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.

(Source: Flame Games)

Not a very good remix, but still worth noting.

Click here for detailed image
(Source: Juno Records)

Artist:      ABSTRACT FUTURE
Title:     The First Theory
Label:     Magnolia Digital
Cat No:     MAG 008
Format:     192 mp3, 320 mp3, wav
Released:     19 September, 2006

Click here for detailed image
(Source: Ninja Obsession)

The Cinematic Orchestra : “Man With the Movie Camera” (CD/DVD/2xLP ZEN78, 2003.05)

(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

http://www.blipfestival.org/

THE TANK and 8BITPEOPLES are pleased to present the Blip Festival, a four-day celebration of over 30 international artists exploring the untapped potential of low-bit videogame consoles and home computers used as creative tools. Familiar devices are pushed in new directions with startling results — Nintendo Entertainment Systems and Game Boys roaring with futuristic floor-stomping rhythms and fist-waving melody, art-damaged Sega hardware generating fluctuating and abstracted video patterns — and that’s only the beginning. An exploration of the chiptune idiom and its close relatives, the Blip Festival is the biggest and most comprehensive event in the history of the form, and will include daily workshops, art installations, and nightly music performances boasting an international roster larger and more far-reaching than any previous event of its kind. Small sounds at large scales pushed to the limit at high volumes — the Blip Festival is an unprecedented event that is not to be missed.

(more…)

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.

(more…)

(Source: Illustrated DB)

China Girl (EMI SPRO 9951/9952)
US (1983)

A  “China Girl” (Long Version)
B  Shake It (Long Version)

Promo 12″ that came in the same sleeve as the stock copy.

(Source: Illustrated DB)

China Girl (EMI PRP-8237)
Japan (1983)

A  “China Girl” (4’17”)
B  “We Too” (by the Little River Band)

Promo 12″ with the single edit. This single appeared in a blue duotone copy of the US sleeve

(Source: Illustrated DB)

“China Girl” (EMI 7809)
US (1983)

A  “China Girl” (Long Version)
B  “Shake It” (Long Version)

The Remix is called ‘Long Version’ on this issue.