Remix Theory: The Aesthetics of Sampling

Remix Theory: The Aesthetics of Sampling

Eduardo Navas

Language: English

Pages: 180

ISBN: 3990434993

Format: PDF / Kindle (mobi) / ePub


Sampling and remixing are now common in art, music and new media. Assessing their aesthetic qualities by focusing on technical advances in 1970s and 80s music, and later in art and media, the author argues that 'Remix' punches above its deemed cultural weight.

 

 

 

 

 

 

 

 

 

 

reached, the concept of time, and with it, history, give way to privileging space—simulacrum in space. Thus, Las Vegas specializes in presenting an ever-growing simulacrum of the world. One no longer needs to go to Paris to experience the Eiffel tower, but to Las Vegas to experience the pure myth of Parisian culture. What Las Vegas offers is a culture where the copy is revered for being a fake. And that fakeness attains authenticity based on the honest act of trying to be a parody of, and

http://www.signonsandiego.com/news/features/20080626-9999-1w26gil.html. 54 Hiram 59 Eduardo Navas Gil is not afraid to mix it up and remix it, to take from any area that appears innovative, including hip-hop culture. While I could cite an established electronic musician, such as Pole, who is known for developing long repetitive forms of abstract sound clearly influenced by reggae and dub, I find it much more productive to reflect on the practice of an artist like Gil who has proven and keeps

Eric B. & Rakim, “Paid in Full,” Re-mix engineer: Derek B., Produced by Eric B. & Rakim, Island Records, 1987. 6 Poschardt, 297. 7 Hebdige, 12-16, see chapter two for full citation, 37. 5 Paid 66 Remix Theory The remix is always allegorical following the postmodern theories of Craig Owens, who argues that in postmodernism a deconstruction—a transparent awareness of the history and politics behind the object of art—is always made present as a "preoccupation with reading."8 The object of

Chapter three “Remix[ing] Theory” consists of a concise definition of Remix as a proper action in music. It makes use of the historical and cultural contextualization set in the previous two chapters to define specific forms of Remix. Chapter three focuses on Remix’s beginning in music during the 1970s and its eventual influence in art and media. It includes analysis of modern and networked art projects, software applications and literature, including Remix’s evolution as blogging. Attali’s

2005, (10 March, 2008) and “Swipe” 2002-2004, (10 March, 2008). 159 Eduardo Navas argument is still relevant at the beginning of the twenty-first century. We are much closer to forms of efficient control that paradoxically allow people greater convenience to produce and consume what they want, as long as they are willing to fully disclose their habits. Sampling and principles of Remix as evaluated in this chapter, then, have been turned into the preferred tools for

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