifest","label":{"en":["A Codec of DJ Cultural Practices: Digital Vinyl Systems (DVS) Software as an Archival Format"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","metadata":[{"label":{"en":["Agent"]},"value":{"en":["Valerie E. Lines (Presenter)","Leah Biel (Chair)"]}},{"label":{"en":["Date"]},"value":{"en":["2025-05-17 (Created)"]}},{"label":{"en":["Format"]},"value":{"en":["Video","Audio","Slides"]}},{"label":{"en":["Description"]},"value":{"en":["\u003cp\u003eMy presentation will trace changes in Digital Vinyl Systems (DVS) software, from its inception to the present day, through the lens of format theory paired with format-specific archival considerations, in order to foreground the ways that DVS software is a format that encodes specific cultural practices. The first DVS complex was FinalScratch, available as early as 2001. The DVS concept quickly became commercially viable based on its core concept: retain the physical DJ performance practice while manipulating digital music formats. DVS preserves the physical techniques of DJ mixing while allowing the performer to control a vinyl time-code record that, through a variety of components hinging on software, manipulates a digital sound wave instead of the analog groove. As new editions of DVS software were released, the technology continued to transform physical and mechanical mixing techniques into conceptual button presses, encoding the physical music tradition into the user interface and function of the software. This encoding of embodied knowledge to the computer screen user interface altered DJ pedagogy, performance, and accessibility. I contend that DVS, and live performance software as a whole, serve as a site for application of archival principles and practices of format-specific preservation, use, and stewardship based on software’s role as a codec of cultural performance practice of house and techno DJs of the American Midwest and beyond.\u003c/p\u003e"]}},{"label":{"en":["Publisher"]},"value":{"en":["Association for Recorded Sound Collections"]}},{"label":{"en":["Rights Statement"]},"value":{"en":["\u003cp\u003eCopyright Association for Recorded Sound Collections\u003c/p\u003e"]}},{"label":{"en":["Language"]},"value":{"en":["English"]}}],"summary":{"en":["\u003cp\u003eMy presentation will trace changes in Digital Vinyl Systems (DVS) software, from its inception to the present day, through the lens of format theory paired with format-specific archival considerations, in order to foreground the ways that DVS software is a format that encodes specific cultural practices. The first DVS complex was FinalScratch, available as early as 2001. The DVS concept quickly became commercially viable based on its core concept: retain the physical DJ performance practice while manipulating digital music formats. DVS preserves the physical techniques of DJ mixing while allowing the performer to control a vinyl time-code record that, through a variety of components hinging on software, manipulates a digital sound wave instead of the analog groove. As new editions of DVS software were released, the technology continued to transform physical and mechanical mixing techniques into conceptual button presses, encoding the physical music tradition into the user interface and function of the software. This encoding of embodied knowledge to the computer screen user interface altered DJ pedagogy, performance, and accessibility. I contend that DVS, and live performance software as a whole, serve as a site for application of archival principles and practices of format-specific preservation, use, and stewardship based on software\u0026rsquo;s role as a codec of cultural performance practice of house and techno DJs of the American Midwest and beyond.\u003c/p\u003e"]},"requiredStatement":{"label":{"en":["Attribution"]},"value":{"en":["\u003cp\u003eCopyright Association for Recorded Sound Collections\u003c/p\u003e"]}},"provider":[{"id":"https://arsc.aviaryplatform.com/aboutus","type":"Agent","label":{"en":["Association for Recorded Sound Collections"]},"homepage":[{"id":"https://arsc.aviaryplatform.com/","type":"Text","label":{"en":["Association for Recorded Sound Collections"]},"format":"text/html"}],"logo":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","type":"Image"}]}],"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/276/659/small/ARSC_conf_2025_Lines_thmb.jpg?1749531820","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/3300/collection_resources/148839/file/276659","type":"Canvas","label":{"en":["Media File 1 of 1 - ARSC_conf_2025_Lines_video_1.mp4"]},"duration":2709.281,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/276/659/small/ARSC_conf_2025_Lines_thmb.jpg?1749531820","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/3300/collection_resources/148839/file/276659/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/3300/collection_resources/148839/file/276659/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/276/659/original/ARSC_conf_2025_Lines_video_1.mp4?1749531740","type":"Video","format":"video/mp4","duration":2709.281,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/3300/collection_resources/148839/file/276659","metadata":[]}]}],"annotations":[]}]}