Remixing the Humanities. I give Terry Gross and Jay-Z credit for the timing of this blog entry.
On November 16, 2010, Jay-Z appeared NPR’s “Fresh Air” with Terry Gross. Jay-Z was on a media blitz surrounding his new book that was released that day, Decoded–part autobiography, part analysis and discussion of his most provocative songs. As I was listening my ears perked up when Terry Gross asked him what he thought about The Grey Album, an unauthorized remix-mashup of his Black Album done in 2002 by DJ Danger Mouse. For fans familiar with previous comments on The Grey Album, Jay-Z’s response to Terry Gross was not surprising: “I think it was a really strong album. DJ Danger Mouse’s “genius idea” is something I’ve been thinking about since I first learned about The Grey Album back on Grey Tuesday (Feb. 24, 2004).
Today’s blog entry traces its roots back to 2006. Due to its length, I will publish it in two separate blog entries, but it is intended as one paper. “Now can I get an encore? –Jay-Z, from the song “Encore” Remix culture. Remix culture, sometimes read-write culture, is a society that allows and encourages derivative works by combining or editing existing materials to produce a new creative work or product.[2][3] A remix culture would be, by default, permissive of efforts to improve upon, change, integrate, or otherwise remix the work of copyright holders.
While a common practice of artists of all domains throughout human history,[4] the growth of exclusive copyright restrictions in the last several decades limits this practice more and more by the legal chilling effect.[5] As reaction Harvard law professor Lawrence Lessig, who considers remixing a desirable concept for human creativity, works since the early 2000s[6][7] on a transfer of the remixing concept into the digital age. Remix Culture. I have not posted on Remix Theory for some time.
The reason being that I have been editing along with fellow editors xtine Burrough and Owen Gallagher an upcoming volume on Remix Studies. It has been a lot of intensive work, needless to say but well worthwhile as we believe the remix community will value the many contributions that comprise the volume. We hope to have the book published in the latter half of 2014–at the moment the tentative release date is for early 2015. Here is some information and a link to the official webpage: The Routledge Companion to Remix Studies Edited by Eduardo Navas, Owen Gallagher, xtine burrough. Archivio » Regressive and Reflexive Mashups in Sampling Culture, 2010 Revision, by Eduardo Navas.
Download a high resolution version of Diagram in PDF format This text was originally published on June 25, 2007 in Vague Terrain Journal as a contribution to the issue titled Sample Culture.
It was revised in November 2009 and subsequently published as a chapter contribution in Sonvilla-Weiss, Stefan (Ed.) Mashup Cultures, 2010, ISBN: 978-3-7091-0095-0, Springer Wien/New York published in May 2010. It is here republished with permission from the publisher and is requested that it be cited appropriately. Remix Defined. For my most in-depth definition of Remix, read “Regressive and Reflexive Mashups in Sampling Culture.”
What follows below are excerpts from numerous articles I published since 2006. Grandmaster Flash Hacks the DJ mixer. Mid to late seventies (Image does not necessarily correspond with time period) Generally speaking, remix culture can be defined as the global activity consisting of the creative and efficient exchange of information made possible by digital technologies that is supported by the practice of cut/copy and paste. DJ Kool Herc Introduces Jamaican Toasting in NYC throughout the seventies (Image does not necessarily correspond with time period) The Hip hop DJs improved on the skills previously developed by Jamaican music producers, and Disco DJs during the seventies. Afrika Bambaataa Plays with the possibilities of sampling, Mid seventies to early eighties (Image does not necessarily correspond with time period)
Vague Terrain 07: Sample Culture. This is Not Memorex In familiarizing myself with this work over the past few weeks, I've felt an odd sense of nostalgia developing.
These projects collectively highlight various facets of what we have dubbed sample culture, that is the continued evolution of the triumph of the fragment. There are dozens of threads that can be traced back to the 1980s and while I am personally indebted to the potent combination of Brian Eno and David Byrne, the perpetual litigation of Negativland, and the sonic collage of the Bomb Squad, I am going to instead direct my attention to another dusty artifact from collective memory.
A few years ago while perusing soulseek, I stumbled across a collection of recorded DJ mixes that had been aired on WJLB in Detroit in the late 1980s. Watch. Walking on Eggshells: Borrowing Culture in the Remix Age. The Evolution of Remix Culture. "RiP: A Remix Manifesto," an open source documentary film about copyright counter-culture.
Disney-pr0n. Re-hello On continue notre petit début de semaine avec Rodolfo Loaiza qui est un peintre qui aime la couleur, Disney et… et le trash, le décalé, l’humour.
Il a donc repris les illustrations des studios Disney pour dépeindre la face sombre de l’univers de Disney. Désolé si vous aimiez bien Bambi ! En tout cas, le travail graphique est intéressant, le style est vraiment respecté ! Je me demande si il a eu quelques petits soucis avec Disney. source Ces articles peuvent aussi vous intéresser: Video explains the world's most important 6-sec drum loop. Everything Is A Remix: THE MATRIX. Embrace the Remix. Everything is a Remix Part 1. Everything is a Remix Part 2. Everything is a Remix Part 3. A Mash-Up Culture: Ten to Watch. Soldier Of The Great Empire. Remix Culture.