| :: ::Critical Inquiry, Vol. 22, No. 1. (Autumn, 1995), pp. 150-158.
Text source: http://www.jstor.org/view/00931896/ap040085/04a00070/0
(Need to be affiliated with an academic research institution to access)
Text and Image source: http://www.listeningin.org/
November 25, 2004
The Creative Remix, with host Benjamen Walker, is an hour-long “lawyer free†examination of the art, culture, and history of the remix. The hour kicks off with a musical analysis of DJ Dangermouse’s infamous remix of the Beatles and Jay-Z. Then we go back in time to check out the ancient Roman art of the poetry mash-up, or the Cento. Then we rewind to the 18th century to check out the birth of copyright and how it effected writers like Alexander Pope; and the early 20th century when the visual artist Marcel Duchamp used the remix to reinvent everything. We also take a field trip to the Mass MOCA museum of modern art to check out the exhibit “Yankee Remix.†Walker brings along a few grad students and a pair of curmudgeonly New England antique collectors to investigate different attitudes towards remixing. In the second part of the program Benjamen Walker speaks with unique remix artists, including Gideon D’Arcangelo the walkman buster.
Pierre Schaeffer in 1952 playing the phonogène à clavier, a tape recorder with its speed altered by playing any of twelve keys on a keyboard. Photo courtesy of GRM.
Image and text source: http://www.newmusicbox.org/
Published: May 24, 2006
Inside the Box: The computer comes out to play
There’s often a vertical plane between musician and audience. The sheet-music stand paved the way for the upturned plastic shell of the turntable, and today, chances are that rectangle obscuring the face of the performer on stage is the screen of a laptop computer, which has emerged as a ubiquitous music-making tool.
Image source: http://www.stern.de/computer-technik/
computer/556287.html?eid=551201
Text source: Yahoo News
Mar 9, 2007
NEW YORK (Billboard) – You could spend the better part of a day listing the things Grandmaster Flash & the Furious Five did first: In the embryonic days of the New York rap scene, they were among its first superstars, they helped pioneer the freestyle battle and Grandmaster Flash was instrumental in inventing the art of break-beat DJ’ing.
Legend also has it rapper Mele Mel was the first to dub himself an “MC”; fellow rapper Cowboy is credited with coining the term “hip-hop.”
So it makes perfect sense to add another first to the list: On March 12, Grandmaster Flash & the Furious Five will become the first hip-hop act inducted into the Rock and Roll Hall of Fame. It was 25 years ago that their groundbreaking single “The Message” helped hip-hop kick down the door into a world of bigger audiences, and in their third year of eligibility, the act — comprising Grandmaster Flash, Kid Creole, Mele Mel, Scorpio, Raheim and the late Cowboy — will join a class that includes R.E.M., Van Halen, Patti Smith and the Ronettes.
Image source: http://groups.sims.berkeley.edu/msmdx/blog/
introduction/#media_metadata_ecology
Text source: http://dream.sims.berkeley.edu/~ryanshaw/
wordpress/2005/08/15/new-remix-culture-diagram/
I’ve updated my MSMDX diagram, which illustrates how media and metadata flow to and from different activities around media on the web. The old diagram, which Chris Anderson called “one of the more cogent graphics illustrating the new architecture of participation in a remix culture,†and Howard Rheingold described as “a kind of mandala of technologies of cooperation in many-to-many cultural production,†was nice, but it had a few serious problems:
Image source: http://www.flickr.com/photos/raymondyee/133010951/
Notes: This is an abstract of a conference presentation. The overall premise of the event is actually the real subject of interest in this case.
Text source: http://raymondyee.net/wiki/WorkingWithRemixCultureTalk
Event Description: The reuse or “remix” of digital content is one of the hottest topics in web development today. Not a day passes in which there is not some new “mashup” or novel combination of data or services. Although many of these developments are faddishly entertaining, the potential for transformative development for teaching and learning is profound. (Is it too much of a vulgarization to argue that scholarship itself is a form of remix?) This session will provide an introduction to remix cheap kamagra plus culture using two primary examples: 1) mixing Flickr and Google Maps and 2) mixing art imagery and data via the Scholar’s Box, a tool that gives users gather/create/share functionality, enabling them to gather resources from multiple digital repositories in order to create personal and themed collections and other reusable materials that can be shared with others for teaching and research. Consider the longer term implications of remix for education and research and hear about a strategy for constructively engaging with remix culture: how we can educate the next generation of librarians to understand remixing and how we might make library content and services reusable to facilitate new educational and scholarly uses.
Image and text source: http://social.chass.ncsu.edu/jouvert/v7is1/desi.htm
Jouvert, Volume 7, Issue 1 (Autumn 2002)
College of Staten Island/CUNY, Staten Island NY
Copyright © 2002 by Ashley Dawson, all rights reserved. This text may be used and shared in accordance with the fair-use provisions of U.S. Copyright law, and it may be archived and redistributed in electronic form, provided that the editors are notified and no fee is charged for access. Archiving, redistribution, or republication of this text on other terms, in any medium, requires the notification of the journal and consent of the author.
1. On a sweltering August afternoon in 1996, New York City’s Summerstage concert series brought the South Asian dance music known as bhangra to Central Park. South Asian families from all over the tri-state area sunned themselves, jostled for room, and danced in a jam-packed sandy space under sun-dappled plane trees. New York turntablist DJ Rekha added some hometown flavor, spinning bhangra remixes to much applause before the Safri Boys, one of Britain’s hottest bhangra bands, took the stage. Although bhangra remix had been transforming South Asian youth culture in the US at least since the release of UK musician Bally Sagoo’s pathbreaking “Star Crazy” album in 1991, the concert in Central Park was a particular milestone. Here, visible to a broad public, was a display of the compelling cultural forms through which South Asians of the diaspora were articulating new, composite identities. The multiple regional contrasts and tensions that define identity within the subcontinent were harmonized in this diasporic context. The result was a powerful sense of cultural unity and pride. Desi (Hindi for “homeboy” or “homegirl”) culture had definitely arrived. [1]
Text source: http://mbf.blogs.com/mbf/2006/week39/index.html
Joel Flynn has recently achieved his Masters of Science at Simon Fraser University with a Thesis on Remix culture [full title, in capital letters, “TRAVELS IN INTERTEXTUALITY: THE AUTOPOETIC IDENTITY OF REMIX CULTURE”]. He aptly made “two different “mixes”: one has all the images and media links http://www.karmafia.com/thesis/2006-07-27_JFlynn_ThesisDC.pdf and the other has replaced everything that would be questionable in terms of the school’s copyright policy http://www.karmafia.com/thesis/2006-08-14_JFlynn_ThesisPC.pdf. Be sure to check it out.
Here’s the abstract:
“Travels in Intertextuality aims for what John Berger would call “ways of seeing” digital media artifacts and interacting cultural texts. Using Lev Manovich’s Language of New Media, these “new media objects” are seen through the metaphorical “coordinated set of lenses” of Michael Cole’s Cultural Psychology. In addressing issues of “writing” and identity in the digital age at the intersection of technology, art, and commerce, this highly exploratory work looks for ways to perceive “value” in remix culture through ecological models of sociocultural systems. The thesis “follows the problem” of remix through “pioneering research”, “reflective practice”, and shifting contexts for expansive learning. Emerging from significant pools of digital media, “remix value” is analysezd through cultural-historical perspectives, as well as through the autopoietic perspectives of “self-making” biological and sociolinguistic systems.”
