Diran Lyons has been producing political remixes for some time. I recently received a tweet of his latest mashup “Political Remix Video: An Interview with Dr. Colin Gardner” which combines selected clips from Lyons’s own previous mashups with an interview with Dr. Gardner, who is professor and chair in the department of art at UC Santa Barbara. Following his previous approach, Lyons’s video mashup questions the way we perceive the moving image, which in this case is redefined as the time image by Dr. Gardner, according to philosophical writings on film by the late French philosopher Gilles Deleuze. The time image questions our expectations of cause and effect; it is an image that reminds us to look beyond the surface of movement. Based on this premise, Lyons goes on to show clips from several films, mass media, and speeches by politicians on the left and the right of American politics. The result is a mashup that takes no sides but questions all things persons could possibly assume about power and absolute positions on right and wrong.
Archive of the category 'Film'
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:
Figure 1: selected shots from Capote (left) and In Cold Blood (right).
Interdisciplinary Digital Media Studio is a class in the IDS program in The School of Visual Arts (SoVA) at Penn State in which students are introduced to methodologies and conceptual approaches of media design. For the class, I taught them how to research and develop design presentations with the implementation of data analytics for moving images and texts.
One of the assignments consisted in analyzing the films Capote (2005) directed by Bennett Miller and In Cold Blood (1967) directed by Richard Brooks in relation to their corresponding books, Capote by Gerald Clarke and In Cold Blood by Truman Capote. We viewed the films in class, and read, both, the novel and the biography. The class then analyzed the respective books by doing word searches, analysis of specific passages, and creative approaches by the respective authors, to then evaluate those searches in relation to the films. For the films I provided montage visualizations, which are selected screen shots representative of all the scenes (figures 2 and 3).
Read the complete entry at Remix Data
Figure 1: four shots from around a third into the film. Left is original edit, Right is chronological edit
During the Fall of 2013, I analyzed Pulp Fiction with my students in my Video Art Class for the School of Visual Arts at Penn State. One of their assignments was to produce a video and then re-edit it to tell the same story but in different order, and therefore explore how aesthetics play a role in experiencing a narrative. We went over a few examples that would give them ideas, some of the links I provided as resources included Pulp Fiction and Memento.
Read the full analysis on remix data.
Above: “Pump Up the Volume – Part 1, The History of House Music”, included in the resource selections below.
List of online resources and music selection for week 4 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.
June 24 – 28, 2013
Music Selection and Relevant Links:
Modulations – History Of Electronic Dance Music Documentary
Pump Up The Volume – Part 1 – The History Of House Music
Pump Up The Volume – Part 2 – The History Of House Music
Pump Up The Volume – The History Of House Music Documentary PT 3:
Rave – BBC house music documentary from 1992 [1/3]:
Rave – BBC house music documentary from 1992 [2/3]
Rave – BBC house music documentary from 1992 [3/3]:
Krautrock – The Rebirth of Germany (BBC Documentary) – Full Version
Hip Hop Music Selection:
LA Dreamteam – “Rockberry Jam” (1985)
Rock Master Scott And The Dynamic Three – “The Roof Is On Fire” (1984)
Beastie Boys – License to Ill (1986)
Erik B and Rakim – Paid in Full (Album, 1987)
ErikB and Rakim – “Paid in Full” (Remix)
Sample sources for bass-line and drums:
Dennis Edwards – “Don’t Look Any Further”
Soul Searchers – “Ashley’s Roach Clip” (break happens around 3:35)
Boogie Down Productions (KRS-One) (1989)
Ice Cube – AmeriKKKa’s Most Wanted (Album, 1990)
Public Enemy “Night of the Living Baseheads” (1988)
Wu – Tang Clan – Enter The Wu. Tang – 36 Chambers (Full Album, 1993)
Dre Dre – The Chronic (Album, 1992)
2pac – 2Pacalypse Now (Album, 1991)
2pac – “Changes” (1992, remixed and released in 1998)
Samples from Bruce Hornsby and the Range – “The Way It Is” (1986)
Nas sampled 2Pac’s “Changes” for his song “Black President” (1998)
Notorious Big – Ready To Die (Full Album, 1994)
Biggie Smalls – “One More Chance”
Biggie Smalls – “One More Chance Remix” (1995)
Remix samples from Debarge’s 1993 song “Stay with Me” (sample starts around 2:36)
House Music Selection (early house):
Anita Ward – “Ring my Bell” (1979)
The Salsoul Orchestra. “Ooh, I Love It (Love Break)”. 12″ Original Remix Shep Pettibone. (1982)
Short version (break mix):
(Note that in the above mixes you can already hear the drum arrangement that Frankie Bones would come to perfect with drum machines.)
First Choice- “Let No Man Put Asunder” (1983)
House Music Selection (house proper):
Chip E. – “Time to Jack” (1986)
On The House – “Move Your Body” (1986)
(First record to use a piano in house music. Became a house anthem because it uses the word “house” in the lyrics)
Mr. Fingers (Larry Heard) – “Can You Feel it?” (1986)
Farley Jackmaster Funk – Jack’n The House (1987)
Ralphi Rosario – You Used To Hold Me (1987)
Phuture – “Acid Trax” (1987)
Raze – “Break for Love” (1988)
“Work it to the Bone” (1988)
Jungle Brothers – “I’ll House You” (1989)
(The above crosses over to what came to be called “hip-house.” Some house purists did not like rap combined with house. Often times only the dub or instrumental versions of this record was remixed on the dancefloor.) One of various intrumental versions that were released:
“Richie Rich Instrumental”
Ten City – That’s The Way Love Is (Underground Mix, 1989)
Cibotron, “Clear” (1983)
“Clear” Frankie Bones (founder of House music) Remix:
Also listed under electro-Funk for Week 3
Cibotron, “Cosmic Cars” (1983)
Model 500 “No UFOs” (1985)
Derrick May – “Rhythim Is Rhythim” – Strings of Life (Original Mix, 1987)
Inner City – “The Good Life” (1988)
Inner City – “Big Fun” (1988)
Inner City is a crossover act, and is not necessarily considered a techno group, even though Kevin Saunderson is one of the three founders of Techno in Detroit. The songs by Inner City were also mixed with Freestyle and some Electro-Funk, depending on the club.
Joey Beltram – “Energy Flash” (1990)
Considered a pivotal track in defining the sound of techno particulary in Europe. It is one of the compositions that also opened the door for the aesthetics of trance. Beltram considered his composition to be part of house music, but it eventually became labeled as techno in Europe for selling purposes.
Aphex Twin – Didgeridoo (1992)
Carl Cox – “The Player” (1996)
Jeff Mills – Metropolis (Full Length, 2001)
Inspired by the film Metropolis
Richie Hawtin – “DE9 | Closer To The Edit” (2001, full-length)
Juan Atkins – “Flash Flood” (2012)
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
June 10-14, 2013
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:
History of Jamaican Music Pt 1
(Discusses ska and rock steady)
BBC Reggae The Story of Jamaican Music Programme 2 Rebel Music
(Discusses reggae and briefly dub)
BBC Reggae The Story of Jamaican Music Programme 3 As Raw As Ever
(Internationalization of Jamaican music)
Dub Stories (full documentary): View the first half. The second half of the documentary is about Dub in France :
Deep Soul The Up Rising Of Motown Part 1
Deep Soul The Up Rising Of Motown Part 2
Deep Soul The Up Rising Of Otis Redding Part 3
Deep Soul The Up Rising Of Otis Redding Part 4
Music Selection from Jamaica, 1960s:
Ernest Ranglin, “Liquidation”
Skatalites – Ska Authentic (Album, 1964)
Skatalites – Simmer down (1964)
Youtube’s Music Selection of Skatalites and Ska:
John Holt & The Paragons – “I’ve Got To Get Away” (1968)
YouTube’s Music Selection of The Paragons:
The Melodians – “You Don’t Need Me” (1968)
Studio 1 recordings:
Reggae (See England)
Dub (mainly 1970s):
Lee Perry and King Jammy – “Rude Boy”
King Tubby & Augustus Pablo – “Ruler Fi Dub”
YouTube’s Music Selection of King Tubby:
YouTube Music Selection of Mad Professor:
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”
Jimmy Cliff & others, YouTube’s Selection:
Bob Marley – Catch a Fire (First Album, 1973):
YouTube Music Selection of Bob Marley:
Music Selection from the United States, 1960s-70s:
The Supremes “Baby Love” (1964)
Marvin Gaye – “Easy Living” (1964)
YouTube Music Selection of Marvin Gaye:
James Brown – “The Payback” (1973)
Motown Music Selection:
(Looking ahead to week 3)
How concepts of Dub and the selector & MC/Deejay were popularly introduced in pop music:
Chic – “Good Times” (1979)
Sugarhill Gang – “Rapper’s Delight” (1979)
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
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.
Image from Cali2’s Flickr stream. From left to right: Mark Amerika, Giselle Beiguelman, Elisa Kreisinger, Arcangel Constantini, Trish Stone, and Eduardo Navas
The opening at Calit2 on January 17 was a complete success. Many thanks to Jordan Crandall and the gallery committee for their support in the realization of the exhibition. A special thanks to Trish Stone and Hector Bracho and the entire Calit2 team for all their help. It was truly a great experience. The discussion panel, which took place just an hour before the official opening will be online very soon, in the meantime I want to point out that there are lots of great pictures on Flickr for anyone interested to view.
By Eduardo Navas
Note: This entry was updated on August 19, 2012 with an extra commentary at the end of the main text.
As an educator in higher education and researcher specializing in remix culture and authorship, when I first learned about Zakaria’s admission to plagiarism, I was very disappointed in him, and thought that there was no way around it, that his admission of plagiarizing parts of Jill Lepore‘s work on gun control written for the New Yorker puts into question his intellectual integrity.
I thought that his apology was quick and to the point, but that somehow it was not enough. I thought that it was necessary for Zakaria to come forward and explain in as much detail as possible the reasoning for his behavior. And I thought that I wasn’t alone in hoping for this to happen–that if an actual explanation was delivered, it would all serve the constructive purpose of discussing the seriousness of plagiarism with students while providing a concrete example of a public intellectual who committed such an unacceptable act.
I thought that Zakaria should give an extensive explanation, first, simply because he owed it to his audience and readers, who have come to respect his work at CNN, Time and The Washington Post; and second because it would inform, and therefore become, admittedly, an unusual contribution to the debates on intellectual property during a period when younger generations are prone to plagiarize due to the easiness of copying and pasting.
The RE/Mixed Media Festival, now in it’s 3rd year, is an annual celebration of collaborative art-making and creative appropriation. It’s the artists’ contribution to the ongoing conversation about remixing, mashups, copyright law, fair use, and the freedom of artists to access their culture in order to add to and build upon it.
The festival – which this year will take place at the Brooklyn Lyceum – a 3-floor 10,000 sq. ft. venue on the border of the Park Slope and Gowanus neighborhoods of Brooklyn – will feature performances, panel discussions, live musical collaborations, hip-hop, sampling, film & video, DIY, food and drink, DJs, technology, interactive installations, painting, sculpture, software, hacking, and much more!