Sherrie Levine, After Edward Weston, 1981

Image source: studiolo.org
Text source: Horizon 8

April/May 2003

Side by side, twining, overlapping, influencing, borrowing from itself and mass culture – so runs the last one hundred years of Western art history. In turn, remix culture borrows from many movements within late and post-modernism: appropriation, collage, dada, graffiti, mail art, manipulated objects, photo montage, pop art, process art, scratch video – the beat goes on. The 20th Century avant garde understood the image as a representation, not a thing in itself. They sought to undermine its aura and authenticity, and open up its meaning, through shifting its context and interpretation.

Dada and Collage
Appropriation practices in 20th Century art start with modernism’s fascination with industrial revolution, with essence and progress. The term “collage” derives from the French coller (to glue), and first appears in the work of Picasso – specifically, Still Life with Chair Caning (1912), wherein he used actual chair cane as well as paint. Collage continued through the Dada movement, spilling into surrealism. Inspired by peeling layers of Parisian street posters, LÈo Malet invented dÈcollage: the removal of images from an existing surface. Collage appears in the work of Braque and Picasso, whose work was in turn iterative of early advertisements. Remix is a form of collage.

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Image source: a minima PDF, feature on Marta Menezes’s DNA altered Butterflies. Available at newmediaFIX

This text was written to be part of a curatorial participation by a minima:: magazine in the exhibition NOW 2006, which took place at the CCCB.

Read Spanish Version

For a minima’s participation in Now, I have chosen four texts invested in the crossover of art, science and technology. The texts are “Nature?” by Marta de Menezes, “Observation, Interference and Evolutionary Relationships. (An overview of the Phumox project) – Phumox? What’s that?” by Andy Gracie, “Convergent Realities: art, technology consciousness from the planetary perspective” by Roy Ascott, “Artport” and “Not Just Art—from Media Art to Artware” by Christiane Paul. The first two texts, written by artists/researchers, could be read as honest attempts to cross over art, science and technology; the last two texts, written by theorists, can be read as reflections on such practices. The four texts are sensitive to contextualization and critical commentary, which are expected of art practice today, as well as the urge to do research for the sake of understanding the world and develop technology to do it, which is expected of science and technology.

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Image source: a minima PDF, feature on Marta Menezes’s DNA altered Butterflies. Available at newmediaFIX

Este texto fue escrito para la participación curatorial de la revista a minima:: en la exhibición NOW 2006, la cual se llevó a cabo en el CCCB durante Noviembre del 2006,.
Lea la versión en inglés

Para la participación de a minima en Now, he escogido cuatro textos que se enfocan en el cruce cultural entre arte, ciencia y tecnología. Los textos son “Nature?” por Marta de Menezes, “Observation, Interference and Evolutionary Relationships. (An overview of the Phumox project) – Phumox? What’s that?” por Andy Gracie, “Convergent Realities: art, technology consciousness from the planetary perspective” por Roy Ascott, “Artport” y “Not Just Art—from Media Art to Artware” por Christiane Paul. Los primeros dos textos, escritos por artistas/investigadores activos en el arte, podrian ser considerados atentos en cruzar entre el arte, ciencia y tecnología; mientras que los dos últimos, escritos por teóricos, podrian ser reflecciones sobre tales practicas. Los cuatro textos son sensitivos a la contextualización y comentario crítico, los cuales son esperados de la practica del arte hoy, junto con el impulso de desarrollar investigaciones por la necesidad de comprender el mundo y desarrollar la tecnología para hacerlo, lo cual es esperado de la ciencia y la tecnología.

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Source: We Make Money not Art
Reblogged at Rhizome.org
December 20, 2006

Last May, i blogged about Plagiarismo, an exhibition that tried to demonstrate that the appropriation and re-formulation of other artists’ ideas is an essential component of culture.

Vuk Cosic – who’s having a solo exhibition at the Skuc Gallery in Ljubljana- wrote me then that he was putting together a show called CTRL-C on a similar subject. The show has just opened at the galerija Simulaker in Slovenia. Here’s the gist:

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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
http://www.cceba.org.ar/tapa/tapa.pl
http://www.cceba.org.ar/evento/evento.pl?evento=363

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

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.

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

Source netartreview.net
Originally published on November 20, 2003
Republished: November 30, 2003

Also published on Furtherfield.org
November, 2003

Le Catalogue: http://www.x-arn.org/wiki/LeCatalogue

This review was re-edited for Remix Theory.

In Le Catalogue, Yann Le Guenec has developed a public database of documentary images (an archive) of art projects which he created between 1990-1996. Every time an image is viewed, a horizontal line and a vertical line forming a cross are added; the image is then stored for access by another user. The more the images are accessed, the more they are abstracted or — if one is thinking of art conservation — destroyed.

Here, the archive is similar to analog vinyl records losing their fidelity, being slightly deteriorated every time the needle passes through the groove. Unlike a record player, however, which is fabricated with the aim to provide the least damage possible while offering an aesthetic experience for the user, Le Catalogue actually makes the most of destruction in order to create a unique image for the present user. The image is unique  because each time the same file is accessed, two more lines will be added.

In this way, Le Catalogue reinterprets the idea of destruction as progress, bringing on the new. One can look forward to destruction as a type of online collaboration; the archived information is not preserved but rather reinterpreted as information constantly shifting. History is here dependent on linear traces that expose the instability of interpretation; much like tree rings, traces are left behind by the process, leaving us with an allegorical database presenting destruction as an inevitable part of life.

(Following message is archived for historical purposes)

At 12:00pm PST (noon) on November 30th, 2006, the Stanford Humanities Lab in collaboration with artist Lynn Hershman will present “Regenerative Presence: Remixing the Archives of Lynn Hershman Leeson.”   This will be a presentation of work from the ongoing Life to the Second Power (L2) research project http://presence.stanford.edu:3455/LynnHershman/261
.

This event is taking place under the umbrella of the Humanities, Arts, Science, and Technology Advanced Collaboratory (HASTAC — http://www.hastac.org ) as part of its InFormation year, and in conjunction with other events held in December 2006 throughout the Bay Area. For more information, see
http://www.hastac.org/informationyear/interaction.

We are writing to invite you to this special event, which will take place in its entirety inside the “virtual” world called Second Life.

The L2 Project seeks to regenerate and re-imagine Hershman’s work inside the 3D online world Second Life; it will re-animate Hershman’s existing archive, now housed in the Special Collections Library at Stanford University. Converting the archive into a digital format of hybrid genre will allow users of the content to dynamically revisit the past while simultaneously expanding the audience for this material.

Hershman will give a tour of L2’s work in Second Life. Her voice will be streamed live via the web. The presentation can be experienced from multiple viewpoints. The event will be documented as it happens and later made available online.

An avatar access list will be imposed on the Life Squared project’s Second Life island, NEWare, for the duration of the event. To ensure access, please RSVP to Jeff Aldrich or Henrik Bennetsen or reply to this email at least 24 hours in advance of the event.  If you do not already have an avatar in Second Life, please ask Jeff or Henrik for guidance.

[Note: Attendance at this event in Second Life is restricted to invited avatars. The event will be documented as it progresses and presented in its entirety as streaming video. It will be made available via the Life to the Second Power project, both in Second Life and in the project wiki, and by HASTAC upon its conclusion.]

Henry Lowood
Curator for History of Science & Technology Collections;
Germanic Collections; Film & Media Collections
HRG, Green Library, Stanford University Libraries
Stanford CA 94305-6004
lowood@stanford, edu; 650-723-4602

english below

YKR
“Viens avec moi dans le vide” est un texte poétique de l’artiste Yves Klein de 1957. Yves le Monochrome avait imaginé de le mettre sur la musique de Hans-Martin Majewski extraite du film Nasser Asphalt. Et c’est lors du Festival d’Art d’Avant-Garde de Jacques Polieri en 1960 que ce texte explique aussi les antropométries d’Yves Klein, dans un Journal d’un jour daté du 27 novembre. Souvent édité depuis mais jamais mis en réalisation, notre YKR (Yves Klein Remix) est la première mise en composition numérique de cette proposition, même si par exemple l’artiste allemand Thom Klubi, en 2003, avec son « Monochrome Transporter », pose déjà l’IKB (International Klein Blue) comme une possible référence pour les arts électroniques dans une interaction entre le sonore et le visuel.

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