Navas - Remix Theory

Aus Leowiki

Teilweise sehr spekulative, betont kritische und theorielastige Darstellung; sehr unterschiedlich informative Abschnitte; begrüßenswertes Bemühen um begriffliche Präzision und Konsistenz.

Exzerpt

• "Postmodernism has often been cited to allegorize modernism by way of fragmentation, by sampling selectively from modernism; thus, metaphorically speaking, postmodernism remixes modernism to keep it alive as a valid epistemological project." (p. 4)
• "Remix thrives on the relentless combination of all things possible." (p. 6)
• "dub recordings were not necessarily instrumental versions of a song, but alternate versions that would have some variation, often overemphasizing the bass." (p. 39)
• "Remix culture thrives on the drive to collaborate, to take something that already exists and to turn it into something new by way of personal interpretation. Remix culture aims to find a balance between the individual and the collective, the creator and the audience, creative license and intellectual rights." (p. 60)
• "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." (p. 61)
• "based on its history, it can be stated that there are three types of remixes. The first remix is extended, that is a longer version of the original composition containing long instrumental sections to make it more mixable for the club DJ. […] The second remix is selective; it consists of adding or subtracting material from the original composition. […] The third remix is reflecive; it allegorizes and extends the aesthetic of sampling, where the remixed version challenges the "spectacular aura" of the original and claims autonomy even when it carries the name of the original; material is added or deleted, but the original tracks are largely left intact to be recognizable. An example of this is Mad Professor's famous dub/trip hop album No Protection, which is a remix of Massive Attack's Protection." (p. 66, emphasis in original)
• "To be clear - no matter what - the remix will always rely on the authority of the original composition, whether in forms of actual samples, or in form of reference (citation), as demonstrated with Kraftwerk and Underworld. The remix is in the end a re-mix - that is a rearrangement of something already recognizable; it functions on a met-level. […] The material must be recognized, otherwise it could be misunderstood as something new, and it would be come plagiarism." (p. 67)
• "The regenerative remix is specific to new media and networked culture. Like the other remixes it makes evident the originating sources of material, but unlike them it does not necessarily use references or samplings to validate itself as a cultural form. Instead, the cultural recognition of the material source is subverted in the name of practicality - the validation of the regenerative remix lies in its functionality. […] I choose the term "regenerative" because it alludes to constant change" (p. 73, emphasis in original)
• "Here we see how the act of sampling, a key element in actual remixing, is used for different interests beyond Remix's foundation in music. in this case, principles of sampling (cut/copy & paste) are at play for practical reasons. […] Thus, culture is redefined by the constant flow of information in fragments dependent on the single activity of sampling. […] But it must be noted that these examples are not remixes themselves. They are cited to note how principles of Remix have become ubiquitous in media. What is particular to new media is that the user plays a crucial role in activating the material, as the DJ does when s/he plays with vinyl records." (p. 75, emphasis L.D.)
• "She [Sherie Levine] created a unique object in bronze that looks like Duchamp's but was not mass produced and deliberately looks like a precious work of art. In this way, she exposes how Duchamp's strategy has become assimilated by the artworld, but nevertheless is still relevant. […] Levine's citation also exposes how both urinals are dependent on discourse" (p. 77)
• "Unlike Warhol, Lichtenstein is not sampling directly from a specific work, but rather appropriating […] He conceptually remixes the aesthetics of comics with the language of art." (p. 78)
• "Jameson argues that modernism and postmodernism are divided by the collapse of culture into what he calls intertextuality." (p. 86)
• "for him [Attali], music is the domestication of noise" (p. 89)
• "The listener, as has been noted in previous sections of this chapter, is now expected to contribute in order to consume." (p. 92)
• "The megamix found its way into the '90s in the forms of bastard pop and bootleg culture often linked to culture jamming. One of the best known activists/artists during this period is the collective Negativland, who have produced some of the most important mashups to date." (p. 95)
• "The creative power of all these megamixes and mashups lies in the fact that even when they extend, select from, or reflect upon many recordings […] their authority is allegorical - their effectiveness depends on the recognition of pre-existing recordings." (p. 96)
• "What Grand Wizard Theodore (accredited with being the first scratching DJ) did when he stopped the record on the turntable, to move back and forth and create the effect of a scratch, was to convert the turntable into a musical instrument." (p. 109)
• "In this regard, history is crucial to the notion of remixing, for the work itself exposes a dependency on a preexisting context and content, as noted above when remix was defined: without a recognized history to support it, the remix cannot be Remix, and instead becomes plagiarism, and an injustice to History as well as the Law." (p. 118)
• "We now turn to analyze the development of appropriation in Blogging, where conceptually and aesthetically the model of the DJ, remixing pre-existing material, is most obiously at play in networked culture in the form of the regenerative remix." (p. 120)
• "The ultimate blogger is one who blogs from other blogs: a metablogger who does not write but simply selects. This activity is known as reblogging; […] And in new media culture this is what the blogger does in the end: remixes culture by constantly appropriating pre-existing material, to comment on it, or simply to recontextualize it, by making it part of a specialized blog. […] Basically this is a state of constant remix, which is synonymous with constant updating, as well as reblogging." (p. 124, emaphsis in original)
• "During the '70s it was suggested that Lucy Lippard was the actual "artist" when she curated exhibitions of conceptual art, and that the artists were her material." (p. 149)
• "At the same time, a remix cannot be too close to the original, or people will dismiss it as derivative. Even those who endorse the culture industry have this standard. Whatever is reintroduced needs to be disguised as innovative." (p. 171)
• "People are able to understand what the term implies by simply hearing or viewing a remixed production. they know that it is not a combination but a re-combination of sources that were already in play." (p. 171)
• "when the term "remix culture" is pronounced, people are likely to understand that it has something to do with recombination of material, which extends beyond music to culture at large." (p. 172)
• "The power of Remix is that it makes obvious that there is no limit to recombinations in terms of ideas and/or forms." (p. 172)

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