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Archive by December, 2006

Summary of Seminar on Remix by Eduardo Navas, Written and Edited by Gabriela Pérez del Pulgar

Photo: Blown Away © Steve Steigman
Source:The Analog Dept.
(Text in Spanish only. To be translated to English.)

The seminar took place at
Cultural Center of Spain in Buenos Aires
Florida 943
Buenos Aires, Argentina
Presented on June 17 – 22, 2006

Text Source: CCEBA

A big thanks to Gabriela Perez del Pulgar for taking, summarizing and revising the notes for publication. A very special thanks to Belen Gache and Gustavo Romano who organized the seminar.

Resumen del taller

“El remix es un segundo mix de algo pre-existente, y el material que es mixeado por segunda vez necesita ser reconocido, de lo contrario, la obra podría ser entendida erróneamente como algo nuevo, se volvería plagio. Sin una historia, el remix no puede ser Remix.”


Eduardo Navas, artista, historiador y escritor especializado en nuevos medios, compartió en este taller las líneas de investigación que actualmente realiza en torno al fenómeno de Remix Culture o Cultura Remix, presentando tanto sus propios trabajos como los de otros artistas y analizando los de los asistentes con el fin de reflexionar sobre la producción artística ligada a los nuevos medios y las implicaciones del remix en la cultura contemporánea.


The Freedom Tower and Remix Architecture

Source: iCommons.org

September 8, 2006

Five years ago on this coming Monday, the World Trade Center ceased to exist. On the way to a dinner party recently on the upper West side of Manhattan, I stopped at the site where it once stood to take some photographs. There’s not much to capture though, as five years after the Twin Towers came down there is still little more than a gaping void in the ground.

What will eventually go up in their place is the Freedom Tower, a long debated and long planned memorial to those who died on September 11. But the rebuild in that space has been hampered by security concerns, power grabs, and what’s of particular interest to the commons community – a debate about the originality of the planned 1,776-foot building.


History of Dub

King Tubby

(A good source explaining the relation of Dub to the remix developed in NYC)

Source: Jahsonic

Related: musicriddimsversioningreggaeremixsoundscape

Notable dub producers: Adrian SherwoodLee PerryKing Tubby

Key texts: The A to Z of Dub (1994)

Start: 1970s

The mixing desk as an instrument and the DJ/remixer as an artist John McCready

Around 1969 Kingston-based reggae producers started to issue singles with instrumental “versions” on the flipside of vocal releases, which were actually the basic riddim tracks. To these “versions” one could add further instrumentation or deejay accompaniment. Within a year the inclusion of instrumental versions on the flipside was common practice among the majority of Jamaica’s producers. In 1971 the first real dub recordings began to appear, with The Hippy Boys’ “Voo Doo” – the version to Little Roy’s “Hard Fighter”, which was mixed by Lynford Anderson a.k.a. Andy Capp – now widely acknowledged to be the first recording in the genre. But it was pioneering sound engineer and sound system operator Osbourne Ruddock who did more than any other to popularize and develop the sound. He explored the possibilities of sound from his small studio, located at the back of his home, at 18 Drumilly Avenue, Kingston 11. — Teacher & Mr. T.


Dub City Rockers

Source: Infinite Wheel
A nice set of Flash interfaces allowing the Internet user to create compositions with simple looped sound files.

O dub, em versão brasileira

Image: DJ Yellow P., do Dubversão (à dir.). Galera que faz sound system no Rio e em São Paulo by R. Setton.
Source: Epoca

Gênero musical surgido na década de 70 na Jamaica começa a ganhar força no som de novas bandas e nas pistas de dança do Brasil

Parece até novidade. O agito que começa a se formar, principalmente com festas pelo eixo Rio-São Paulo, faz o dub parecer bem mais novo do que realmente é. Na verdade, a ‘’inovação’’ surgiu na Jamaica, no começo dos anos 70. O dub gerou o drum’n’bass e o remix, e é tido por muitos como pai da música eletrônica. Foi também usando a base desse gênero musical que saíram as primeiras rimas de rap. Isso quando o dub já estava em Nova York, levado por imigrantes jamaicanos. Tão velho e tão novo, o estilo conquista um público diverso, freqüentador dos inferninhos e festinhas que rolam pelo país.

Segundo o paulista Fábio Murukami, conhecido como Yellow P. e considerado o melhor DJ de dub do Brasil, o estilo nada mais é do que o esqueleto da música. ‘’É a versão do produtor que faz com que uma mesma música pareça outra, tirando e colocando vocais e instrumentos’’, explica. Em alguns casos, um MC (na Jamaica chamado de deejay) canta e fala por cima da canção. Na prática, pode-se dizer que a música vem separada em canais de baixo, bateria, guitarra e vocais, e o produtor mexe com as possibilidades, colocando efeitos e criando outra versão.

Read the entire Article

“Dub Revolution: The Story of Jamaican Dub Reggae and Its Legacy” by John Bush

Lee “Scratch” Perry
Image source: Analog Arts Ensemble
Date: uncertain


This is dub revolution . . . music to rock the nation.

-Lee “Scratch” Perry

In the modern age of electronic music, the word ìdubî has become a buzzword for virtually any style of music that utilizes the remixing of prerecorded sound as a mode of artistic expression. The idea of taking apart the various instruments and components that make up a recording and remixing them into something that sounds completely different is a common practice today, being used in various styles of music such as jungle, house, hip-hop, and even metal. It is often overlooked, however, that the dub technique and style originated in Jamaican rocksteady and reggae. The great sound system engineers of Jamaica in the late 1960s and early 1970s pioneered the instrumental remix and were the first to make the style popular. Using only primitive recording and mixing equipment, the mixing engineer took a lead role in defining the sound of the recording, using the mixing board as his instrument. The resulting dub craze that occurred in Jamaica in the mid 1970s further established the mixing engineer as an artist. For the first time in recorded music, the ìsoundî of a recording become connected not only with the musicians and the producer, but with the mixing engineer as well. Dub became a tradition and a part of the musical culture in Jamaica. The proliferation of instrumental mixes, known as ìversions,î as well as radically remixed ìdubsî that resulted opened the doors to a vast new field of musical expression that would eventually be embraced not only by Jamaican music but by popular music all over the world.


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