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Archive of the category 'Hacking'

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.

Packet Switching, then, in cultural terms, is complex; when it was introduced to the world with the use of the Internet, it came to redefine every aspect of daily life from the way people communicate with others to the way people understand themselves as part of a society. Packet switching in effect is both a technological and ideological action. The relation of these actions is the driving force behind Dietrick and Mundy’s ongoing body of work. Their production consistently points to the history and politics behind a seemingly straight forward functional act of information transfer. Their work connects real aspects of daily life to aesthetics, making evident that they are intimately linked and therefore must be understood as parallel elements that reshape cultures not only in the United States but all over the world. In the realm of aesthetics, Packet Switching is a worthy contribution to the ongoing relation between art and culture, as well as the complexity of art practice, itself, following a line of inquiry that goes back to the days of minimal art throughout the 1970s.

Art Packets
Dietrick’s and Mundy’s work in its most reductive form is data which is reconfigured for specific exhibition settings. So far different projects have been shown in a few cities including, Kassel, Germany; Tallahassee, Florida; Washington D.C. and Orlando, Florida.

Dietrick’s and Mundy’s installations are not merely formal exercises. When looking at the source code of their works, one learns that it consists of information about pre-existing architectural structures, or the housing and real estate markets relevant to the cities in which the work is being shown, which is reconfigured to create semi-abstract images that appear to be in the process of becoming something, never fully completed: in potentia.

The first installation in Kassel conceived for the Temporary Home exhibition during Documenta 13 in July of 2012 already offered a sense of the process through which the body of work would eventually be moving: from large static wall prints to generated animations to be projected on the gallery walls.

Kassel’s installation, in historical terms, is a contribution to the tradition of the white cube, and as such, the gallery visitor was able to evaluate the abstract architectural forms on principles of beauty. The viewer was encouraged to become aware of the gallery space as an architectural environment that aside from the large wall-print, was empty. At the same time, the design was defined by architectural data specific to German architecture; information-fragments of virtual models of Bauhaus buildings were literally remixed to develop the abstract design. And here we can note an important point that will recur in the work of Dietrick and Mundy, which is the use of pre-existing architectural data to develop semi-abstract visualizations.  Given the tradition of appropriation in art practice as a type of commentary, this action, by default, makes their work prone to be a critical reflection on the material it appropriates, even if it appears as a design primarily produced for aesthetic experience. As it becomes evident in the analysis of other installations developed later, this aspect of Dietrick’s and Mundy’s work becomes crucial in bridging the relation between art experienced in the gallery and the sources taken from the world beyond the white cube to develop such work.

Their next wall-print visualization was installed at Weimer Hall in the College of Journalism and Communications at the University of Florida, Gainesville. The philosophy in the construction of this building is to have all media, web, print, TV, and radio together in one space for open collaboration. In this case the work functions along the lines of public art. What this installation shares in common with the first version in Kassel is a clear relation to the architectural space in which it is displayed; in both cases the works of art  demand of the visitor to reconsider the aspects of the buildings that may be taken for granted; however, the installation at the university carefully complements the environment, to the point that, arguably, it gets lost within the architecture, becoming inseparable from it; thus providing an aesthetic experience: a visual form as background noise.

When the design is acknowledged one can reflect on the abstract forms independently, while realizing that they are integral to the architectural space. The design unexpectedly gives a sense of disruption, because the image clashes against the building’s proportions. It does not have uniform vertical and horizontal lines that follow and complement the architecture, but diagonals that move across the walls delineating bright-colored areas that clearly  invite the viewer to question their assumptions about the building itself.

The apparent movement of the architectural structures first introduced in Kassel and Tallahassee comes to be fully animated in the exhibition Grid, Sequence Me. which took place in Washington D.C. In this case, the gallery visitor is able to experience the actual movement of the architectural elements in real time, according to the computer programming by the artists. Transparency is a key point for this installation, which is why the source code is also projected on one of the walls, for the viewer to appreciate the actual process behind the animated wall projections.

This exhibition consisted of two new projections generated with custom software that through its fragmentation of images of publicly-owned buildings in downtown Washington D.C. makes a metaphorical reference to the complex financial systems of the housing market boom. And it is at this point that the artists’ interests in connecting aesthetics with cultural issues become most apparent. In this installation any possible aesthetic experience is met with a reality check, in which the viewer must evaluate how an apparent beautiful image is possible thanks to the dire situation of an economic market.

The postmodern preoccupation with the object of art eventually manifests itself in Dietrick’s and Mundy’s installation 1.5 x 3.5 at the Orlando Museum of Art. This piece is directly related to the tradition of minimalist art. As such,  the artists cite the work of Tony Smith; specifically his writing about the time he drove over an unfinished turnpike in New Jersey. Smith’s incident became known through an interview that was published in the art magazine Artforum in December 1966,[3] and eventually was mentioned by Michael Fried in his essay “Art and Objecthood” as an example of “literalist art” or “ABC art” as he came to define minimalism and other art production that he deemed not to follow Greenbergian aesthetics, taking place during the seventies.[4] Fried’s contention with work such as Smith’s is that it emphasizes a theatricality in art, something that he argued should be distanced from visual art practice because it devalued the experience that art could provide the viewer.  In short, for Fried the work of Smith and his contemporaries diminished the aesthetic experience that art (all the arts including theater) could provide the viewer because it did not offer “presentness”[5] but instead it made reference to the context and the environment which makes the art experience possible.

Cultural Politics
New media art, certainly work similar to Dietrick’s and Mundy’s, has a direct relationship to minimalism. This begins to be apparent in the museum of Kassel’s installation, it becomes evident in the Washington D.C. exhibition, and is fully manifested in their exhibition properly titled Packet Switching at the Orlando Museum, in which the influence of, particularly, the work of Smith is clear.  They write when describing the work:

Ubiquitous as an article for the construction of buildings, as well as a formal, minimal, primitive shape, the 2 x 4 here is transformed through its incorporation into a virtual space. The simulation of the generic form becomes an index for any building material, physical or digital, and its manipulation, a metaphor for the fragmentation of digital communication.[6]

One of Fried’s criticism of Smith’s experience on the New Jersey turnpike is that it points to an inexhaustible possibility which needs no object.  The highway in front of Smith is interpreted by Fried as the possibility to experience “endlessness,”[7] which for him takes away from the presentness that the work of art is supposed to offer the viewer. In fact, Fried considered the hesitance of Robert Morris (another contemporary of Smith), to place minimal objects into the open air, in nature as proof that what literalists art performed in the gallery was what Smith experienced on the turnpike.[8]

The animation by Dietrick and Mundy reenacts the sensibility which Fried critiqued. In their installation, a single beam not only moves in space, but also multiplies to eventually construct, or allude to the possibility of building some type of living space.  Following the hint from Smith’s drive down the incomplete highway, the beam was inspired by a housing development just northeast of Orlando, nestled between the Florida Turnpike and Old Country Road 50. In this sense the potential of literal art to let the world experience a moment that is supposed to privilege presentness comes to take effect, and again one is reminded on the fluctuating economy of the real estate market in the United States, because one has to acknowledge the politics of the U. S. economy and culture.

Switching Packets
At the time of this writing it is well accepted that minimalism, and other forms of art practices, such as performance, and conceptualism, fully acknowledge their relation to the world beyond the white cube. If anything, many contemporary artists strive to make this connection the very core of their practice.  Dietrick and Mundy contribute to this paradigm by taking on the minimalist tradition to comment on the frictions of real estate and architecture in the specific places where their works are exhibited. And by using the concept and technology of packet switching to develop their wall-prints and installations, they remind the viewer of the social context that consists of class relations and the economy that informs the very moments in which we may have an aesthetic experience; one which paradoxically is contingent on information access and interpretation. In other words, in Dietrick’s and Mundy’s work the viewer can appreciate art for its presentness while also understanding that it is informed by complex social and economic issues which paradoxically make the aesthetic experience in the art gallery possible. Their work makes evident that trying to create an art work in which one can escape to have an aesthetic experience without politics is to play into the very politics one is trying to escape, especially in a time when information flows to be remixed everywhere.

Remixing Packets
Presenteness is mashed with politics in Packet Switching. Dietrick and Mundy update and reposition the principles that informed minimalism but they do so with no actual object. There is only information, data at play, which is displayed as a projection on gallery walls.  What’s more, one is aware that such simulation is basically code reconfigured–remixed–to appear as a series of objects that one can recognize as an open-ended, ever-evolving piece of construction.  Packet Switching is a body of work that takes on the very principles of the society of the spectacle; it takes theatricality as critiqued and defined by Fried, and makes art that demands critical reflection from the viewer, but at the same time is abstract and open-ended as a visual experience. One can evaluate the works in terms of aesthetics, but one eventually must also face the social infrastructure that makes such experience possible. It is the balance between these two areas of cultural production that is not always easy to touch upon successfully. Like true hackers, then, Dietrick and Mundy crack into the codes of both the economy and aesthetics to expose the relation among information exchange, architecture, and social issues which are part of a network that affects all aspects of society and culture.

[1] Paul Edwards, The Closed World (Cambridge, Massachussetts: MIT Press, 1996), 43 – 74.
[2] For a consise history see “Brief History of the Internet,” Internet Society, http://www.internetsociety.org/internet/what-internet/history-internet/brief-history-internet, accessed December 15, 2013.
[3] Tony Smith, “From an Interview with Samuel Wagstaff Jr.,” Art in Theory, eds. Charles Harrison and Paul Wood (Oxford, U.K. and Cambridge, U.S.: Blackwell Press, 1995), 741.
[4] See footnote 8 in Fried’s text, where Fried claims that theatricality links the minimalists to other artists in different disciplines, such as Kaprow, Cornell, Rauschenberg, Oldenburg, etc: Michael Fried, “Art and Objecthood,” Minimal Art, ed. Gregory Battcock (Berkley, Los Angeles, London: University of California Press, 1995),  130.
[5] Ibid, 147.
[6] Owen Mundy’s website, http://owenmundy.com/site/1.5×3.5, accessed on December 15, 2013
[7] Fried, 144
[8] Ibid, 135.

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

 

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

 

John Cage 2 Compositions for Piano @ 3 (Remix)

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)

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)

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.

Hip-Hop to Dubstep: International Music Styles and the Remix, Part 5 of 7

Above: “portishead – documentaire – 1998 (welcome to portishead)”, included in the resource selections below.

List of online resources and music selection for week 5 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
Part 2
Part 3
Part 4

Week 5
Trip-Hop/Downtempo/Drum ‘n’ Bass
July 1 – July 5, 2013

Music Selection and Relevant Links:

The Drum and Bass Diaries: Episode I – What is Drum and Bass?
http://www.youtube.com/watch?v=EAV8L7wae_I
The Drum and Bass Diaries: Episode II – What is a Rave?
http://www.youtube.com/watch?v=GSC3plKDiZE
The Drum and Bass Diaries: Episode III – The Master of Ceremony
http://www.youtube.com/watch?v=uxkdckYB7VY
The Drum and Bass Diaries: Episode IV – The Life of a DJ
http://www.youtube.com/watch?v=bOcQHyGKj-A
The Drum and Bass Diaries: Episode V – Making Music
http://www.youtube.com/watch?v=-LnfVPV4Ymo
The Drum and Bass Diaries: Episode VI – The Next Generation
http://www.youtube.com/watch?v=t_FTwpM-m2o
The Drum and Bass Diaries: Episode VII – The Future
http://www.youtube.com/watch?v=4OpHbkvdpG0
The Drum and Bass Diaries: Episode VIII – The Love
http://www.youtube.com/watch?v=-uNfg4w4v4w

The Bristol Sound
http://www.youtube.com/watch?v=V34aBj4txCc
MASSIVE ATTACK PORTISHEAD Bristol Academy, 19th February 2005
http://www.youtube.com/watch?v=WS8ghabeIGc
portishead – documentaire – 1998 (welcome to portishead)
http://www.youtube.com/watch?v=rElcSg81Qgo

Roni Size – BBC 2 – The Works Documentary Part 1
http://www.youtube.com/watch?v=3lErrB_AVGQ
Roni Size – BBC 2 – The Works Documentary Part 2
http://www.youtube.com/watch?v=Ddhuq_cc1Q8

To undestand the process and history of sampling, view Nate Harrison’s
“Amen Break”
http://www.youtube.com/watch?v=5SaFTm2bcac
The Winstons – “Amen Brother”
http://www.youtube.com/watch?v=GxZuq57_bYM

The concept album (to be considered in relation to noise and the studio as a music instrument):
The Pet Sounds/Sgt. Pepper Connection-Part 1
http://www.youtube.com/watch?v=cz4rHCRNy_U
The Pet Sounds/Sgt. Pepper Connection-Part 2
http://www.youtube.com/watch?v=IU7fG_tQoPo

Trip-Hop/Downtempo Selection:

Double Dee and Steinski Lesson 1:
http://www.youtube.com/watch?v=a8Bkk4fwBHw
Double Dee and Steinski Lesson 2 (1984):
http://www.youtube.com/watch?v=vaFQX5_4qJw
Double Dee and Steinki Lesson 3 (1985):
http://www.youtube.com/watch?v=u4HEhOObGYw

Coldcut – “Say Kids What time is it?” (1987)
http://www.youtube.com/watch?v=gOlI-pi3Zug
Coldcut – “Beats and Pieces” (1987)
http://www.youtube.com/watch?v=DyIQ2Nzcx_E
(Coldcut remixed Eric B & Rakim’s “Paid in Full” thanks to the recognition of the two tracks above. See week 4 for links that explain more about “Paid in full.”)
Coldcut was heavily influenced by the aesthetics of cut & paste as performed on the turntables by Grandmaster Flash on his well-known “Grandmaster
Flash’s Adventures on the Wheels of Steel” (1981)
http://www.youtube.com/watch?v=gXNzMVLqIHg

DJ Shadow – “Midnight in a Perfect World”
http://www.youtube.com/watch?v=8FboDWxVuxc
JFB Midnight (Dj Shadow) Routine
http://www.youtube.com/watch?v=Wgkzcid28ZU
Midnight In A Perfect World (Extended Version) – DJ Shadow
http://www.youtube.com/watch?v=oWRekgV671c
DJ Shadow – Midnight In A Perfect World [Gab Remix]
http://www.youtube.com/watch?v=MxK6GzfhuTo

Massive Attack – Protection (1994)
http://www.youtube.com/watch?v=Mpmc8m87
kIc&list=PLE02D96538B2819D1
Mad Professor vs. Massive Attack – No Protection (1994)
http://www.youtube.com/watch?v=F3VhggpAgF8&list=PL-W4U8Ymet4oRlZyU62u22ZwW7lIvZ6h5

Massive Attack – “Thankful for what you’ve got” (1991)
http://www.youtube.com/watch?v=gcEeqFTx2_k
The above is a cover of Vaughn’s original recording:
William De Vaughn – “Thankful for What You’ve Got”
http://www.youtube.com/watch?v=KDTXljIqxRE
William De Vaughn’s composition was recorded in various dance versions (currently not sure of proper authors of these remixes):
http://www.youtube.com/watch?v=0KFpaWVy-Ac
http://www.youtube.com/watch?v=ZycUHTlfGpA
http://www.youtube.com/watch?v=778JCaw4eZ0
Remixed by Paul Oakenfold and Steve Osborne
http://www.youtube.com/watch?v=d0H71Ps_1jU

Worth considering how Massive Attack’s cover gets remixed to fit the dialogue of a film (pay attention to how the verses get rearranged to complement the film):
http://www.youtube.com/watch?v=lU4EnYbCHJM

Portishead – Dummy (1994)
http://www.youtube.com/watch?v=c6Rvde1YeLE
Portishead – Roseland New York City (Live)
http://www.youtube.com/watch?v=ZFwnlCudeC0

Portishead – Numb
http://www.youtube.com/watch?v=M6rJn_TEu5Y
Portishead – Numb (remix)
http://www.youtube.com/watch?v=8VV8_BJQK8o

Portishead – “Sour Times”
http://www.youtube.com/watch?v=g7gutsi1uT4
Blondie – “Heart of Glass”
http://www.youtube.com/watch?v=WGU_4-5RaxU
Mashup – “Sour Glass” a mashup of Portishead “Sour Times” and Blondie’s “Heart of Glass”:
http://www.youtube.com/watch?v=xzqyZFHOcE0

Massive Attack and Portishead – Glorybox
http://www.youtube.com/watch?v=22kGEbIwmWY

Nightmares on Wax YouTube Music Selection from the Album Carboot Soul (1999):
http://www.youtube.com/watch?v=SvOBGKhd8wg&list=
RD02OfHlA_ipUp0

DJ Kicks’ Thievery Corporation (1999)
http://www.youtube.com/watch?v=wqTHBOd_H4E
Thievery Corporation Live at KCRW (2011)
http://www.youtube.com/watch?v=QfwPJhwh0Ew

Kruder and Dorfmeister (KD Sessions)
http://www.youtube.com/watch?v=iCU36y5utlw&list
=PLBF9F0CC9321D7F65
First song in the KD session above is a remix of Roni Size’s “Heroes”(1997) :
Roni Size “Heroes”: http://www.youtube.com/watch?v=Xb7fQhz21OU

DJ Crush’s Strictly Turntablized (1995)
http://www.youtube.com/watch?v=OkYNQHtjYWM

Tricky – “Aftermath” (1995)
http://www.youtube.com/watch?v=FWNOzFnYCI4
Tricky – Maxinquaye (Album, 1995)
http://www.youtube.com/watch?v=L8Xum7NrlEE&list=
PLBA6E68A26EBED593

 

Early Drum ‘n’ Bass (Jungle) Selection (note selection starts in the mid-nineties, just as Jungle is coming out of hardcore):

Shy FX & UK Apachi – Original nuttah (1994)
http://www.youtube.com/watch?v=AzbdBk6XQ6Y

Marvelous Cain – Hitman (1994)
http://www.youtube.com/watch?v=ZU_jg3e7Lso
Remix:http://www.youtube.com/watch?v=hhBLcc7iVNQ
Arguably a popular intro to cut into a set. Note the influence of dancehall in this version. Also note the Amen Break: Marvelous Cain – “Hitman (Dream Team Mix)”
http://www.youtube.com/watch?v=VQvG21alkTA
Marvelous Cain – “Jump Up” (1994)
http://www.youtube.com/watch?v=n45a1p3tryE

DJ Hype & Ganja Max (Feat MC Fats & DJ Daddy) – “Rinse Out” (1995)
http://www.youtube.com/watch?v=GaX31WvdB-A

TDK – “Friday” (Circa mid-90s)
http://www.youtube.com/watch?v=yfOuAq3xXKk

Splash – “Babylon” (1995)
http://www.youtube.com/watch?v=prFk3bLlLMU

Rude Bwoy Monty – “Summer Sumting” (1995)
http://www.youtube.com/watch?v=zo3Fs_jonHY

Krome & Time – “Licence” (1995)
http://www.youtube.com/watch?v=GgDrr9fNA6U
(Note that it uses the splced amen break)
Krome & Time – “Ganja Man” (1995)
http://www.youtube.com/watch?v=wSsVAzNXqRo

Droppin’ Science – “Easy” (1995)
http://www.youtube.com/watch?v=BMU9-2oFi-U

 

Drum ‘n’ Bass Selection:

Goldie - Timeless (1995)
http://www.youtube.com/watch?v=gN0yH4UrXjI

Goldie – “What You Won’t Do for Love (Radio Edit)” (1998)
http://www.youtube.com/watch?v=gfkbRQIX3NQ
Compare Goldie’s version with 2pac’s “Do For Love” (1997)
http://www.youtube.com/watch?v=br6y-BmBmRU
Original by Bobby Caldwell – “What You Won’t Do for Love”(1978)
http://www.youtube.com/watch?v=8NQ-Bk63Hs8

Photek – Selections from Modus Operandi (1997)
http://www.youtube.com/watch?v=gpryFZtdM0A&list=
PLUdmMccuxH2HJrCrFvMUa6g2VlyPvOpTI
Photek – various selections
http://www.youtube.com/watch?v=9qJKxaWb0_A&list=
RD021DIesf-xgz0
Photek – “Knitevision” (1998)
http://www.youtube.com/watch?v=1DIesf-xgz0

Roni Size & Reprazent – Selections from New Forms (1997)
http://www.youtube.com/watch?v=Xb7fQhz21OU&list=
RD02CIU37LagLUM
Roni Size – “Watching Windows” (1997)
http://www.youtube.com/watch?v=AZeGmKK8ZW0
Nuyorican Soul Remix of Roni Size’s “Watching Windows”
http://www.youtube.com/watch?v=i59m7ppfvhk

DJ Die – “Slide Away” (1998)
http://www.youtube.com/watch?v=_1vWWfe9OM4

Adam F – “Brand New Funk” (1998)
http://www.youtube.com/watch?v=81L-4BodG6o

Ray Keith – “Do it” (1998)
http://www.youtube.com/watch?v=zybnM4x_1Vo

Todd Terry – “Blackout” (1999)
http://www.youtube.com/watch?v=IITE8aR5pqk
Todd Terry - Resolutions (1999)
http://www.discogs.com/Todd-Terry-
Resolutions/master/113293

Digital – “Far Out” (Remix) (1997)
http://www.youtube.com/watch?v=71IAGWwU5uw

Ed Rush – Sabotage (1997)
http://www.youtube.com/watch?v=I0PxjQD8AKs

Aphrodite Music Selection
http://www.youtube.com/watch?v=TPXeDp2zwSc&list=
PL2BE2C5E5AD1963BA

Kemistry & Storm, radio session (1997)
http://www.youtube.com/watch?v=3qUPkUWhfOM

 

Jazz/Ambient Drum ‘n’ Bass Selection:

T. Power vs. MK Ultra – “Mutant Jazz” (1995)
http://www.youtube.com/watch?v=Ep6QiLXHLy0

LTJ Bukem – Logical Progressions (1996-2000)
http://www.youtube.com/watch?v=7xvcr8sCtlQ&list=
PL05E02CAEF38E1D6B

Cujo – “Traffic” (1997)
http://www.youtube.com/watch?v=l2KLl9Vf_Dg

Kosma – “Aeroboot” (2002)
http://www.youtube.com/watch?v=IVnIdWiol8Q

Red Snapper – “Crusoe Takes a Trip” (1996)
http://www.youtube.com/watch?v=cP2WedALHmQ

 

Drum ‘n’ Bass covers/versions worth of note:

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

Beatles, “Come Together”
http://www.youtube.com/watch?v=axb2sHpGwHQ
MC Olive, “Come Together” (1995)
http://www.youtube.com/watch?v=DVkPYGZnLks

Inia Kamose – “Here Comes the Hotstepper”
http://www.youtube.com/watch?v=qRMVL_kji40
Ini Kamose – “Here Comes the Hotstepper” (Booyaka Remix) (1995)
http://www.youtube.com/watch?v=kV3S4s3hLWs
The hip hop version takes the chorus from “Land of a Thousand Dances” by The Head Hunters (1965)
http://www.youtube.com/watch?v=etlD8gF8okI
R & B version by Wilson Pickett was more popular (1966):
http://www.youtube.com/watch?v=7fa4BfPQiKs

REUSE ALOUD

Image source: Basic.fm

Note: Very happy to be participating in the upcoming exhibition, ” Reuse Aloud.”  Information below.

Directly from the basic.fm blog:

Newcastle’s Tyneside Cinema and The NewBridge Project present Reuse Aloud, a month-long exhibition and radio broadcast throughout March 2013 featuring work from national and international artists, musicians and writers.

The project will be hosted in The NewBridge Project Space on New Bridge Street West and broadcast on Tyneside Cinema’s online radio station basic.fm as part of its digital arts programme, Pixel Palace.

Reuse Aloud is curated by Will Strong and Rosanna Skett and will examine the art of using old and existing compositions to make something new, and ask questions about originality in the digital age.

It will do this through an ambitious schedule of live and pre-recorded work with contributions from artists and musicians from across the globe, including critically acclaimed artists Frank Nora, Eduardo Navas and Natalia Skobeeva, DJs and mashup pioneers Z-trip and Girl Talk, and award-winning Canadian rap artist Baba Brinkman.

Throughout March a radio booth will be installed in the NewBridge Project Space and it will broadcast 24 hours a day on basic.fm.

Reuse Aloud will open to the public at 5pm on Friday 1 March with a preview event featuring new work from artists Andy Ingamells, Sam Christie, Jess Rose, Rachel Magdeburg and Joe Pochciol.

The project space will be open to the public Monday-Friday, 12noon–6pm throughout March and will culminate in a live 24-hour broadcast marathon starting at 6pm, Friday 29 March and running until 6pm, Saturday 30 March.

 

Regular updates about Reuse Aloud can be found at:
http://www.basic.fm/
www.thenewbridgeproject.com <http://www.thenewbridgeproject.com/>
http://www.facebook.com/events/117549618424766/

Panel Discussion for Three Junctures of Remix

Calit2 has made available the panel discussion for the exhibition I curated, Three Junctures of Remix. Artists part of the panel include, in order of appearance, Giselle Beiguelman, Elisa Kreisinger, Mark Amerika, and Arcangel Constanini. The discussion ends with a 10 minute performance by Constanini with his own musical object named Phonotube.

Eduardo

Current Projects