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
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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: https://remixtheory.net/?p=461
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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.
Back in October of 2012 Simon Reynolds wrote a passionate piece on Remix Culture for Slate magazine titled “Your Are not a Switch” in which he calls out mainly scholars who are using the reference of the DJ and remixing to discuss issues of originality, and especially in his view, questioning the concept of the “genius.” For me what is striking about Reynolds’s position is that he goes over much of the literature that has been produced for the last few years claiming that all of the authors (amazing that all of them, a bit essentialist on his part disappointingly), especially those in academia are guilty of dismantling the originality in creativity. To make a sweeping statement like this is troublesome enough but there is more.
As much as I like Reynolds’s research, including his most recent book titled Retromania, I have to say that his article is long-winded and does not contribute anything new, not even a strong counter-argument against the authors he calls out. Reynolds appears to want to celebrate the artist as genius, and to do this he claims at the end of his article that there is something to the process of coming up with new material based on a unique interpretation. Well, this is not so different from what some of the authors that he is critiquing are saying. In fact, this is the whole point of the books, such as Synreich’s Mashed up, or Amerika’s Remixthebook. Perhaps it’s the “academic” or (I prefer) the systematic and rigorous approach of some of the publications that may come off as a way of killing the potential of creativity that is misread by Reynolds. But to understand the grammar of a process, to understand the history, to understand the politics of a cultural activity does not mean that such an activity, in this case creativity, will whither. It simply means that we will understand it better and we need to because the process of borrowing from and being inspired by others now has turned into a material conflict that is finely tuned with economics.
I’m talking about copyright conflicts, of course. We need to understand the process of creativity because we need to make sure that it keeps flowing as it always has. With new technology we are able to archive more of that process and all that is archived becomes commodity in some way. This is really what is at play at the moment in, yes, all of the books and essays Reynolds is critical of; they are contributions to overcoming such an impasse. And is creativity or the concept of the genius being redefined in this process? Yes. But all things change, they evolve. It’s the way we function. We cannot hold on to some idea of genius or originality as it functioned in the past. Just like photography redefined painting, just like the computer redefined just about every aspect of daily life, the concepts of the genius and originality are also being redefined. And this is not a bad thing at all.
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I share a couple of paragraphs from Reynolds’s text below:
Many of these polemics make allusions to DJ culture in their titles:Mark Amerika’sremixthebook, Kirby Ferguson’s video essays and website Everything Is A Remix, Arram Sinnreich’s Mashed Up.Remixing and mashups are familiar—indeed, somewhat tired—notions in dance culture, but incritical circles they enjoy modish currency because they seem to capture something essential about the cut-and-paste sensibility fostered by digital culture. Likewise, the Internet’s gigantic archive of image, sound, text, and design has encouraged a view of the artist as primarily a curator, someone whose principal modes of operation involve recontextualization and connection-making.
As a neutral description of the current state of the art in many fields, this would be fine. But recreativists don’t just champion these practices, they make grand claims about the essentially recycled nature of all art. In Creative License: The Law and Culture of Digital Sampling, authors Kembrew McLeod and Peter DiCola quote the DJ Matt Black’s assertion that “humans are just sampling machines … that’s how we learn to paint and make music.” In an opinion piece for NPR, Alva Noë discussed contemporary anxieties about plagiarism in a cut-and-paste era and defended quotation as an artistic practice. But instead of stopping there, he also asserted that “sampling is nothing new, not in art, and not in life … Evolution, whether in biology, or in technology and culture, is never anything other than a redeployment of old means in new circumstances.* We use the old to make the new and the new is always old.” Much the same idea crops up in Austin Kleon’s Steal Like an Artist, a sort of self-help manual for modern creatives. Kleon moves quickly from “every new idea is just a mashup or a remix of one or more previous ideas” to insisting that “you are the sum of your influences” and that “you’re a remix of your mom and dad.”
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.
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.
Date: January 17th, 2013 Time: 5p Panel; 6p Reception Location: Calit2 Auditorium and gallery@calit2, Atkinson Hall, UC San Diego Host: Jordan Crandall, Vis Arts and gallery@calit2
Guest Speaker: Eduardo Navas, Curator (pictured); Artwork by
Mark Amerika & Chad Mossholder, Giselle Beiguelman, Arcángel Constantini, Elisa Kreisinger
DESCRIPTION/ABSTRACT:
A panel discussion and reception mark the opening of Three Junctures of Remix, curated by Eduardo Navas. It runs Jan. 17 to March 15 in the gallery@calit2.
The exhibition THREE JUNCTURES OF REMIX features the art of Mark Amerika & Chad Mossholder, Arcángel Constantini, Giselle Beiguelman, and Elisa Kreisinger, a group of international artists who have explored and reflected on the implications of the creative act of remixing since the concept became popular beginning in the nineties. The art works crossover and explore three junctures (moments of production) of remix: the pre-digital/analog; the digital; and the post-digital which developed in chronological order, but after their initial manifestation, became intertwined and currently are often reintroduced in conjunction to inform the aesthetics of remix as a creative act in art practice. The exhibition is curated to reflect on how computing has enabled people to recombine pre-existing material with unprecedented efficiency that is relatively affordable just about everywhere information-based technology is widely used. This has affected how local and global communities view their cultural production, from politics to the arts.
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.
‘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)
Note: Below is the abstract for my Keynote Lecture at the 2012 Re/Mixed Media Festival, to take place at the Brooklyn Lyceum on November 10, 2012.
For the 2012 keynote talk, Eduardo Navas will discuss his research on how the recycling of material, as currently understood in terms of remix, is at play in literary practice in relation to a feedback loop which forms The Framework of Culture.*
Abstract:
The Framework of Culture makes possible the act of remixing. This Framework consists of two layers which function on a feedback loop. The first layer takes effect when something is introduced in culture; such element will likely be different from what is commonly understood, and therefore it takes time for its assimilation. The second layer takes effect when that which is introduced attains cultural value and is appropriated or sampled to be reintroduced in culture. The first layer privileges research and development. Creative literary practice as well as all of the arts function on the second layer, which is why, more often than not, their production consists of appropriation, or at least citation of material with pre-defined cultural value. The two layers have actually been in place since culture itself came about, but their relation has changed with the growing efficiency in production and communication due to the rise of computing. The presentation evaluates this change and its implication for creativity in contemporary cultural production.
”Wall Drawing #51”, June 1970
All architectural points connected by straight lines. Blue snap lines.
Courtesy LeWitt Collection, Chester, CT
First installation in Sperone Gallery, Turin, Italy and Museo di Torino, Turin, Italy
First drawn by: P. Giacchi, A. Giamasco, G. Mosca
Written for Swedish Traveling Exhibitions, December 2009/January 2010
Also published in R U International?, a yearly publication also by the Swedish Traveling Exhibitions, edited by Marten Janson and Sanna Svanberg, pages 90-105.
Note: The following text is the second of two originally published in the magazine Spana!, a publication for the Swedish Traveling Exhibitions (now called Swedish Exhibition Agency). I never got around to releasing the English version of the text until now. It reflects on the roles of artists and curators switching roles, influenced by conceptual art. It then relates such account to the overall experience I had when I visited the exhibition spaces and museums throughout Sweden.
During my travels as Correspondent in Residence for The Swedish Traveling Exhibitions during October and November of 2009, I visited museums and public institutions in Gothenburg and Stockholm that, in varying degrees, approach exhibitions as tools of communication. It became evident to me that their curatorial methods are sensitive to emerging trends in networked communication linked to the tradition of appropriation in the fine arts. In what follows, I examine how the use of appropriation as a tool of selection is part of curatorial and art practice, as well as exhibitions at large.
The Artist as Medium
Lucy Lippard, in her essay, “Escape Attempts,” reflects on her role as curator during the heyday of conceptual art in the 1970s. She quotes Peter Plagens’s review of her exhibition “557,087,” written for Artforum: “There is a total style to the show, a style so pervasive as to suggest that Lucy Lippard is in fact the artist and that her medium is other artists.” Lippard adds her own comment and elaborates, “of course a critic’s medium is always artists.”[1] It should be explained that Lippard was both critic and curator.
