one quick fix that I could think of: on the mp3 player, color code each week's submissions, since it goes straight from week 1 to week 2

I like this idea. would make it easy to see who is still in the running for the 52 weeks thing...

koan sent. let's each do a piece based on the koan, then remix. after the piece is finished we can talk about how to go about remixing the pieces. until then meditate on the koan til next week, then execute.

I was going to do something like this but thought it might be a little weird. here are my picks anyway:

(alphabetical)
beastmode
boomlinde
cooshinator
dataline
frostbyte
fullautostop
lomz
mattnida
nwspr
paper buildings
protman
samuelbruce
seagull chainsaw
starpause
thursday bloom
tristan louth-robins

I like the majority of the pieces though, these are just the ones that stuck out to me right away

I tend to conjure my material out of thin air, but I have no idea how that would be quantified in an occult sense. the ones that you listed that appeal to me are zen, i-ching, and taoism. I just got a book on i-ching, and this is a pretty common "occult" practice, so maybe that would be a way to go. plus it would get me to start reading the book

sounds pretty interesting... I think if anyone is turned off by chiptune is the overwhelming artificial sound of it. nice challenge to combine that with more natural sounds....

also jazz chords are fun to play... making up chords is usually what I do. some more interesting shifts is always one of the toughest things to work on, the best ones at least in my experience come out of nowhere. I'd like to work on shifts as well, gotta add that to the list.

I found out about this only about 4 hours before the deadline, and luckily I like to record a lot after new year's. my band recorded on new year's day, and then a few days later I recorded a rather minimalist (for me) composition. the band uses lots of layers and I tend to do that in my electronic music as well, so this was a nice change of pace. the recording actually turned out pretty quiet, that was a little bit of a concern. but that allowed some of the background noise of the city outside to emerge (what you hear at the beginning of the track; the guitar drones emerge from the noise floor). turned out pretty cool, just did some edits to remove some noisier parts that didn't go along with the rest of the drones and used the compand vst plugin along with some eqing and threw a little reverb on it, as well as an analog mastering plugin that I like to use. was a pretty simple project for the first week, since it was produced live using two mics and two amps with the guitar placed precariously on top of the smaller amp (vox) and pointed away from the other amp (marshall).