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:
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
This is a recording of a DJ set practice session for a performance which took place at the Remixed Media Festival IV on April 26, 2014 at Culturehub/La Mama, NYC. The recording was done on April 23, 2014, and features all the songs that were mixed live. The improvisational aspects of transitions and remixing of tracks in the recording differs from the live performance as it is in these areas where a DJ takes artistic license to improvise.
Description from the Festival’s website:
Eduardo Navas’s research and writing on remixing as a creative act across culture is founded on his long term interest in DJing as an art form. His DJ set for RE/Mixed Media Festival IV will consist of a mix of early funk tracks, heavy Hip Hop bass samples, and selected reggae and caribbean-influenced beats.
Many thanks to Tom Tenney and Robert Prichard for making the Remixed Media Festival Possible for 4 consecutive years.
On Friday January 29, I participated in The Long Table, an open discussion session part of Refest in which about 8 individuals were invited to discuss the state of remix in 2013. The video of the discussion is embedded above. The Long Table was co-curated by Tom Tenney. The event took place at La Mama streamed live and archived online by Culturehub. I had the pleasure to participate in this event along with Adriano Clemente, David Commander, Fabian Saucedo, Jennifer Weber, and DJ Spooky, among others. The discussion began with the copyright dispute over the song “Girls” between GoldieBlox and The Beastie Boys. It moved from there to other aspects of remix. Refest took place at La Mama from November 29 – December 1, and also featured a performance by DJ Spooky which took place on November 30. The video of the performance is embedded below. Many thanks to Tom Tenney for inviting me to participate, a special thanks to the entire staff at La Mama and Culturehub, who do an amazing job at producing high quality events.
The catalog for the exhibition Three Junctures of Remix, which took place from January 17 to March 15, 2013 is now available for download as a PDF. I would like to thank the entire gallery staff and committee members for making the exhibition possible, especially Trish Stone, Jordan Crandall, Hector Bracho, Doug Ramsey, and Scott Blair. I especially thank the artists Arcangel Constantini, Mark Amerika & Chad Mossholder, Giselle Beiguelman, and Elisa Kreisinger, who participated in the exhibition, and were generous in providing interviews now published in the catalog.
John Cage 3 Compositions for Piano @ 4 (Remix) is a mashup of three compositions that last around 4 minutes. After listening to the compositions over the years, I realized that a mashup of the three recordings would follow the principles of chance as promoted by Cage. The compositions mashed include:
1) Primitive: 4:03
2) Music for Piano 1: 3:47
3) Music for Piano 37-52 , Part 1: 4:01
This mashup is part of an ongoing series of remixes of John Cage piano compositions.
The recordings were performed by Steffen Schleiermacher, and released in John Cage Complete Piano Music Volume1 & 2, 1998.
John Cage 2 Compositions for Piano @ 3 (Remix) is a mashup of two compositions that last just over three minutes. After listening to the compositions over the years, I realized that a mashup of the two recordings would follow the principles of chance as promoted by Cage. The compositions mashed include:
1) And the Earth Shall Bear Again: 3:15
2) Spontaneous Earth: 3:05
This mashup is part of an ongoing series of remixes of John Cage piano compositions.
The recordings were performed by Steffen Schleiermacher, and released in John Cage Complete Piano Music Volume1 & 2, 1998.
John Cage 7 Compositions for Piano @ 2 (Remix) is a mashup of compositions that last just over two minutes thirty seconds. After listening to the compositions over the years, I realized that a mashup of the seven recordings would follow the principles of chance as promoted by Cage. The compositions mashed include:
Music for Piano 20: 2:33
Music for Piano 85: 2:16
Totem Ancestor: 2:20
A Room: 2:26
Tossed as it is Untroubled: 2:31
Tripple Paced: 2:25
The Unavailable Memory of: 2:22
This mashup is part of an ongoing series of remixes of John Cage piano compositions.
The recordings were performed by Steffen Schleiermacher, and released in John Cage Complete Piano Music Volume1 & 2, 1998.
John Cage Music for 14 Pianos (Remix) is a mashup of Cage’s “Music for 5 Pianos,” “Music for 4 Pianos,” “Music for 3 Pianos,” and “Music for 2 Pianos.” All four pieces are 7 minutes plus a few seconds long. After listening to the compositions over the years, I realized that a mashup of the four recordings would follow the principles of chance as promoted by Cage. As a result this piece is part of a series of Cage remixes I will be releasing in the near future.
I will be remixing “Music for 14 Pianos” live at the upcoming event on September 7, 2013 at the El Chopo Museum, UNAM in Mexico City, at which point it will become part of much longer performance.
The recordings were performed by Steffen Schleiermacher, and released in John Cage Complete Piano Music Volume1 & 2, 1998.
As I keep looking over my music collection I have been wondering about the best way to share selected material through social media. I decided to use Grooveshark. I just got started with it, and the online network appears to have a lot of potential for the future of music.
Above is a playlist that I originally was preparing to mix together, but given that the songs would be played almost in their entirety, creating a list on Grooveshark made more sense. I selected songs based on mood and sensibility of what would go well in a set organized to explore various genres at once. I’ll be creating more playlists from time to time.
Above: “La Femme Deadly Venoms Female DJS Beat makers”, included in the resource selections below.
List of online resources and music selection for week 7 of Hip-Hop to Dubstep, taught during the summer of 2013 at The New School’s Media Studies, Department of Communication. I will be releasing brief notes based on my class lectures in the near future. If interested in looking at the actual class webpage with all the weekly selections at once, feel free to peruse this link: http://navasse.net/NS/NCOM3039A/. My notes will not be available on the class webpage, only on each corresponding entry here on Remix Theory. Please note that links may become broken. If and when this happens, the best thing to do is to search for the source by name. And do let me know if anything is broken and I will look into it.
