The book should be available in the coming weeks in Europe, and soon after in the United States. For more information, also see the main entry about the book.
Note: Previously this entry read “book print.” This was a mistake on my part. It should be “book sprint.”
I recently read the “book sprint” New Aesthetic, New Anxieties by a group of media researchers, theorists and curators, who got together for three and a half days from June 17–21, 2012, at V2, in Rotterdam, The Netherlands.
The concept of coming together for just a few days to brainstorm a book is certainly something worth considering as an act of creative critical practice. The book from this standpoint functions surprisingly well, especially because its premise is delivered to match the speed of change that its subject (The New Aesthetic) experiences in the daily flow of information throughout the global network. I personally find amazing that a book of this sort can be put together with some cohesion.
The subject of the book is The New Aesthetic, a term /concept that has been making the rounds on the Internet for a bit over a year and a few months, but which really took off when Bruce Sterling wrote about it for Wired on April 2, 2012. Since then many have written about it; the latest manifestation is the book sprint.
With all respect to the authors, I will state that the text is not fully cohesive, as it becomes obvious that much of the content consists of copy/paste material that was clearly worked over to somewhat match a book format in just three and a half days. Clearly some stuff had to be written on the spot, but many of the references in the footnotes could not be gathered so quickly–or at least everyone had to come prepared with some strong references to use well before the writing sessions would begin. What the book sprint does accomplish is provide a good sense of the initial stages of The New Aesthetic in order to reposition the concept in terms of a more critical practice. The New Aesthetic, based on what I have been reading about it for a few months now, is not a term initially invested in criticality, but rather it befriends trending strategies of the design world which more often than not is primarily invested in landing major corporate contracts.
I won’t dwell on my own views on The New Aesthetic in this case. For now, I prefer to share some links that also complement The New Aesthetic, New Anxieties Book sprint. They appear below. I did not include the authors’ names, but you can certainly find them once you click on the links.
Written for Swedish Traveling Exhibitions, December 2009
Note: The following text is one 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 contextualizes how I saw exhibitions developing in Sweden during my residency. It starts with a lecture I attended during an international symposium on contemporary curatorial practice, and revisits notes on the different art institutions I visited during my residency in Sweden in October and November of 2009. This publication in many ways is a complement to the list posted below.
The second text is Code Switching: Artists and Curators in Networked Culture.
At the end of 2009, the international approach to exhibitions across museums and public institutions appears to emphasize themes over history. This trend was recognized by Curator Jan Debbaut on Saturday November 7, during his presentation at the Symposium “Mountains of Butter, Lakes of Wine,” which took place at the Stadsteater, Stockholm. This shift has not only changed the way exhibitions are funded internationally, as Debbaut noted, but also how they are approached and contextualized. In 2009, the thematic approach repositions exhibitions as forms of communication beyond the four walls of the galleries, affecting all types of exhibiting institutions, not just museums. In my view, this resonates with various institutions I visited in Stockholm and Gothenburg during the months of October and November of 2009, as Correspondent in Residence for the Swedish Traveling Exhibitions. The following is an evaluation of how such institutions organize exhibitions as tools of communication.
Remix Theory: The Aesthetics of Sampling can now be pre-ordered. You can place your order on Amazon, Barnes and Nobles, Powell’sl Books, or another major online bookseller in your region, anywhere in the world. The book is scheduled to be available in Europe in July, 2012 and in the U.S. in September/October of 2012.
The book will also be available electronically through university libraries that have subscriptions with Springer’s online service, Springerlink. I encourage educators who find the book as a whole, or in part, of use for classes to consider the latter option to make the material available to students at an affordable price.
Anyone should be able to preview book chapters on Springerlink once the book is released everywhere. If you would like a print copy for review, please send me, Eduardo Navas, an e-mail with your information and motivation for requesting a print version.
For all questions, please feel free to contact me at eduardo_at_navasse_dot_net.
Also, see the main entry on this book for the table of content and more information.
Below are selected excerpts from the book:
From Chapter One, Remix[ing] Sampling, page 11:
Before Remix is defined specifically in the late 1960s and ‘70s, it is necessary to trace its cultural development, which will clarify how Remix is informed by modernism and postmodernism at the beginning of the twenty-first century. For this reason, my aim in this chapter is to contextualize Remix’s theoretical framework. This will be done in two parts. The first consists of the three stages of mechanical reproduction, which set the ground for sampling to rise as a meta-activity in the second half of the twentieth century. The three stages are presented with the aim to understand how people engage with mechanical reproduction as media becomes more accessible for manipulation. […]The three stages are then linked to four stages of Remix, which overlap the second and third stage of mechanical reproduction.
From Chapter two, Remix[ing] Music, page 61:
To remix is to compose, and dub was the first stage where this possibility was seen not as an act that promoted genius, but as an act that questioned authorship, creativity, originality, and the economics that supported the discourse behind these terms as stable cultural forms. […] Repetition becomes the privileged mode of production, in which preexisting material is recycled towards new forms of representation. The potential behind this paradigm shift would not become evident until the second stage of Remix in New York City, where the principles explored in dub were further explored in what today is known as turntablism: the looping of small sections of records to create new beats—instrumental loops, on top of which MCs and rappers would freestyle, improvising rhymes. […]
From Chapter Three, Remix[ing] Theory, page 125:
Once the concept of sampling, as understood in music during the ‘70s and ‘80s, was introduced as an activity directly linked to remixing different elements beyond music (and eventually evolved into an influential discourse), appropriation and recycling as concepts changed at the beginning of the twenty-first century; they cannot be considered on the same terms prior to the development of machines specifically design for remixing. This would be equivalent to trying to understand the world in terms of representation prior to the photo camera. Once a specific technology is introduced it eventually develops a discourse that helps to shape cultural anxieties. Remix has done and is currently doing this to concepts of appropriation. Remix has changed how we look at the production of material in terms of combinations. This is what enables Remix to become an aesthetic, a discourse that, like a virus, can move through any cultural area and be progressive and regressive depending on the intentions of the people implementing its principles.
More excerpts available once the book is available.
The following is an excerpt from an upcoming paper titled, “Modular Complexity and Remix: The Collapse of Time and Space into Search,” to be published in the peer review journal AnthroVision, Vol 1.1. A note will posted here, on Remix Theory, announcing when the complete paper is officially published.
The excerpt below is rather extensive for a blog post, but I find it necessary to share it in order to bring together elements discussed in previous posts on Remix and Cultural Analytics (see part 1 on the Charleston Mix, part 2 on Radiohead’s Lotus Flower, and part 3 on the Downfall parodies). The excerpt has been slightly edited to make direct reference to the previous postings, and therefore reads different from the version in the actual text, which makes reference to sections of the research paper where more extensive analysis is introduced. Consequently, in order for this post to make more sense, the previous three entries mentioned above should also be read.
The following excerpt references sliced visualizations of the three cases studies in order to analyze the patterns of remixing videos on YouTube. The reason for sharing part of my publication now is to bring together the observations made in previous postings, and to make evident how cultural analytics enables researchers invested in the digital humanities to examine cultural objects in new ways that were not possible prior to the digitalization process we have been experiencing for the last decades.
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To understand how a meme evolves based on the first remixes that a user may find can be evaluated by developing visualizations of the three cases studies that show the editing of the video footage over time. To accomplish this, I took the frames of thirty videos of each meme and sliced them in order to examine the types of pattern the editing actually takes. What we find is that with the Charleston Remixes the video footage stays practically the same except for a few remixes in which the footage of Leon and James dancing was used selectively as part of bigger projects. “Mr. Scruff – Get a Move on | Charleston videoclip” is one of these exceptions, in which the video is re-edited to match the sound (see slice detail below). Another is “Charleston & Lindy Hop Dance ReMix – iLLiFieD video.mix (Version),” (also see below).
Image: A two column slice visualization of the 29 of 30 remixes (one remix was omitted because the footage is not the same performance. That video is not relevant to evaluate how the video footage of this meme is left intact). For a full list of this visualization visit: https://remixtheory.net/remixAnalytics/ and select “Charleston Video Slices.” View large version of this image.
Image: this is a slice visualization of “The Charleston and Lindy Hop Dance Remix.” When comparing this sliced image to other slices in the two-column visualization above, one can notice the selective process with which footage from the Charleston Style was used. This video is much longer than the original footage, and has been compacted in order to show how the video was selectively edited. To view this remix, visit http://www.youtube.com/watch?v=POupa2sW1UI&feature=player_embedded. This video was uploaded to YouTube on May2, 2009. View large version of this image.
Image: this is a slice visualization of “Mr. Scruff remix.” When comparing the sliced image to the other slices in the two columns visualization above, one can notice how the same footage was edited repeatedly to match the beat and sections of the song. This video is much longer than the original footage, and has been compacted in order to show how the video was selectively edited. Visit http://www.youtube.com/watch?feature=player_embedded&v=Bx5-itIA0pQ. This video was uploaded to YouTube on January 10, 2008. View large version of this image.
Image: A two-column visualization of Lotus Flower Remixes. The original video by Radiohead is on the top-left. Most of the videos sliced in this sample were uploaded within the first two weeks after the original video was uploaded by Radiohead on February 16, 2011. For a full list of this visualization visit: https://remixtheory.net/remixAnalytics/ and select “Lotus Flower Video Slices.” View large version of this image.
In the Lotus Flower Remixes (See image above) we can note that the editing of the videos is quite diverse; the footage is remixed (heavily edited) to match the beat and the overall feel of the selected songs, with the very first videos.
The Downfall remixes (see figure below) consists of video footage that for the most part has been left intact. What is remixed is the fake translation of Hitler’s rant. The subtitles for Hitler are sometimes in the middle of the screen, in others at the bottom; buy zyban in china sometimes the typeface is small, and at times large. But in the end the video footage is left intact and the translations very much obey the rhythm of the original editing.
Image: A two-column visualization of The Downfall Parody remixes. The original video with no subtitles is on the top-left. Videos sliced in this sample were uploaded between 2007 and 2011. At the moment it is not certain whether the 2007 upload was the first because many remixes have been taken down by YouTube. For a full list of this visualization visit: https://remixtheory.net/remixAnalytics/ and select “Downfall Video Slices.” View large version of this image.
Image: visualization of “Hitler’s Reaction to the new Kiss album,” a video remix in which Hitler rants about the album’s title “Sonic Boom.” The subtitles (the thin horizontal white bars) in this case move all over the frame. To view this video visit: http://www.youtube.com/watch?v=nwOLfppXhsk&feature=youtu.be. View large version of this image.
We can note in the three case studies that the approach of remixing is in part defined by the way the original remix or footage was produced. With the Charleston Remixes, most contributions leave the video footage intact. No major editing took place until September 2007, that is a year and four months after the first upload. With the Lotus Flower Remixes, editing of the footage is done from the very beginning, while with the Downfall parodies, it does not place at all. Why would this be?
Based on the diagrams (see the link “visualization of links” for each case study on the page remixAnalytics) and patterns of editing that I present, we can note that the later videos are in fact responses to previous productions. In the Charleston Remixes, the video footage is left intact because it is intact in the first remix. With Lotus Flower, the original footage by Radiohead is heavily edited, which gives remixers the license to immediately manipulate the footage in selective fashion—by omitting some parts of the footage while repeating others to match the selected songs. With the Downfall remixes, the result is similar to the Charleston Remix: the footage is practically left alone because the meme demands that the basis of the meme be that only the text be remixed; therefore, the only major shift takes place with the placement of translations on the screen: sometimes on the middle, but for the most part at the bottom. The only other shift we can notice with the subtitles is that they may crossover from one shot to the next based on the emphasis of the content that the remixer wants to make. But none of the Charleston and Downfall videos are as heavily edited as the Lotus Flower remixes. It is also worth noting that these are all selective remixes, which means that they all are dependent on a clear reference to the original source.[1] If such reference is lost, then, the remix withers, and would become either a badly concocted reference, or simply a product on the verge of plagiarism.
One last element that needs to be considered, which apparently affects the production of the memes, as is also argued by a study on YouTube funded by Telefonica [2], and also supported by the research of Jean Burgess and Joshua Green [3] is that due to the viral emphasis on YouTube, online users are most likely to find an already remixed version of a video, and not the original if the remix has enjoyed more views. The exception to this is Lotus Flower, for which YouTube apparently always offers the original video as part of possible selections, on the first page of all results. This is likely because given Radiohead’s popularity, their YouTube channel has a large number of views. For the Charleston, this is not always the case, as the original footage sometimes will not come up with certain video remixes. For the Downfall meme, it is even more difficult to speculate how videos produced before 2007 affect users who currently search for the meme, because they are likely to find videos that are popular, but not necessarily the newest nor the oldest—but rather the most relevant based on the terms used for the search in relation to the number of views.
[2] Meeyoung Cha, Haewoon Kwak, Pablo Rodriguez, Yong-Yeol Ahn, and Sue Moon, “I Tube, You Tube, Everybody Tubes: Analyzing the World’s Largest User Generated Content Video System,” http://an.kaist.ac.kr/traces/papers/imc131-cha.pdf
[3] For Burgess and Green this is evident based on their assessment of the emphasis of presenting popular videos first, and the fact that YouTube members deliberately find ways to promote their videos to become as popular as possible. See Jean Burgess & Joshua Green, YouTube: Online Video and Participatory Culture (Cambridge: Polity, 2010), 74.
I will be presenting my research on Remix and Cultural Analytics at the Departamento de Artes Plásticas da ECA, University of Sao Paulo, Brazil during a one week seminar, March 19 – 21, 2012. Information below.
Principles of Remix Seminar
This seminar examines the act of remixing in contemporary culture. It takes a historical approach with the aim to define remix not only as an act but a process. Remix is often discussed in terms of copyright and intellectual property. In contrast, this seminar engages remix as a cultural binder. The premise for the sessions is that remix affects culture in ways that go beyond the basic understanding of recombining material to create something different. The class will go over key principles of remix, and will also contextualize it in the tradition of critical theory.
The five-day seminar will make use of research published in the texts suggested for reading (see list below). The texts should be read before the actual meetings.
Day 1: Principles of Remix
Day 2: The Aesthetics of Remix
Day 3: The Dialectics of Remix
Day 4: The Social Implications of Remix (Social Media and Cultural Analytics)
Day 5: Remix Globalization and Cultural Analytics
All material to be discussed during the seminar is written by Eduardo Navas:
Part 4 of the Series “Everything is a Remix” (above) has been released on line by Kirby Ferguson. In this last segment, Ferguson retells in large part Lessig’s argument on copyright and free culture (later renamed read/write culture). Kirby points to a “System Failure” in the near future. I don’t have much to add in terms of criticism about the series, given that Ferguson very much hops back and forth between cultural citations and material samplings, not acknowledging the complexity of intertextuality as I already discussed in a previous criticism I wrote about his series.
Another video was recently released by Creative Mornings, in which Ferguson goes over his views on remix as a “metaphor” (below). I wonder why he does not make metaphor a key issue in his videos. One would not have to worry about the watering down of “remix” as a term with a specific meaning in networked culture. But perhaps in the end Ferguson may sense that everything is not a remix. As I previously explained, in the end he is discussing intertextuality.
Well produced videos, worth watching. I think people will change their minds about creativity when viewing them, and this is a real contribution by Ferguson.
I recently received a message from Elisa Kreisinger about a supercut she created along with Melissa Silverstein (above). It is a video commentary on the obvious inequality within The Academy of Motion Pictures Arts and Sciences. This video is produced just in time for the Oscar’s. I was not able to post it before Monday (the big night), but it serves just as well to post it now, since the hype keeps going. Kreisinger’s commentary follows below:
My colleague Melissa Silverstein and I made a supercut over at Women And Hollywood that compiles all the female-directed films not nominated in an effort to highlight women’s work and shed light on part of the problem: the voting population of the Academy.
* 94% white.
* 77% male.
* 62 is the average age.
We’ve moved beyond the issue of ‘not enough women making work.’
As a result, it’s important to honor prominent female directors here in an effort to encourage more women to write and direct their own work, open the conversation about women-made narratives and shed light on who decides what narratives get honored, why and how that affects our popular culture.
So on Sunday night, women will be at the forefront of the Oscars. But not for their work; for their dress. As you watch the plethora of white men accept their awards on behalf of other white men, keep these women-made movies in mind.
Image: Preliminary cover design and logo for upcoming book by Ludmil Trenkov.
I am very happy to announce that my book Remix Theory: The Aesthetics of Sampling is scheduled to be published later on this year, by Springer Wien New York Press. If all goes according to schedule, it should be available no later than this Fall. The book offers an in-depth analysis on Remix as a form of discourse. To get a sense of what to expect, you can read my previously published text, “Regressive and Reflexive Mashups in Sampling Culture,” also available through Springer: http://www.springerlink.com/content/r7r28443320k6012/. You can read my online version as well, though I encourage you to support the publishing company by downloading the official version.
I will offer more information about the book in the near future, such as the table of content, and excerpts from the text. For now I wanted to share the promotional abstract:
Remix Theory: The Aesthetics of Sampling is an analysis of Remix in art, music, and new media. Navas argues that Remix, as a form of discourse, affects culture in ways that go beyond the basic recombination of material. His investigation locates the roots of Remix in early forms of mechanical reproduction, in seven stages, beginning in the nineteenth century with the development of the photo camera and the phonograph, leading to contemporary remix culture. This book places particular emphasis on the rise of Remix in music during the 1970s and ‘80s in relation to art and media at the beginning of the twenty-first Century. Navas argues that Remix is a type of binder, a cultural glue—a virus—that informs and supports contemporary culture.
In an effort to create awareness of the repercussions that SOPA would bring to the innovation of online exchange, Wikipedia has blocked its service for 24 hours. In turn, they have provided a very useful tool to find out who is one’s representative if residing in the United States. Wikipedia is doing this along with WordPress, Reddit, and Mozilla. Log on to Wikipedia and you will be taken directly to the proper page for further action. Their views on SOPA are reposted below:
Call your elected officials.
Tell them you are their constituent, and you oppose SOPA and PIPA.
Why?
SOPA and PIPA would put the burden on website owners to police user-contributed material and call for the unnecessary blocking of entire sites. Small sites won’t have sufficient resources to defend themselves. Big media companies may seek to cut off funding sources for their foreign competitors, even if copyright isn’t being infringed. Foreign sites will be blacklisted, which means they won’t show up in major search engines. SOPA and PIPA would build a framework for future restrictions and suppression.
In a world in which politicians regulate the Internet based on the influence of big money, Wikipedia — and sites like it — cannot survive.
Congress says it’s trying to protect the rights of copyright owners, but the “cure” that SOPA and PIPA represent is worse than the disease. SOPA and PIPA are not the answer: they would fatally damage the free and open Internet.
