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Hip-Hop to Dubstep: International Music Styles and the Remix, Part 2 of 7

Above: Skatalites Authentic, included in music selections below.

List of online resources and music selection for week 2 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.

View:  Part 1

Week 2
June 10-14, 2013
Dub Music/Hip-Hop

Music selection and relevant links:

Links used to contextualize why everything is not a remix, but why the concept of remixing has become popular to discuss recycling of material in forms beyond music:

Everything is a Remix, Part 1
http://vimeo.com/14912890
Everything is a Remix, Part 2
http://vimeo.com/19447662

 

Historical resources:

History of Jamaican Music Pt 1
(Discusses ska and rock steady)
http://www.youtube.com/watch?v=C4J4P6ozT0g
BBC Reggae The Story of Jamaican Music Programme 2 Rebel Music
(Discusses reggae and briefly dub)
http://www.youtube.com/watch?v=WvycRljrAH4
BBC Reggae The Story of Jamaican Music Programme 3 As Raw As Ever
(Internationalization of Jamaican music)
http://www.youtube.com/watch?v=AnBCnX_Hctk

Dub Stories (full documentary): View the first half. The second half of the documentary is about Dub in France :
http://www.youtube.com/watch?v=D6Eet-sm8Yw

Deep Soul The Up Rising Of Motown Part 1
http://www.youtube.com/watch?v=wkd1c4T5HiE
Deep Soul The Up Rising Of Motown Part 2
http://www.youtube.com/watch?v=Xe9NGrEJQEE
Deep Soul The Up Rising Of Otis Redding Part 3
http://www.youtube.com/watch?v=NXGallmBcTA
Deep Soul The Up Rising Of Otis Redding Part 4
http://www.youtube.com/watch?v=8jFXR6o639g

 

Music Selection from Jamaica, 1960s:

Ska:

Ernest Ranglin, “Liquidation”
http://www.youtube.com/watch?v=jJ_iZ9iBYBM

Skatalites – Ska Authentic (Album, 1964)
http://www.youtube.com/watch?v=K4kH8PvwDyM&list=
PL0A7039D867DDDA2A

Skatalites – Simmer down (1964)
http://www.youtube.com/watch?v=O9HyXc4e7Qc
Youtube’s Music Selection of Skatalites and Ska:
http://www.youtube.com/watch?v=OwPLeczyhKg&list=RD02O9HyXc4e7Qc

Rock Steady:

John Holt & The Paragons – “I’ve Got To Get Away” (1968)
http://www.youtube.com/watch?v=kRDILYQqUkM
YouTube’s Music Selection of The Paragons:
http://www.youtube.com/watch?v=ECwMLVUt67c&list=
PL22729AAD8001A0B9

The Melodians – “You Don’t Need Me” (1968)
http://www.youtube.com/watch?v=uHe3owGT7iw

Studio 1 recordings:
http://www.youtube.com/watch?v=_fCJEmh0G1g&list=RD02uHe3owGT7iw

Reggae (See England)

Dub (mainly 1970s):

Lee Perry and King Jammy – “Rude Boy”
http://www.youtube.com/watch?v=Y87id6TGopc

King Tubby & Augustus Pablo – “Ruler Fi Dub”
http://www.youtube.com/watch?v=hIhaL04aJpI&noredirect=1
YouTube’s Music Selection of King Tubby:
http://www.youtube.com/watch?v=ZvYSYOKFCbk&list=RD025iQxCG1c39I

YouTube Music Selection of Mad Professor:
http://www.youtube.com/watch?v=BU75iSYyphY&list=RD02ctnz-GciFQ0

 

Music Selection from England, 1960s/70s:

Reggae (recordings took place in England, or were made popular internationally through England, with close ties to Jamaica):

Jimmy Cliff, “The Harder They Come”
http://www.youtube.com/watch?v=xGE4dnrPPZQ
Jimmy Cliff & others, YouTube’s Selection:
http://www.youtube.com/watch?v=18EAqHx2lMk&list=RD02ixBo3niO_Do

Bob Marley – Catch a Fire (First Album, 1973):
http://www.youtube.com/watch?v=bDadSKdegBo&list=PL9BDE49614C503F66
YouTube Music Selection of Bob Marley:
http://www.youtube.com/watch?v=us7hfASz0g4&list=RD026QC_ZMWTxJU

Bob & Marcia – “Young, Gifted and Black”
http://www.youtube.com/watch?v=ubDVUQon5BE
Bob & Marcia – “Really Together”
http://www.youtube.com/watch?v=mi6LDdBdvzo

 

Music Selection from the United States, 1960s-70s:

The Supremes “Baby Love” (1964)
http://www.youtube.com/watch?v=23UkIkwy5ZM

Marvin Gaye – “Easy Living” (1964)
http://www.youtube.com/watch?v=SzyeHRQdTHQ
YouTube Music Selection of Marvin Gaye:
http://www.youtube.com/watch?v=ARWFDoADlqk&list=RD02SzyeHRQdTHQ

James Brown – “The Payback” (1973)
http://www.youtube.com/watch?v=IST6qRfVqwY

Motown Music Selection:
http://www.youtube.com/watch?v=VTe06PrXwo4&list=RD02–jWPzNNdN4

 

(Looking ahead to week 3)
How concepts of Dub and the selector & MC/Deejay were popularly introduced in pop music:

Chic – “Good Times” (1979)
http://www.youtube.com/watch?v=8g6bUe5MDRo

Sugarhill Gang – “Rapper’s Delight” (1979)
http://www.youtube.com/watch?v=diiL9bqvalo

Hip-Hop to Dubstep: International Music Styles and the Remix, Part 1 of 7


Above: “Rehab” by the Jolly Boys, Mento cover of Amy WineHouse’s composition (listed below as part of music selection)

This summer I am teaching an onlline class on the history of remix in music since the 1960s for The New School’s  Media Studies, Department of Communication. I will be making available the music selections for each week in a total of 7 entries. I will be releasing brief notes based on my lectures in the near future, for now I am sharing the online resources and music selection.  The first week’s list of resources is below, following the description of the class. If interested in looking at the actual class webpage with all the weekly selections at once, feel free to peruse it: 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.

Course Description
This course is a theoretical and historical survey of popular music influenced by or part of the remix tradition in hip-hop and electronica. Emphasis is placed on the shaping of culture by media and vice-versa. Remixes are compositions that reconfigure a pre-existing music recording, often to make it more danceable. As simple as the definition sounds, it carries a complex set of cultural variables that include issues of class, gender, and ethnicity. Listening exercises and analysis of recorded music is complemented by readings that provide understanding of the historical context and theoretical underpinning of remix practices. Our survey begins with popular music in the United States in the early 1950s, including Blues, R&B, Rock n’ Roll, and early funk. In the 1960s, this music was appropriated in the Caribbean and gave birth to new styles, Calypso, Ska, Reggae, and Dub. Then it came full circle back to the United States with the development of hip-hop music. The rise of the international styles called trip-hop, drum ‘n’ bass, and dubstep and the parallel history of techno and house music and styles in-between are then considered, in order to arrive at a theoretical understanding of the complexity of contemporary music and the extent to which it has been defined by the principles of sampling and remix.

———–

Week 1
June 3, – 7, 2013
Pre-history/Critical Context
1900 – 1960s

Music selection and relevant links:

Jamaican Music style before the ’60s:

Mento Music:
http://www.mentomusic.com/WhatIsMento.htm
http://worldmusic.about.com/od/genres/p/Mento.htm
Selection of Mento Music:
http://www.mentomusic.com/buy.htm

Brief Video on Mento Music:
http://www.youtube.com/watch?v=2NWpJZ0t48k

Jamaican Folk Dances Explained:
http://www.youtube.com/watch?v=RvktJry98nY

Hil and Gully Rider:
http://www.youtube.com/watch?v=tCpTkfYVHpQ

Contemporary Mento Band, The Jolly Boys:
http://www.youtube.com/watch?v=XDzzlNX-h7Q

Versioning Mento:
Amy Winhouse’s “Rehab” Mento Version by The Jolly Boys:
http://www.youtube.com/watch?v=XOwl-bMfIkc
Winehouse’s “Rebhab”:
http://www.youtube.com/watch?v=KUmZp8pR1uc

Jamaican Journey – from mento to dubstep:
http://www.youtube.com/watch?v=wlkf-F803bI

 

Selection of Music from the United States that influenced Jamaican Culture:

Charles Brown – “Rockin’ Blues”
http://www.youtube.com/watch?v=flr6S-orNr8
YouTube’s Charles Brown Music Selection:
http://www.youtube.com/watch?v=CGtu2gMRIPU&list=RD02T77Ubj6EGlE

Louis Jordan, “Let the Good Times Roll”
http://www.youtube.com/watch?v=DCWUvI7yKtQ
YouTube’s Louise Jordan Music Selection:
http://www.youtube.com/watch?v=DCWUvI7yKtQ&list=RD021NAUeL0D4SI

Big Joe Turner – “Shake, Rattle & Roll”:
http://www.youtube.com/watch?v=20Feq_Nt3nM
YouTube’s Big Joe Turner’s Music Selection:
http://www.youtube.com/watch?v=MJsod7Lgn8E&list=RD02bMcfKSeVKDA

Nat King Cole, “Nature Boy”
http://www.youtube.com/watch?v=Iq0XJCJ1Srw
YouTube’s Nat King Cole’s Music Selection:
http://www.youtube.com/watch?v=6QRiG_WEzTQ&list=RD02J1glriB54oE

Peggy Lee, “Fever” (1958)
http://www.youtube.com/watch?v=JGb5IweiYG8

Abbie Mitchell, “Summertime” (1935)
http://www.youtube.com/watch?v=x0g12TrSnIE

Billie Holiday, “Summertime” (1936)
http://www.youtube.com/watch?v=Uc-_8LdKTDA

Miles Davis, “Summertime” (1958)
http://www.youtube.com/watch?v=BQtAWKQ_M7w

 

Versioning “Fever” and “Summertime:”

Susan Cadogan, “Fever”
http://www.youtube.com/watch?v=T1jvw005Pt0

Ska version of “Summertime” by The Rude Boys (2000)
http://www.youtube.com/watch?v=xV4W6JqUJpI

Reggae version of “Summertime” by B. B. Seaton (1973)
http://www.youtube.com/watch?v=5RAMm_VmOjA

 

Versioning  in Jungle/Drum ‘n’ Bass:

“Sweetest Taboo” by Sade:
http://www.youtube.com/watch?v=kcPc18SG6uA
“Sweetest Taboo” by Sweet Corner:
http://www.youtube.com/watch?v=B6glc6egYdg

Beatles, “Come Together”
http://www.youtube.com/watch?v=axb2sHpGwHQ
MC Olive, “Come Together”
http://www.youtube.com/watch?v=DVkPYGZnLks

Copyright Law Chart Worth Looking Over

Graphic by Ben Jackson and Chris Ritter as credited on Buzzfeed

The chart above was posted on Buzzfeed back in October of 2012. It was linked to an article titled “Why Remix Culture Needs New Copyright Laws.” The article revisits many of the issues that are still prevalent in 2013 in terms of remix. One would expect major changes at this stage of media production, especially with social media, but the chart reminds independent media producers that there is much work that needs to be done.

Remix Image Inspired by the Title of my Book, Remix Theory

I received a tweet with the image above.  I think it’s a good remix in its own right. It appropriates not only the title of my book but also the concept behind the sound of music quite well.

Thanks to Harold Schellinx; his tweet: https://twitter.com/hefferman/status/321968978903851008/photo/1

Text Release: Modular Complexity and Remix: The Collapse of Time and Space into Search, by Eduardo Navas

Note: This text was written for the peer review Journal AnthroVision 1.1 | 2012 : First issue. It was published in September of 2012. It is released here with permission from the editors. A special thanks to Nadine Wanono and the peer reviewers for all their support in the process of revising and publishing the text.  This essay is the first formal release of my post-doc research for The Department of Information Science and Media Studies at The University of Bergen, Norway in collaboration with The Software Studies Lab at Calit2, University of California, San Diego during the period of 2010-2012. I will be releasing more of my research in the near future. For now, you may also look over related material, available under Projects.

For proper text citation use:

Référence électronique
Eduardo Navas, « Modular Complexity and Remix: The Collapse of Time and Space into Search  », Anthrovision [En ligne], 1.1 | 2012, mis en ligne le 01 septembre 2012, consulté le 15 mars 2013. URL : http://lodel.revues.org/10/anthrovision/324

Download and read the complete article: DownLoad PDF

Excerpt:

If postmodernity consisted of the collapse of time into space, then the time of globalization at the beginning of the twenty-first century consists of the collapse of time and space into search.  Culture has entered a stage in which time and space are redefined by modular access to knowledge in unprecedented fashion with the use of search engines. Search redefines the way people come to terms with historical developments that are constantly recycled and remixed with the use of new media technology.  A search is usually performed with engines such as Google and Bing; technology that is founded on research that brings together private and public interests.

This text is a reflection on the implications behind search algorithms that provide people with material that is relevant in correlation to a hierarchy of supposed importance that may reach great popularity, and perhaps even go viral (large circulation online) according to the use of key terms known as meta-data. This text is an evaluation of the aesthetics of search made possible because of what I call modular complexity; meaning, the ability to function within a system of modules that are autonomous but that also effectively inform and redefine each other.[1]  This, in effect, leads to the collapse of time and space into search; meaning, if the postmodern gave way to a sense of historical dismissal, such attitude is fully at play in networked culture as ahistoricity.  This shift, which informs emerging markets on the global network, repurposes interdisciplinary methodologies across fields of research in the social sciences as well as the humanities.

[1] I first introduce the concept of Modular Complexity in the Essay “Remix: The Ethics of Modular Complexity in Sustainability,” written for CSPA Journal’s Spring 2010 issue.  See: http://remixtheory.net/?p=461

Download and read the complete article: DownLoad PDF

The Framework of Culture: Remix in Music, Art, and Literature, by Eduardo Navas

Image: The four diagrams of The Framework of Culture. Each is discussed below.

Note: This text was commissioned for the exhibition Reuse Aloud, taking place at the NewBridge Project Space, Newcastle, England; and broadcasting 24 hours a day on basic.fm throughout March, 2013. Many thanks to the curators Will Strong and Rosanna Skett for commissioning the text.  A recorded version is also part of the exhibition.

An earlier version of this text was presented as my keynote speech for Remixed Media Festival in NYC.  In that occassion I only focused on literature. The version for Reuse Aloud was revised to include art and music as well. My thanks to Tom Tenney, director of the NYC festival for giving me the opportunity to test my ideas in front of a very receptive audience.

This text can also be downloaded as a PDF, which is friendlier for print, or for reading on tablets: NavasFrameNC_Web

Introduction

We live in a time when the self-awareness of recycling of material and immaterial things is almost taken for granted. I state almost because, as the following analysis demonstrates, the potential of recycling as a creative act in what we refer to as remix is in constant friction with cultural production. Consequently, the purpose of this essay is to demonstrate the importance of remix as a practice worthy of proper recognition exactly because of its ability to challenge the mainstream’s ambivalent acceptance of aesthetic and critical production that relies on strategies of appropriation, recycling, and recontextualization of material.

Proper recognition is only worthy when it is an attestation of a particular achievement, which can only come about through struggle. Arguably a type of struggle that is certainly recognized and even celebrated quite often, (which admittedly makes for romantic narratives) is the basic human struggle: the will to live. We can think of struggle here as a term spanning across all types of activities, from war to natural disasters—many which are now commonly shared all over the world.

But to begin with a more basic premise, struggle in its most abstract form can simply consist of reflecting on the pain of self-awareness; of having the burden of knowing that we just exist and, for the most part, will do anything to make sure that we will exist for as long as possible. Many of us are willing to find ways to extend our lives before we take our last breath. Others, admittedly, will struggle to leave this world as soon as possible; thus, it may be suicide the subject of struggle in such cases. But this brief reflection on struggle as a humanistic preoccupation is mentioned because we diligently have extended it to everything we produce. It is an important ingredient in what we may call progress.  As romantic as it may sound, human beings have the tendency to struggle in order to be better; whatever that means. And as we have grown as a complex global society, we have been able to extend our struggle on to and through media.

(more…)

Some notes on Simon Reynolds’s Call for Originality, Eduardo Navas

Image source: slate, by Laura Terry.

Back in October of 2012 Simon Reynolds wrote a passionate piece on Remix Culture for Slate magazine titled “Your Are not a Switch” in which he calls out mainly scholars who are using the reference of the DJ and remixing to discuss issues of originality, and especially in his view, questioning the concept of the “genius.”  For me what is striking about Reynolds’s position is that he goes over much of the literature that has been produced for the last few years claiming that all of the authors (amazing that all of them,  a bit essentialist on his part disappointingly), especially those in academia are guilty of dismantling the originality in creativity.  To make a sweeping statement like this is troublesome enough but there is more.

As much as I like Reynolds’s research, including his most recent book titled Retromania, I have to say that his article is long-winded and does not contribute anything new, not even a strong counter-argument against the authors he calls out.  Reynolds appears to want to celebrate the artist as genius, and to do this he claims at the end of his article that there is something to the process of coming up with new material based on a unique interpretation.  Well, this is not so different from what some  of the authors that he is critiquing are saying.  In fact, this is the whole point of the books, such as Synreich’s Mashed up, or Amerika’s Remixthebook.  Perhaps it’s the “academic” or (I prefer) the systematic and rigorous approach of some of the publications that may come off as a way of killing the potential of creativity that is misread by Reynolds.  But to understand the grammar of a process, to understand the history, to understand the politics of a cultural activity does not mean that such an activity, in this case creativity, will whither. It simply means that we will understand it better and we need to because the process of borrowing from and being inspired by others now has turned into a material conflict that is finely tuned with economics.

I’m talking about copyright conflicts, of course. We need to understand the process of creativity because we need to make sure that it keeps flowing as it always has. With new technology we are able to archive more of that process and all that is archived becomes commodity in some way. This is really what is at play at the moment in, yes, all of the books and essays Reynolds is critical of; they are  contributions to overcoming such an impasse. And is creativity or the concept of the genius being redefined in this process? Yes.  But all things change, they evolve.  It’s the way we function.  We cannot hold on to some idea of genius or originality as it functioned in the past.  Just like photography redefined painting, just like the computer redefined just about every aspect of daily life, the concepts of the genius and originality are also being redefined.  And this is not a bad thing at all.

—–

I share a couple of paragraphs from Reynolds’s text below:

Many of these polemics make allusions to DJ culture in their titles: Mark Amerika’sremixthebook, Kirby Ferguson’s video essays and website Everything Is A RemixArram Sinnreich’s Mashed Up.Remixing and mashups are familiar—indeed, somewhat tired—notions in dance culture, but in critical circles they enjoy modish currency because they seem to capture something essential about the cut-and-paste sensibility fostered by digital culture. Likewise, the Internet’s gigantic archive of image, sound, text, and design has encouraged a view of the artist as primarily a curator, someone whose principal modes of operation involve recontextualization and connection-making.

As a neutral description of the current state of the art in many fields, this would be fine. But recreativists don’t just champion these practices, they make grand claims about the essentially recycled nature of all art. In Creative License: The Law and Culture of Digital Sampling, authors Kembrew McLeod and Peter DiCola quote the DJ Matt Black’s assertion that “humans are just sampling machines … that’s how we learn to paint and make music.” In an opinion piece for NPR, Alva Noë discussed contemporary anxieties about plagiarism in a cut-and-paste era and defended quotation as an artistic practice. But instead of stopping there, he also asserted that “sampling is nothing new, not in art, and not in life … Evolution, whether in biology, or in technology and culture, is never anything other than a redeployment of old means in new circumstances.* We use the old to make the new and the new is always old.” Much the same idea crops up in Austin Kleon’s Steal Like an Artist, a sort of self-help manual for modern creatives. Kleon moves quickly from “every new idea is just a mashup or a remix of one or more previous ideas” to insisting that “you are the sum of your influences” and that “you’re a remix of your mom and dad.”

 Read the complete article at Slate

Exhibition: Three Junctures of Remix, Curated by Eduardo Navas

Date: January 17th, 2013
Time: 5p Panel; 6p Reception
Location: Calit2 Auditorium and gallery@calit2, Atkinson Hall, UC San Diego
Host: Jordan Crandall, Vis Arts and gallery@calit2

Guest Speaker: Eduardo Navas, Curator (pictured); Artwork by
Mark Amerika & Chad Mossholder, Giselle Beiguelman, Arcángel Constantini, Elisa Kreisinger

DESCRIPTION/ABSTRACT:
A panel discussion and reception mark the opening of Three Junctures of Remix, curated by Eduardo Navas. It runs Jan. 17 to March 15 in the gallery@calit2.

The exhibition THREE JUNCTURES OF REMIX features the art of Mark Amerika & Chad Mossholder, Arcángel Constantini, Giselle Beiguelman, and Elisa Kreisinger, a group of international artists who have explored and reflected on the implications of the creative act of remixing since the concept became popular beginning in the nineties. The art works crossover and explore three junctures (moments of production) of remix: the pre-digital/analog; the digital; and the post-digital which developed in chronological order, but after their initial manifestation, became intertwined and currently are often reintroduced in conjunction to inform the aesthetics of remix as a creative act in art practice. The exhibition is curated to reflect on how computing has enabled people to recombine pre-existing material with unprecedented efficiency that is relatively affordable just about everywhere information-based technology is widely used. This has affected how local and global communities view their cultural production, from politics to the arts.

(more…)

The New Aesthetic and The Framework of Culture, by Eduardo Navas

Look

Look #1, Adam Harvey, http://cvdazzle.com/assets/images/comparison_lg.jpg (accessed October 12, 2012).

My text “The New Aesthetic and The Framework of Culture” was published in the Media-N Journal issue for Fall 2012: v.08 n.02: Found – Sampled – Stolen – Strategies of Appropriation in New Media . Media-N is The New Media Caucus‘s peer-review journal. Many thanks to Joshua Rosenstock and Pat Badani for their generous feedback, and editing.

Part of the introduction follows below.  For the full text visit Media-N.

This essay is a critical overview of the New Aesthetic in the context of what I define as The Framework of Culture. The New Aesthetic relies heavily on principles of remixing, and for this reason it is not so much a movement, but arguably more of an attitude towards media production that is overtly aware of computing processes that are embedded in every aspect of daily life. Material considered part of The New Aesthetic often, though not always, consists of pixilated designs that make reference to digital manipulation of contemporary media.

One of the The New Aesthetic’s resonating issues is that by using the word “new” it appears invested in the recontextualization of cultural production that is aware of its materialization through the use of digital technology. At the same time, it also appears to be revisiting much of what new media already examined during the early stages of networked communication beginning in the mid-nineties. [1] The subject of interest in this text is not whether The New Aesthetic may be something actually “new,” or simply a trend revisiting cultural variables already well defined by previous stages of media production. Rather, what is relevant is that The New Aesthetic makes evident how recycling of concepts and materials is at play in ways that differ from previous forms of production.

Read the complete article at Media-N

Book Release, Depletion Design: A Glossary of Network Ecologies

I’m very happy to have a contribution in the book Depletion Design: A Glossary of Network Ecologies, edited by Carolin Wiedemann and Zoenke Zehle; published by Institute of Network Cultures as part of their series Theory on Demand. The publication includes well-known theorists.  My contribution is a text titled “Remix[ing] Re/Appropriations” which was originally commissioned by the MEIAC for the exhibition Re/appropriations, curated by Gustavo Romano. I released it previously on Remix Theory.

Description of the publication (from xm:lab):

‘Depletion Design’ suggests that ideas of exhaustion cut across cultural, environmentalist, and political idioms and offers ways to explore the emergence of new material assemblages. Soenke Zehle and Carolin Wiedemann discuss Depletion Design with Marie-Luise Angerer, Jennifer Gabrys and David M. Berry, inviting tm13 participants into a collaborative reflection on the necessity to understand human beings as one species among others – constituted by interactions of media, organisms, weather patterns, ecosystems, thought patterns, cities, discourses, fashions, populations, brains, markets, dance nights and bacterial exchanges (Angerer); on the material leftovers of electronics as provocations  to think through and rework practices of material politics that may be less exploitative within our natural-cultural relationships (Gabrys); and on lines of flight from and through the computational – about expanding them into new ways of living beyond current limitations and towards new means of judgment and politics (Berry).

 

Depletion Design: A Glossary of Network Ecologies

Ed. Carolin Wiedemann & Soenke Zehle

 

Theory on Demand#8

Amsterdam: INC, 2012

 

We, or so we are told, are running out of time, of time to develop alternatives to a new politics of emergency, as constant crisis has exhausted the means of a politics of representation too slow for the state of exception, too ignorant of the distribution of political agency, too focused on the governability of financial architectures. But new forms of individual and collective agency already emerge, as we learn to live, love, work within the horizon of depletion, to ask what it means to sustain ourselves, each other, again. Of these and other knowledges so created, there can no longer be an encyclopedia; a glossary, perhaps.

 

Contributors: Marie-Luise Angerer (Cyborg), Franco ‘Bifo’ Berardi (Exhaustion, Soul Work), David M. Berry (On Terminality), Zach Blas (Queer Darkness), Drew S. Burk (Grey Ecology), Gabriella Coleman (Anonymous), Heidi Rae Cooley (Ecologies of Practice), Sebastian Deterding (Playful Technologies, Persuasive Design), Jennifer Gabrys (Natural History, Salvage), Johannes Grenzfurthner & Frank A. Schneider (Hackerspace), Eric Kluitenberg (Sustainable Immobility), Boyan Manchev (Disorganisation, Persistence), Lev Manovich (Software), Sonia Matos (Wicked Problems), Timothy Morton (Ecology without Nature), Jason W. Moore (Crisis), Anna Munster (Digital Embodiment), Eduardo Navas (Remix[ing] Re/Appropriations), Brett Neilson (Fracking), Sebastian Olma (Biopolitics, Creative Industries, Vitalism), Luciana Parisi (Algorithmic Architecture), Jussi Parikka (Dust Matter), Judith Revel (Common), Ned Rossiter (Dirt Research), Sean Smith (Information Bomb), Hito Steyerl (Spam of the Earth)

Publication (English Version): Theory on Demand

 

This text is published under a Creative Commons licence (Attribution-NonCommercial-ShareAlike).

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