Minima Moralia Redux, a selective remix of Theodor Adorno’s Minima Moralia, enters a second phase in 2015. This was not foreseen when I began the project back in 2011, because the work is not only a work of art, but also research on data analytics, as well as a critical reflection on networked culture.
The first part of Minima Moralia Redux (entries one to fifty), consisted of updating Theodor Adorno’s aphorisms–that is to remix them as contemporary reflections of the way global society and culture is engaging with emerging technology. When I finished the first section, I realized that the project’s aesthetics were changing. This was for a few reasons. In terms of research, the first section provided more than enough data for me to data-mine Adorno’s approach to writing; therefore, I came to see no need in following this methodology. I plan to make my findings about this aspect public in a formal paper in the future.
During the month of January and February of 2015, I began to consider how to reconfigure selected tweets of my @poemita twitter account as poems. The first outcome of this process was three sets of image-layouts of selected poems from the years 2010-2013 which I called “Poem Portraits.” They are available on the main @Poemita project page:
Simultaneously, I had been working with D3 to develop a force layout for visualizations of selected entries from my project Minima Moralia Redux (This set of visualizations will be discussed in a separate entry). Such layout is designed mainly to show the relevance of words within each of Adorno’s aphoristic essays. At one point in this process, it occurred to me that I could use D3 force layouts not only for research based visualizations, but as an actual medium to rewrite poems. Hence, I repurposed D3 features to develop a set of poems as shown in figures 1 – 4.
Figure 1: “Do You Want Fries with that?” by Ian Stevenson
The following is an interview conducted for the exhibition Pictoplasma: White Noise, curated by Lars Denicke and Peter Thaler, which took place at La Casa Encendida, Madrid Spain from May 23, to September 8, 2013. I was asked questions on how remix functions in art practice, if there is a difference between remix and sampling, among other issues that the concept of remixing raises with digital and non-digital forms of production. This interview was released as part of a print publication that complemented the exhibit, but it was not made available online. I am now making it public because my answers raise issues that I have not discussed in other texts or interviews. I thank Lars and Peter for their interest in my views on the subject of remix.
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Pictoplasma – Remix is what we all do now: cut/copy and paste. You have defined remix culture as the creative exchange of information made possible by digital technologies. Can one only speak of remix in cultural production if it is digital? Or if digital is not a prerequisite, how are analogue remixes embedded into digital culture? What is the difference between remixing and quoting or referencing?
E. Navas – First it should be noted that the concept of remixing is specific to contemporary times. Not everything is a remix – this is hard for me to say given that I was a DJ for almost 15 years (and would love to make such an overreaching claim), but it is precisely because I DJed for so long that I know that remixing is a very specific act. Having said that, the principles of remixing, or remix as discourse, have become important across culture, and this is why remix culture is so popular today, especially when discussing creativity as endorsed by Creative Commons.
When looking back in history you will notice that as a concept for daily creativity, remix was not that popular until remixing became a driving force in music, particularly in disco and hip hop. This means that the concept of remix is popular today not because anyone in particular decided to talk about it to promote some sort of organized movement, but rather because culture as a whole began to use the term to describe the type of creative production that is possible with contemporary technology. The reality is that remix is synonymous with the digital because it was the digital that made the concrete act of taking actual samples from recordings to then manipulate them into something new, while leaving the sampled source intact. This was not the case with collages, which were created by cutting out from images or photographs to create new compositions. In collages the”‘sampled” material was destroyed because it was cut out, but with digital technology, the sampled source is left intact, this was done before in photography, of course, starting in the 19th century. When you take a photograph you are sampling from real life, but the subject of your photograph remains untouched. People at this time, however, did not think about this as an act of sampling, but of recording. But in fact early photography was sampling from real life.
A Modular Framework: Beyond Tautological History
Essay written for the exhibition A Modular Framework
CCESV, El Salvador
November 9 –December 17, 2010.
by Eduardo Navas
Note: This essay was written for the exhibition A Modular Framework, which took place at the Cultural Center of Spain in El Salvador, November 9 – December 17, 2010. The catalog was never published due to limitation of funds. I considered publishing this essay in art journals focused on Latin American Art, but the response by some was that it was either too specific and could not fit their specific theme at the moment, or that it read too much like an exhibition catalog essay which would not sit well outside of the context for which it was originally written. It has been nearly five years since I wrote the text, and I have decided to release it online, as part of my general research shared on Remix Theory. I am doing this because I believe that it is fair for the artists who participated in the exhibition to have access to the writing I produced. I also think that what I write in terms of critical theory and postcolonial studies may be of interest to people invested in Latin American Art.
Some of the issues raised in terms of the history of new media and Latin America may have changed since I wrote the essay in 2010. I leave it unchanged because I don’t see the point in updating the cultural context given that the exhibit was curated to reflect on the issues at play in 2010. Below is an excerpt. The full text can be downloaded in PDF format.
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A Modular Framework is an exhibition that brings together artists from Latin America, or artists who have ties to Latin America, and have been producing new media work since at least the mid-nineties, when new media and digital art began to take shape. Most of the works included in the exhibition are recent, and were chosen as examples of diverse and rigorous art practices. The artists, themselves, while they crossover into art practice at large, are pioneers in digital and new media art in their own countries and for this reason they were invited to participate in the exhibition.
A Modular Framework is the first of its kind in the Central American Region, and as such its purpose is to better acquaint the local culture with new media and digital art practice. At the same time, the exhibit is designed as a marking point, as a fragmentary modular assessment of the rich production of new media art by a specific set of artists who share similarities in their approach to the medium of digital art as a proper practice. The works included comment in one way or another on interconnectivity and possibilities of communication by exploring diverse interests in politics and aesthetics. This diverse activity is the result of a long process of art production that is intertwined with global culture. For this reason, before examining each of the selections, it is necessary to briefly outline the relation of new media and digital art practice in contemporary art history.
The Context of New Media and Digital Art
The type of work produced in new media and digital art is often linked by art and media historians to an interdisciplinary practice defined by the interest to move outside of the gallery as previously explored during the seventies with site-specific art, and especially conceptual and performance art. Of these three, conceptualism has been more often presented as a predecessor of new media and digital art practice. During the nineties, the Internet was viewed by emerging artists, who had online access, as a space in which to present work outside of not only the gallery but also their immediate locality. Such developments have influenced how new media works are currently presented as objects of art in a physical space. The works included in A Modular Framework reflect on this process, from different starting points.
Image: Joelle Dietrick and Owen Mundy, “Grid Sequence Me and The Sea is a Smooth Space,” 2013, Three Channel Projection Dimensions variable, Flashpoint Gallery, Washington D.C., Photographs by Brandon Webster
The following essay was published in Joelle Dietrick’s and Owen Mundy’s art catalog survey of their ongoing art collaboration titled Packet Switching, published at the end of 2014. A PDF of the actual catalog is available for download. I want to thank Joelle and Owen for inviting me to write about their work, which, as the essay should make evident, I consider an important contribution to contemporary media art practice.
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Joelle Dietrick’s and Owen Mundy’s ongoing body of work titled Packet Switching focuses on the relation among information exchange, architecture, and social issues. They examine and appropriate the action of data transfer across networks to show the major implications that these three cultural elements have at large. Packet Switching, in technical terms, is straight-forward; it is designed to be practical, to transfer information over a network, broken into small pieces at point A then to be sent to point B, where it is put back together. Each packet does not necessarily take the same route, and may even go through different cities around the world before it gets to its final destination. The technology that makes this possible was first introduced as a strategic tactic by the U.S. Government to win The Cold War.
Throughout the 1950s and 60s the relation between the military and research universities was the foundation of our contemporary networked culture.[1] Packet switching was used to send information from and to various centers across the United States. Such a decentralized system of intelligence was developed in case of a Soviet Attack. The network used for this information exchange eventually became the foundation of the Internet.[2] It is evident that delivering information from point A to point B was politically motivated, and in this sense its cultural implementation was pre-defined by the struggle for global power.
I just received in the mail a hardbound copy of The Routledge Companion to Remix Studies. It’s been such a long process. Editing 41 chapters has been quite an endeavor, but a good one. I would like to thank my co-editors, xtine Burrough and Owen Gallagher, who are just amazing collaborators. This book could not have been published on time had it not been for our mutual diligence in meeting deadlines. I also want to thank the contributors who were just amazing during the long editing process (for a full list of authors see the dedicated site for the book: Remix Studies).
I really hope that researchers, academics and remixers find the anthology worth perusing.
The Cover for The Routledge Companion to Remix Studies has been released online.The image design was a collaboration among xtine burrough, Owen Gallagher and Eduardo Navas (myself). We really look forward to the eventual publication of the 41 chapter volume, which is scheduled to be available on December 3, 2014.
At the end of July, I was interviewed for KulturWelle. Their radio feature titled Fade In/Fade Out, Remixing Culture, which aired on September 3, 2014, presents excerpts of interviews with musicologist Fabian Czolbe, media and communications researcher Steffen Lepa, Ramón Reichert, and, myself, Eduardo Navas.
The feature is literally a remix in German and English of our reflections on the recyclability of culture complemented with music and sound excerpts. Even if one does not understand German, one should listen to the hour long show. It is a true rhetorical soundscape equivalent to a well mixed music recording. Many thanks to Nikita Hock, who first contacted me, and all the producers of the radio show, including Anastasia Andersson, Bernadette Breyer, Lara Deininger and Angelika Piechotta.
Figure 1: four shots from around a third into the film. Left is original edit, Right is chronological edit
During the Fall of 2013, I analyzed Pulp Fiction with my students in my Video Art Class for the School of Visual Arts at Penn State. One of their assignments was to produce a video and then re-edit it to tell the same story but in different order, and therefore explore how aesthetics play a role in experiencing a narrative. We went over a few examples that would give them ideas, some of the links I provided as resources included Pulp Fiction and Memento.
The Steve Reich Remixes consists of four mashups of selected tracks of Steve Reich’s Music for 18 Musicians.
I selected tracks from Reich’s original recordings based on their time: 6, 5, 4, or 3 minutes, and matched them to end at the same time. The tracks part of each mix last more than the number which appears in its proper title (after the @) but less than an extra full minute. These remixes are developed based on my previous experimentation with chance in mashups of John Cage’s Compositions for Piano.
