Image source: static.flickr.com

Text source: www.archive.org/

1. “Help Me Help Me” – AllThatFall
2. “If You Make Your Bed in Heaven” – Roddy Schrock
3. “Leftover Secrets to Tell” – Pocka
4. “Secret Life Remix” – Stephane Leonard
5. “The Black Isle (Byrne/Eno Remix)” – (dj) morsanek
6. “Hit Me Somebody (Help Me Somebody Remix)” – MrBiggs
7. “Being and Nothingness (A Secret Life Remixed)” – john kannenberg
8. “Somebody Help Us” – My Fun
9. “Hey” – Mark Rushton
10. “My Bush in the Secret Life of Ghosts” – Prehab
11. “Not Enough Africa” – Ego Response Technician
12. “Helping (Help Me Somebody Remix)” – doogie
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Images source: http://wii-wii.us/
Text source:  http://createdigitalmusic.com/
Related: alternative interfaces, controllers, DJ, hardware, video, VJ, wii, youtube & more

While music manufacturers struggle to create “integrated hardware solutions”, enterprising DJs and VJs are picking up US$40 Nintendo Wii remotes and having a blast. Here, the controller gets assigned to audio filters on the computer (I’m guessing the Max/MSP/Jitter external may be at work as it’s on a Mac), and controls glitchy visuals. I’ve been working with the Wii myself, and I’m not quite satisfied with the gestures I’ve gotten out of it yet — just as some of the early launch title games for Wii may not quite have the control scheme perfected yet, so, too, are these early performance attempts a bit limited. But another six months to a year, some more code, and I’m sure we’ll being having Wii DJ/VJ battles.

Image source: http://www.gizmodo.com/
Text source: NYtimes

Published: January 25, 2007

If there’s one sure thing about the future, it’s that it always takes longer to arrive than you think it will.
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Illustration by Stuart Goldenberg

A Netflix screen that lets members watch movies instantly on their PCs. The rollout is scheduled to be complete by June.

Here we are in 2007, and the interstellar space travel depicted in “2001” is still a sci-fi fantasy. Heck, we haven’t even reached the society of mind control imagined in “1984.” (Insert your own joke about politics or advertising here.)

So when the pundits tell you that the death of the DVD is imminent, that we’ll soon get all our movies instantaneously from the Internet, some skepticism is in order.

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Image source: http://www.artsandletters.fau.edu/

Text source: http://www.artsandletters.fau.edu/
humanitieschair/cannibal.html 
1. In your study of rap in Pragmatist aesthetics (Oxford: Blackwell, 1992) you explicitly use the concept of cannibalism to describe rap’s aesthetic of appropriation, its sampling of prerecorded music and other sounds. You even refer to the early rappers, on page 203, as “musical cannibals of the urban jungle.” What has been the reaction to this characterization of rap?
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Image source: Business Week

Text source: Meta Critic

If the concept of “The Beatles, remixed” saddens you, know that original Beatles producer George Martin was at the helm for this project, which serves as the soundtrack to the Vegas-based Cirque du Soleil show of the same name. The 26 mashed-up tracks here were augmented with additional instrumentation and vocals performed by The Beatles themselves, culled from hours of original demo and master tapes, with pieces of 130 songs ultimately represented in some form.

Text source: The Guardian

The Beatles, Love

**** (Apple/EMI)

Alexis Petridis
Friday November 17, 2006
The Guardian

The Beatles Love

In about 2002, the bootleg mash-up was big news. A hopelessly named phenomenon that involved producers illegally mixing two unlikely old records together to make a third, the mash-up made celebrities of some strange figures – Brian “Danger Mouse” Burton and secretive producer Richard X among them – but the Beatles may have been the sub-genre’s true stars. They were involved both in its artistic zenith – the Grey Album, on which Danger Mouse pitted Jay-Z’s rapping against music from the White Album – and the moment when mash-ups meandered into pointlessness: Go Home Productions’ Paperback Believer, which used two fantastic records, Paperback Writer and the Monkees’ Daydream Believer, to make a noticeably less brilliant third.

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Text source: http://www.techfest.org/workshops/remix/ 

Today we stand surrounded by a range and density of cultural materials. There are multiple sites of production of texts, images and sounds. These circulate with velocity through expanding and intricate networks of transmission. What is our relationship with this world of images and sounds; and what are the forms and practices that can bring us to appropriate and regenerate our own moments of insertion into these networks? What do we infringe on when we start inserting ourselves into these networks, and what possibilities do we create? Do we need remix?

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Image source: http://www.some-assembly-required.net/
Text source: http://creativecommons.org/weblog

December 7th, 2005

Note from source: This email is part of a weekly series written by Lawrence Lessig and others about the history and future of Creative Commons.
Creative Commons is a young organization. And while we’ve been more successful than I ever imagined we’d be, we’ve also made mistakes. Some of these mistakes we’ve corrected. Some I hope to persuade us to correct. But throughout the three years since our launch, we have worked hard to build a solid and sustainable infrastructure of freedoms for creators.

Along the way, we have picked up some critics. I don’t have the space here to address every criticism. In this email, I’ll talk about just two — one directed at our NonCommercial license option, and the other at two of CC’s non-core licenses. But I’ll continue this discussion next year in a new forum that we’ll launch just for this purpose. Mark Shuttleworth is my model here, and I will be a part of that discussion whenever I can.

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Note: The following article is in Spanish only. It includes some of my own theories on Remix.

Image: TRANSFORMACIONES. La imagen de Escher, “remixada” con técnicas del siglo XXI.
Text and image source: Clarin.com

January 20, 2007

CULTURA : UNA PRACTICA QUE INICIARON LOS DJ’S Y SE EXTENDIO EN LA MUSICA

ESPECIAL PARA CLARIN.

Cuando en 1968 los Beatles volvieron de la India con una gran cantidad de canciones bajo el brazo y editaron el archiconocido Álbum Blanco, no imaginaron, ni en sus sueños más psicodélicos, que casi 40 años después ese trabajo sería el germen de otro no menos memorable.

Pero en 2004, el Dj. Brian Burton (popularmente conocido bajo el alias de Danger Mouse) parió El Álbum Gris, una obra conceptual en la cual se fundía la música del “álbum blanco” de los Beatles con la voz y letra del “álbum negro” del rapero Jay- Z. Para la anécdota quedará que, demanda de las discográficas mediante, el trabajo fue retirado de circulación y a las pocas semanas se convertía en un hito, bajado ilegalmente de la red por más de 100.000 personas.

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Birth of a Nation, Film still. Source: about.com

Text source: Colostate.edu

CCCC 2006

Latterrell defined her role in the panel by explaining her presentation is a collage and sampling of other voices so it is about remix as much as it is a remix. “Remix” is a modern metaphor for revision. She colored this point with examples of customized sneakers, the tuxedo t shirt, the tangelo, sprite remix, and my personal favorite, labradoodles. She then paired a quote by Emerson on quotation and originality with a remix of President Bush’s State of the Union address that reversed his intended meanings. The collage of images and quotes continues with animation of Office Space meets Super Friends in which Superman, Green Lantern, Batman and Robin talk about memos and office procedures in what Latterell called a “classic mash up” or sampling. Next she showed DJ Spooky’s “Rebirth of a Nation” which spoofed D.W. Griffith’s Birth of a Nation by showing clansmen almost dancing to the technorhythms from both soundtrack and visual beats. Sampling, Latterell asserts, implies breakdown. Then she quoted Johndan Johnson-Eilola from his book, Datacloud: Toward a New Theory of Online Work where he asserts breakdown and further discussion as the essence of remix. Latterell concluded with the idea that Lawrence Lessig asserted at last year’s conference—everything in life is remix.
James Porter, “Forget Plagiarism, Teach Filesharing and Fair Use”

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Note: Archived for the way the concept of Remix is used to reconsider film.

Image source: movieimage.tripod.com
Text source: freeculturenyu.org

The Project

The basic idea is to turn all of the footage from that one trilogy into a 5-8 minute short film. We will then screen your parody on the internet and in real life at the end of April of 2006.

Choosing “The Matrix”, one would take all three installments, The Matrix, The Matrix Reloaded, and The Matrix Revolutions and edit down that footage into a parody of the original, adding or removing elements (voiceovers, scenes, etc) as necessary. You could even use only one of the films of the trilogy– the point is that the original footage of The Matrix is being used to make a short parody out of it.
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