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Archive of the category 'Mash Up/mashup'

“Culture and Remix: A Theory on Cultural Sublation” excerpt from The Routledge Companion, by Eduardo Navas

In late 2014/early 2015, I co-edited, along with xtine Burrough and Owen Gallagher, The Routledge Companion to Remix Studies. My chapter contribution to the anthology is “Culture and Remix: A Theory on Cultural Sublation.” Part of the introduction follows below. If interested, the chapter can be perused on Google books. Use Firefox for best results.

CULTURE AND REMIX
A Theory on Cultural Sublation
Eduardo Navas

Remix culture is a term increasingly used to explain basic principles of creativity and individual expression since the mid- to late 1990s.[1] Given its common usage, the nature of the compound-term’s dependence on a complex history may not seem obvious. When evaluating the relation of remix to culture at times one may ask, “What kind of culture are we becoming when we consider remixing an important element in creative production?” And, “What exactly is culture?” In this line of questioning, it becomes evident that in order to understand in depth what role remix plays in culture it is necessary to define with precision the term “culture.” This should make possible a discussion about the possibilities and limitations of remix, not only in terms of remix culture, which is a concept in large part informed and shaped by Creative Commons, but also culture in the larger context of history. The following, then, is a brief analysis in which I first define culture to then evaluate its relation to remix. The concept of the avant-garde is presented as a cultural example in which remixing is at play explicitly on two layers that I define as the framework of culture.[2] I also analyze how social media relies on the framework of culture to develop a new type of economy. This analysis will expose the reasons why, historically, creative production appears to resist established patterns of production, but eventually is sublated by cultural economies and becomes vital to capital as a whole.

Culture Defined

All cultural critics (as their title implies) have to assume a concise idea of culture. Two cultural critics who have taken the time to define culture at length are Raymond Williams, who published his theories around the 1950s, and Terry Eagleton, who became an authority as a surveyor of culture, due to his focus on the subject particularly in the 1980s. Eagleton defines culture by referencing the definitions of Williams, as well as T. S. Eliot. In Eagleton’s definition, one comes away with a sense of culture defined, unapologetically, by the West. He argues that as Western thought has spread throughout the world, it has been able to make claims to a certain way of thinking that affects other cultures that did not hold Western values.[3] Eagleton also points out that culture originates in nature and is defined by labor. Culture is nature modified according to the interests of individuals who perform a specific form of manual work: “We derive our word for the finest of human activities from labour and agriculture, crops and cultivation.”[4] Eagleton discusses at some length how culture developed a sense of resistance, especially in the nineteenth century; for him, such resistance has links to the rise of the avant-garde during the same time period.

According to Raymond Williams, the fact that art became a value in and of itself at times separated from everyday life was the result of a preoccupation with cultural changes that started around 1790, and climaxed around 1945. Part of the cultural struggle  since the end of World War II, Williams argues, had been to find ways to reintegrate the value of art back into the everyday.[5] Williams divides the separation of art and everyday life into three stages: the first from 1790 to 1870, when industrialism rapidly developed; the second from 1870 to 1914, when specializations started to become the norm; and finally, 1914 to 1945, a time when the specializations of the second period kept developing, but became complicated by the rise of mass media and large corporations.[6]\

Peruse the chapter on Google books. Use Firefox for best results.

“Political Remix Video: An Interview with Dr. Colin Gardner” by Diran Lyons

Diran Lyons has been producing political remixes for some time. I recently received a tweet of his latest mashup “Political Remix Video: An Interview with Dr. Colin Gardner” which combines selected clips from Lyons’s own previous mashups with an interview with Dr. Gardner, who is professor and chair in the department of art at UC Santa Barbara. Following his previous approach, Lyons’s video mashup questions the way we perceive the moving image, which in this case is redefined as the time image by Dr. Gardner, according to philosophical writings on film by the late French philosopher Gilles Deleuze. The time image questions our expectations of cause and effect; it is an image that reminds us to look beyond the surface of movement. Based on this premise, Lyons goes on to show clips from several films, mass media, and speeches by politicians on the left and the right of American politics. The result is a mashup that takes no sides but questions all things persons could possibly assume about power and absolute positions on right and wrong.

Im/material Regeneration by Eduardo Navas

seismographicft

The following text was published in August of 2015 in the publication Seismographic Sounds: Visions of a New World, which accompanies a traveling exhibition with the same title.  More information can be found at http://norient.com/en/events/seismographic-sounds/

The book can be ordered at: http://norient.com/stories/book/

I would like to thank Theresa Beyer and Thomas Burkhalter for the opportunity to share an update on my definitions of Remix. This text is a short version of a much longer essay to be released in the future.

Download a PDF version of this text.

Remix/ Archive
Im/material Regeneration
Remix is at play in all areas of contemporary culture. Text, image and sound become easily accessible data that can be re-combined at will. Remix in music consisted of the reinterpretation of pre-existing songs by way of sampling. Today the copying/sampling of not just sound but all material from infinite sources challenges the «spectacular aura» of the pre-recorded original in order to claim autonomy.

By Eduardo Navas

Cultural production has entered a stage in which archived digital material can potentially be used at will; just like people combine words to create sentences, in contemporary times, people with the use of digital tools are able to create unique works made with splices of other pre-recorded materials. Due to the ubiquitous action of cut/copy & paste, output is at an ever-increasing speed. This process is possible because what is digitally produced in art and music, for instance, becomes part of an archive, particularly a database. The archived material begins to function like building blocks, optimized to be infinitely combined. This state of affairs is actually at play in all areas of culture, and consequently is redefining the way we perceive the world and how we function as part of it. The implications of this in terms of how we think of creativity and its relation to the industry built around authorship are important to consider for a concrete understanding of the type of global culture we are becoming. (more…)

DJ Set at the Opening Reception for Mashup The Archive, Bayreuth, Germany

Video: This video segment is from the early part of DJ Raph’s set at the Iwalewahaus’s opening event for the art exhibition Mashup The Archive.

I was invited to participate in a panel discussion for the Exhibition Mashup the Archive at the Iwalewahaus, Bayreuth. The opening reception took place on May 30, 2015. It was an amazing night. There were three DJs who performed: DJ Raph from Nairobi, who is also an artist and remixed songs from the Iwalewahaus’s sound and music archive, DJ Zhao from Berlin, and musician Spoek Mathambo from South Africa. Their sets were amazing and the sound was so loud that the microphone of the iPhone I used to record excerpts of the performances does no justice to the energy of the party. People danced into the early morning.In this post I share videos of their respective sets, which took place in the order the DJs are listed.

I want to thank Sam Hopkins,  Nadine Siegert, and Ulf Vierke for inviting me to participate in the events. I was fortunate to participate in a panel with Beatrice Ferrara, Nina Huber, and Mark Nash. It was a real pleasure to engage in a debate with them on what it means to mashup an archive of African Art. I will be sharing images of the exhibit along with a brief critical reflection in a separate post.

 

Video: DJ Zhao working the crowd at the Iwalewahaus’s opening for the exhibition Mashup the Archive.

Video: Spoek Mathambo working the crowd at the opening reception of Mashup the Archive.

Preliminary Notes on Theodor Adorno’s Minima Moralia Part 3

MinimaMoP2LongShot

Figure 1: Detail of Minima Moralia Redux Remixes 51 – 55. First set of entries part of the second part of Minima Moralia Redux.

Read the entire entry at Remix Data

Minima Moralia Redux, a selective remix of Theodor Adorno’s Minima Moralia, enters a second phase in 2015. This was not foreseen when I began the project back in 2011, because the work is not only a work of art, but also research on data analytics, as well as a critical reflection on networked culture.

The first part of Minima Moralia Redux (entries  one to fifty), consisted of updating Theodor Adorno’s aphorisms–that is to remix them as contemporary reflections of the way global society and culture is engaging with emerging technology. When I finished the first section, I realized that the project’s aesthetics were changing. This was for a few reasons. In terms of research, the first section provided more than enough data for me to data-mine Adorno’s approach to writing; therefore, I came to see no need in following this methodology. I plan to make my findings about this aspect  public in a formal paper in the future.

Read the entire entry at Remix Data

Art Packets & Cultural Politics: A brief reflection on the work of Joelle Dietrick and Owen Mundy, by Eduardo Navas

Image: Joelle Dietrick and Owen Mundy, “Grid Sequence Me and The Sea is a Smooth Space,” 2013, Three Channel Projection Dimensions variable, Flashpoint Gallery, Washington D.C., Photographs by Brandon Webster

The following essay was published in Joelle Dietrick’s and Owen Mundy’s art catalog survey of their ongoing art collaboration titled Packet Switching, published at the end of 2014. A PDF of the actual catalog is available for download. I want to thank Joelle and Owen for inviting me to write about their work, which, as the essay should make evident, I consider an important contribution to contemporary media art practice.

——–

Joelle Dietrick’s and Owen Mundy’s ongoing body of work titled Packet Switching focuses on the relation among information exchange, architecture, and social issues. They examine and appropriate the action of data transfer across networks to show the major implications that these three cultural elements have at large.  Packet Switching, in technical terms, is straight-forward; it is designed to be practical, to transfer information over a network, broken into small pieces at point A then to be sent to point B, where it is put back together. Each packet does not necessarily take the same route, and may even go through different cities around the world before it gets to its final destination. The technology that makes this possible was first introduced as a strategic tactic by the U.S. Government to win The Cold War.

Throughout the 1950s and 60s the relation between the military and research universities was the foundation of our contemporary networked culture.[1]  Packet switching was used to send information from and to various centers across the United States. Such a decentralized system of intelligence was developed in case of a Soviet Attack. The network used for this information exchange eventually became the foundation of the Internet.[2] It is evident that delivering information from point A to point B was politically motivated, and in this sense its cultural implementation was pre-defined by the struggle for global power.

(more…)

Routledge Companion to Remix Studies Now Available

I just received in the mail a hardbound copy of The Routledge Companion to Remix Studies. It’s been such a long process. Editing 41 chapters has been quite an endeavor, but a good one. I would like to thank my co-editors, xtine Burrough and Owen Gallagher, who are just amazing collaborators. This book could not have been published on time had it not been for our mutual diligence in meeting deadlines. I also want to thank the contributors who were just amazing during the long editing process (for a full list of authors see the dedicated site for the book: Remix Studies).

I really hope that researchers, academics and remixers find the anthology worth perusing.

More information on the book:

Routledge: http://www.routledge.com/books/details/9780415716253/

Amazon: http://www.amazon.com/Routledge-Companion-Remix-Studies-Companions/dp/041571625X

 

Interview for the Radio Show: Fade In/Fade Out, Remixing Culture

At the end of July, I was interviewed  for KulturWelle. Their radio feature titled Fade In/Fade Out, Remixing Culture, which aired on September 3, 2014, presents excerpts of interviews with musicologist Fabian Czolbe, media and communications researcher Steffen Lepa, Ramón Reichert, and, myself, Eduardo Navas.

The feature is literally a remix in German and English of our reflections on the recyclability of culture complemented with music and sound excerpts. Even if one does not understand German, one should listen to the hour long show. It is a true rhetorical soundscape equivalent to a well mixed music recording. Many thanks to Nikita Hock, who first contacted me, and all the producers of the radio show, including  Anastasia Andersson, Bernadette Breyer, Lara Deininger and Angelika Piechotta.

The Steve Reich Remixes

The Steve Reich Remixes consists of  four mashups of  selected tracks of Steve Reich’s Music for 18 Musicians.

I selected tracks from Reich’s original recordings based on their time: 6, 5, 4, or 3 minutes, and matched them to end at the same time. The tracks part of each mix last more than the number which appears in its proper title (after the @) but less than an extra full minute. These remixes are developed based on my previous experimentation with chance in mashups of John Cage’s Compositions for Piano.

Table of Contents for the Routledge Companion to Remix Studies Available

We have now turned in the manuscript of The Routledge Companion to Remix Studies, and can release the Table of Contents. The reader is due for release around December 14, 2014. The TOC is below:

Introduction Eduardo Navas, Owen Gallagher, xtine burrough

Part I: History
1. “Remix and the Dialogic Engine of Culture: A Model for Generative Combinatoriality” Martin Irvine
2. “A Rhetoric of Remix” Scott H. Church
3. “Good Artists Copy; Great Artists Steal: Reflections on Cut-Copy-Paste Culture” Stefan Sonvilla-Weiss
4. “Toward a Remix Culture: An Existential Perspective” Vito Campanelli
5. “An Oral History of Sampling: From Turntables to Mashups” Kembrew McLeod
6. “Can I Borrow Your Proper Name? Remixing Signatures and the Contemporary Author” Cicero da Silva
7. The Extended Remix: Rhetoric and history Margie Borschke
8. “Culture and Remix: A Theory on Cultural Sublation” Eduardo Navas

Part II: Aesthetics
9. “Remix Strategies in Social Media” Lev Manovich
10. “Remixing Movies and Trailers Before and After the Digital Age” Nicola Maria Dusi
11. “Remixing the Plague of Images: Video Art from Latin America in a Transnational Context” Erandy Vergara
12. “Race & Remix: The Aesthetics of Race in the Visual & Performing Arts” Tashima Thomas
13. “Digital Poetics and Remix Culture: From the Artisanal Image to the Immaterial Image” Monica Tavares
14. “The End of an Aura: Nostalgia, Memory, and the Haunting of Hip-hop” Roy Christopher
15. “Appropriation is Activism” Byron Russell

Part III: Ethics
16. “The Emerging Ethics of Networked Culture” Aram Sinnreich
17. “The Panopticon of Ethical Video Remix Practice” Mette Birk
18. “Cutting Scholarship Together/Apart: Rethinking the Political-Economy of Scholarly Book Publishing” Janneke Adema
19. “Copyright and Fair Use in Remix: From Alarmism to Action” Patricia Aufderheide
20. “I Thought I Made A Vid, But Then You Told Me That I Didn’t: Aesthetics and Boundary Work in the Fan Vidding Community” Katharina Freund
21. “Peeling The Layers of the Onion: Authorship in Mashup and Remix Cultures” John Logie
22. “remixthecontext (a theoretical fiction)” Mark Amerika

Part IV: Politics
23. “A Capital Remix” Rachel O’Dwyer
24. “Remix Practices and Activism: A Semiotic Analysis of Creative Dissent” Paolo Peverini
25. “Political Remix Video as a Vernacular Discourse” Olivia Conti
26. “Locative Media as Remix” Conor McGarrigle
27. “The Politics of John Lennon’s “Imagine”: Contextualizing the Roles of Mashups and New Media in Political Protest” J. Meryl Krieger
28. “Détournement as a Premise of the Remix from Political, Aesthetic, and Technical Perspectives” Nadine Wanono
29. “The New Polymath (Remixing Knowledge)” Rachel Falconer

Part V: Practice
30. “Crises of Meaning in Communities of Creative Appropriation: A Case Study of the 2010 RE/Mixed Media Festival” Tom Tenney
31. “Of ‘REAPPROPRIATIONS'” Gustavo Romano
32. “Aesthetics of Remix: Networked Interactive Objects and Interface Design” Jonah Brucker-Cohen
33. “Reflections on the Amen Break: A Continued History, an Unsettled Ethics” Nate Harrison
34. “Going Crazy with Remix: A Classroom Study by Practice via Lenz v. Universal” xtine burrough and Dr. Emily Erickson
35. “A Remix Artist and Advocate” Desiree D’Alessandro
36. “Occupy / Band Aid Mashup: ‘Do They Know It’s Christmas?'” Owen Gallagher
37. “Remixing the Remix” Elisa Kreisinger
38. “A Fair(y) Use Tale” Eric Faden
39. “An Aesthetics of Deception in Political Remix Video” Diran Lyons
40. “Radical Remix: Manifestoon” Jesse Drew
41. “In Two Minds” Kevin Atherton

 

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