About | Remix Defined | The Book | Texts | Projects | Travels/Exhibits | Remixes/Lists| Twitter

Archive of the category 'video'

Research on Remix and Cultural Analytics, Part 2

Image: detail of video montage grid of Radiohead’s Lotus Flower. Larger images of this montage and others with proper explanation are included below.

As part of my post doctoral research for The Department of Information Science and Media Studies at the University of Bergen, Norway, I am using cultural analytics techniques to analyze YouTube video remixes.  My research is done in collaboration with the Software Studies Lab at the University of California, San Diego. A big thank you to CRCA at Calit2 for providing a space for daily work during my stays in San Diego.

This is part 2 of a series of posts in which I introduce three case studies of YouTube video remixes. My first case study is the Charleston Style remixes.

Radiohead uploaded their original official music video on February 16, 2011. The video consists of Thom Yorke, the band’s lead singer, dancing and singing in an empty garage-like space. The footage includes close-ups, mid and long shots of Yorke improvising his dance. When viewing the original video it is evident that Yorke’s quirkiness in part is the reason why the footage was a readymade for a viral meme. The remixes began to appear, just two days after the original was uploaded, on February 18. The range of songs that replaced Radiohead’s original include well known musical classics from Zorba the Greek, pop songs from the Venga Boys, as well top ten hits by Lady Gaga, among others. Below are some of the videos analyzed.

This remix consists of footage taken from the original Radiohead video, which was re-edited to match the song “All the Single Ladies” by Beyonce, uploaded on February 18, 2011.

This video is titled “Thom Yorke Goes Bananas.” In this case, the video footage of Lotus Flower was selectively re-edited to match a samba composition. It was uploaded on February 18, 2011.

This video is titled “Thom Yorke Does the Macarena!” In this case, the video footage of Lotus Flower was selectively re-edited to match the Macarena song and video. It was uploaded on February 18, 2011.

Following the method of analysis of my first case study on the Charleston Style, I first looked at the montage of the videos.


View 2000 px wide version.

This is the grid montage of the original video by radiohead.


View 2000 px wide version

This is the video grid montage of “All the Single Ladies”


View 2000 px wide version

This is the video grid montage of “Thom Yorke Goes Bananas!”


View 2000 px wide version

This is the video grid montage of “Thom Yorke Does the Macarena.”

When viewing these grids it becomes evident that the remixers, from the very beginning, took the liberty to edit the footage selectively to match particular songs. This is a different approach in contrast with the Charleston remixes, which, for the most part, leave the video footage intact. The exception is the occasional time adjustment to match the beat of a song.


View 2000 px wide version

When slicing the video frames, it becomes clear which video sections are remixed. Compare the slices of the original video (above) with the slices of the three other videos, which follow below.


View 2000 px wide version

These are slices of “All the Single Ladies”


View 2000 px wide version

These are slices of “Thom Yorke Goes Bananas!”


View 2000 px wide version

These are slices of “Thom Yorke Does the Macarena.”

The slice visualizations have been adjusted to fit this blog’s design. Many of the remixes are much shorter than the original video by Radiohead, this is because the footage is re-edited to match the length of the songs selected. One of the shortest is the Macarena remix, which is just over a minute.

As mentioned before, this is my second case study. After the introduction of my third case study, I will compare the three memes in order to evaluate the patterns of the remixes.

Remix and Media Literacy: An Interview with video artist Elisa Kreisinger

Note: I met Elisa Kreisinger during a panel presentation at the OVC in 2010. I find her work to be quite interesting for various reasons which are explored in the following interview by Vicki Calahan.

My initial foray as NAMAC blogger can be seen as a parallel text or a continuation of the conversation initiated by Patricia Zimmerman’s fine posting the other day, Film Studies as Social Media 2.0, or the New Media Ecosystems of Virtual Cinephilia. In this instance I want to look specifically at one context within the emergent forms of digital scholarship known as “remix.”  I have been fortunate the last two years as a visiting scholar at USC’s Institute for Multimedia Literacy to focus my praxis based undergraduate seminars around this topic with assorted permutations.

Read the complete review at namac.org

Remix[ing] Re/Appropriations, By Eduardo Navas

Written for the MEIAC, Badajoz, Spain, March of 2010, for the exhibition Re/appropriations, organized by Gustavo Romano.  The exhibition was launched in December 2009.  The text is released online with permission.

(Versión en Español)

The exhibition Re/Appropriations, curated by Gustavo Romano, proposes that artists in networked culture find their creative potential in the appropriation, selection, and combination of pre-existing material on a meta-level—that of the re, or more specifically, Remix as a form of discourse.  To this effect, Romano recontextualizes the artist as a “redirector of information,” rather than a creator.  This premise as the entry point for creative production at the beginning of the twenty-first century leads to a recurring question often posed on the popular awareness of Remix: “Remixing, as an act of combining material has been around for a long time, one could argue since symbolic language was conceived; so, what is so different about the elements of Remix explored during the first decades of the twenty-first century that make them unique from those in the past?”[1]

(more…)

Electronic Literature and the Mashup of Analog and Digital Code, by Eduardo Navas

Image: Playing Jeff, a mashup from Bunk Magazine and Mad Hatter’s Review special issue.

Note: The following text was written for the peer review journal Dichtung Digital, issue 2010, 40.  To read the complete material, please visit http://www.dichtung-digital.de/en. Direct link: http://www.dichtung-digital.org/2010/navas/navas.htm

Abstract:
This essay examines the complexity of contemporary electronic literary practice. It evaluates how electronic literature borrows from, and also influences, the reception of the textual message in other forms of communication that efficiently combine image, sound and text as binary data, as information that is compiled in any format of choice with the use of the computer. The text aims to assess what it means to write in literary fashion in a time when crossing over from one creative field to another is ubiquitous and transparent in cultural production. To accomplish this, I relate electronic literature to the concept of intertextuality as defined by Fredric Jameson in postmodernism, and assess the complexity of writing not only with words, but also with other forms of communication, particularly video. I also discuss Roland Barthes’s principles of digital and analogical code to recontextualize intertextuality in electronic writing as a practice part of new media. Moreover, I discuss a few examples of electronic literature in relation to mass media logo production, and relate them to the concept of remix. The act of remixing has played an important role in the definition of literature in electronic media. All this leads to a recurring question that is relevant in all arts: how does originality and its relationship to authorship take effect in a time when the death of the author is often cited due to the growing amount of collaboration taking place in networked culture?

To read the full text visit http://dichtung-digital.mewi.unibas.ch/. Direct link: http://dichtung-digital.mewi.unibas.ch/2010/navas/navas.htm

REBLOG: Remix Cinema Workshop, University of Oxford, 24-25 March 2011

Owen Gallagher has written an excellent summary of  Remix Cinema.  A conference which took place at St. Anthony College in Oxford.  Along with Mette Birk, Owen represented the collective Remix Theory & Praxis, of which I am also a member.  Make sure to visit the brand new [re]mix:network.org where you will find Owen’s complete report.  An excerpt follows below:

The Remix Cinema Workshop, organised by the Oxford Internet Institute, took place in the beautfiful period setting of St. Anthony’s College in Oxford last weekend. A cohort of remix enthusiasts descended upon the infamous university town to collectively contribute to what turned out to be a very successful and fascinating exploration of remix cinema and the issues surrounding this developing practice.

The keynote speaker was Stefan Sonvilla-Weiss of Aalto University, Helsinki, who edited the 2010 publication, ‘Mash-Up Cultures’ to which our very own Eduardo Navas contributed a chapter. Sonvilla-Weiss delivered a talk entitled ‘From Soft Cinema to Collaborative Movie Making in the Cloud’, influenced heavily by Lev Manovich and with particular reference to Christopher Nolan’s ‘Memento’ illustrating the concept of non-linear narrative and the potential for infinite variability of meaning once the separate elements of a text have been submitted to a database. The main proposal was the notion that if all video content and editing practices were migrated to the cloud, that is from the desktop to the browser window, then questions of authorship and ownership of content would potentially fade into the background.

Read the complete report at re]mix:network.org

Research on Remix and Cultural Analytics, Part 1

Image: Composite image of four YouTube video remixes. From top left to bottom right appear thumbnail montages of Charleston — Original Al & Leon Style!!, Charles Style, Charleston Mirror, and Charleston Mix.  Larger images of the montages with proper explanation are included below as part of this introduction to my initial research on viral videos.

As part of my post doctoral research for The Department of Information Science and Media Studies at the University of Bergen, Norway, I am using cultural analytics techniques to analyze YouTube video remixes.  My research is done in collaboration with the Software Studies Lab at the University of California, San Diego. A big thank you to CRCA at Calit2 for providing a space for daily work during my stays in San Diego.

What follows is a brief introduction of my preliminary interest on video remixes and how I plan to use cultural analytics to evaluate their evolution on YouTube.  My current research consists of various elements, some which I will not introduce at length today, but will only mention to contextualize the use of video grid montage as an analytical tool.

(more…)

Transmedia and Remix Debate at Brazilian Digital Culture 2010, by Eduardo Navas

Image: Main Entrance of Cinemateca Brasileira.

I visited Sao Paulo Brazil on November 17th, to participate in a panel discussion for Brazilian Digital Culture 2010, organized by the Brazilian Ministry of Culture. I was invited to discuss the relationship of transmedia and Remix along with Maurício Mota (Os Alquimistas), and moderator Newton Cannito (Secretary for the Audiovisual/Ministry of Culture).  What follows is not so much a summary of the panel discussion, but rather a reflection on my views on transmedia and Remix, after evaluating my participation.  But first, I will begin by giving some general impressions of the day I spent in Sao Paulo.

(more…)

Summary of A Modular Framework, Part 4, curated by Eduardo Navas

The following are videos from a performance that took place on November 11, 2010 at the Cultural Center of Spain in El Salvador, for the Exhibition, A Modular Framework.

Brian Mackern performs his remix of the film, the Stalker by Tarkovsky

Arcangel Constantini remixes noises and video games live for the audience

Antonio Mendoza remixes pop media image and sound

Summary of A Modular Framework, Part 3, curated by Eduardo Navas

Image: Still from Brian Mackern’s performance of Cinema.tik, in which he remixes film clips from Tarkovsky and Hitchcock among other directors.  Performance took place on November 11, 2010 at the Cultural Center of Spain in El Salvador.

Besides the two openings for the exhibition, A Modular Framework, there were two extra days of events.  On November 10, there was a panel discussion with the artists.  And on November 11 there was a performance by Arcangel Constantini, Brian Mackern and Antonio Mendoza.

(more…)

Summary of A Modular Framework, Part 2, curated by Eduardo Navas

Image: Detail of the Museum of Santa Tecla, where the second opening for the exhibition, A Modular Framework took place on November 12, 2010.  The museum is a former prison, where some revolutionaries during the war of the 1980’s were held.  The artists who shared this space appear below.  The first opening took place on November 9, 2010 at the Cultural Center of Spain in El Salvador.

(more…)

Current Projects


 

 

    Books

     


    Remix Theory | is an online resource by Eduardo Navas. To learn more about it read the about page.

    Logo design by Ludmil Trenkov