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Hip-Hop to Dubstep: International Music Styles and the Remix, Part 6 of 7

Above: “The Rise Of Dubstep | Documentary”, included in the resource selections below.

List of online resources and music selection for week 6 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
Part 5

Week 6
UK Garage/Dubstep
July 8 – 12, 2013

Music Selecion and Relevant Links:

UK Garage Documentary
http://www.youtube.com/watch?v=toV3mVjpl2w

A History of Dubstep in 4 Minutes – BBC Radio 1’s Stories
http://www.youtube.com/watch?v=Aq8MSXitgJ0
A History of Dubstep – The BBC Radio 1 Chronicles
http://www.youtube.com/watch?v=LTHNgUUvcR0

The Rise of Dubstep Documentary
http://www.youtube.com/watch?v=d5xm50c45U4

Dubfiles – Dubstep Documentary (2008)
http://www.youtube.com/watch?v=tFTu33uW8gA

Dubstep vs Drum n Bass: Icicle
http://www.youtube.com/watch?v=pEKOTKnfEAs

Rise of the Bedroom Producer – A Dance Music Documentary 2011
http://www.youtube.com/watch?v=ZzUQxp0vcNw

The Year In Music: Dubstep’s Identity Crisis:
http://www.npr.org/blogs/therecord/2010/12/30/132447535/
the-year-in-music-dubsteps-identity-crisis

 

UK Garage:

24 Hours Experience – “Together” (1994)
http://www.youtube.com/watch?v=gjz6Nz9HGq0
Note that this is basically a house record. This a transitional song towards UK Garage as it came to eventually evolved in the well-known MJ Cole “Sincere” (see below).
24 Hour Experience – Together (Robbie Styles Remix)
http://www.youtube.com/watch?v=pBSKDx8f0aE

Roy Davis Jr. – Gabrielle (1996)
http://www.youtube.com/watch?v=721chzu9gJE

Tina Moore – “Never Gonna Let You Go” (1997)
http://www.youtube.com/watch?v=C9VIBwOULKQ

Double 99 Ripgroove (1997)
http://www.youtube.com/watch?v=tHPp2JvRY-o

Antonio – “Hyperfunk” (1998)
http://www.youtube.com/watch?v=iQUkD1fTVPs
Antonio – Hyperfunk (Bootleg Brotherz bassic 2012 remix)
http://www.youtube.com/watch?v=1uWxI8lER7I

Sound of One – As I Am (Todd Edwards Mix, 1998)
http://www.youtube.com/watch?v=q0x1b2qy4Z0

MJ Cole – “Sincere” (2001)
http://www.youtube.com/watch?v=cy-djtiU5RE
MJ Cole – “Sincere” (Mig’s Petalpusher Vocal Remix, 2001)
http://www.youtube.com/watch?v=FjusbJwI-z8
Jill Scott – Gettin’ In The Way (MJ Cole Remix)
http://www.youtube.com/watch?v=TGz0tEn3vkQ

De la Soul – All good (Mj Cole Remix)
http://www.youtube.com/watch?v=YUoVH3csdEY

 

 

Dubstep Selection:

Moldy – “Code and Chips” (2008)
http://www.youtube.com/watch?v=dspFR7-kW2A

Skream – “Exothermic Reaction” (2011)
http://www.youtube.com/watch?v=KandVSZbZAM
Skream – Give You Everything (feat. Freckles, 2010)
(Crosses over to 2step)
http://www.youtube.com/watch?v=Au8yFdp9t1M&list=
PLA0E6C24FDF6193EA
YouTube Music Selection for Skream:
http://www.youtube.com/watch?v=TUk7AHQsCLk&list=
PLA0E6C24FDF6193EA

Headhunter – “Quanta” (2007)
http://www.youtube.com/watch?v=QGgsv7G4FKE
Headhunter – “Locus Lotus” (2009)
http://www.youtube.com/watch?v=Gt1lY1ie-ks
YouTube Music Selection for Headhunter
http://www.youtube.com/watch?v=BNs3cf277N4&list=PL35A610435546A1F4

Skrillex, Bare Noize, Foreign Beggars – Scatta (2010)
http://www.youtube.com/watch?v=Nw-YjVp_ibQ
Skrillex, Song Selection 2013
http://www.youtube.com/watch?v=whTuOnHNNRM
Documentary, Skrillex in Mexico
http://www.youtube.com/watch?v=PfhZUcrVhzs

Rusko – Woo Boost (2010)
http://www.youtube.com/watch?v=WtMlB-BEMso
Rusko – Hold On (feat. Amber Coffman, Sub Focus Remix, 2010)
http://www.youtube.com/watch?v=NI2b7qXUlnE

Hatcha – “Chillz” (2008)
http://www.youtube.com/watch?v=nH0cIXhQRXU
Hatcha – “Conga Therapy” (2003)
http://www.youtube.com/watch?v=6bN7Oh9hB8c

Benga – “I will Never Change” (2012)
http://www.youtube.com/watch?v=mWsPOhUCgHM
Skream & Benga Mix – Heavy Bass – Real Deep, Dark Dubstep
http://www.youtube.com/watch?v=aLUKpR1A7Lo

 

Notice that Massive Attack puts an emphasis on the third beat. This makes their compositions quite accessible for dubstep remixes:
Massive Attack – “Angel” (1998)
http://www.youtube.com/watch?v=hbe3CQamF8k
Massive Attack – “Angel” (Hereldeduke Re-Step) VIDLEG
http://www.youtube.com/watch?v=Knec8-cI818

Massive Attack – “Teardrop” (1998)
http://www.youtube.com/watch?v=BAVUPu7URbc
Massive Attack – “Teardrop” (Chemical Brothers Remix)
http://www.youtube.com/watch?v=Wv24uMoGUZA

Massive Attack – Paradise Circus (2010)
http://www.youtube.com/watch?v=jEgX64n3T7g
Massive Attack – Paradise Circus (Zeds Dead Remix)
http://www.youtube.com/watch?v=lL6Q0HJJBmE
Massive Attack – Paradise Circus (Gui Boratto Remix)
http://www.youtube.com/watch?v=k8srRWePbko

 

100 Dubstep Drops 2013
http://www.youtube.com/watch?v=8rGiKv1xkE0
100 Dubstep Drops 2013 Part #2
http://www.youtube.com/watch?v=ThRATvj3LK0

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.

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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

Mobile Art Applications: Sensor-driven apps and the emerging aesthetics of mobility, by Eduardo Navas

Konfetti by Stephan Maximilian Huber.

This text was commissioned by mooove.com.  Excerpt follows below.  For the full text please visit mooove.com:

Mobile applications became quite popular when Apple’s smartphone, the iPhone, was introduced in 2007; reciprocally, apps are one of the reasons (if not the main reason) why the iPhone itself became so popular. Later, the popularity of its follow-up, the iPad tablet, cemented an emerging market’s strong interest in software development for mobile devices. Artists and designers began to experiment with app technology almost as soon as it was introduced, and the result has been the emerging aesthetics of mobility, which at the moment shows great potential for creative exploration in the arts in direct relation to diverse areas of information-based research.

Read the complete article at mooove.com

 

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).

Collaboration as Process in the Exhibiting and Public Space, By Eduardo Navas

Living Light, designed by Soo-in Yang and David Benjamin

Image source: livinglightseoul.net/

This text was commissioned for the publication Future Exhibitions, Swedish Traveling Exhibitions, published in 2010. It is released as the third and last in a series of texts that were written during and after my residency for The  Swedish Traveling Exhibitions.

For the other texts, see:

1) When the Action Leaves the Museum: New Approaches to the Exhibition as a Tool of Communication.

2) Code Switching: Artists and Curators in Networked Culture

Note: This text is a brief analysis of the way exhibitions and art works were being redefined in 2010 and before by  the  growing ubiquity of interactive technology in art production and its presentation in art centers as well as public spaces.  Even though culture has experienced quite a few changes in social media and other forms of communication since this essay was originally written, the text is released online as a complement to its other forms of publication because it holds a critical position that is not contingent upon specific trends, but on long standing questions of art production.

Exhibitions at the beginning of the twenty-first century are becoming spaces of flux.  The usual static exhibition and installation with labels and proper cues for visitors to keep a safe distance—which is likely the default image that comes to mind when one thinks of museums and other public institutions—is being replaced by displays and installations that encourage some form of visitor interaction.  Interactivity can take place directly with the object, an online resource, or downloadable virtual tours, often with the aim not only to have an aesthetic experience but also to inform visitors on some issue.  While this new approach is certainly exciting, it also places real challenges for institutions in the arts and other fields on how to organize exhibitions that resonate with the contemporary audience.  In this regard, exhibitions tend to borrow from new forms of interaction often linked to artistic expression to highlight and bring audience’s attention to relevant information.  In what follows some of the variables that make exhibitions spaces of flux that increasingly rely on creative and even artistic solutions for engaging the audience will be discussed primarily in relation to art but will extend to other fields such as architecture, design, and the public space.

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