Synopses & Reviews
Remix Theory: The Aesthetics of Sampling is an analysis of Remix in art, music, and new media. Navas argues that Remix, as a form of discourse, affects culture in ways that go beyond the basic recombination of material. His investigation locates the roots of Remix in early forms of mechanical reproduction, in seven stages, beginning in the nineteenth century with the development of the photo camera and the phonograph, leading to contemporary remix culture. This book places particular emphasis on the rise of Remix in music during the 1970s and '80s in relation to art and media at the beginning of the twenty-first Century. Navas argues that Remix is a type of binder, a cultural glue--a virus--that informs and supports contemporary culture.
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.
Binder, glue or virus - why is remixing and sampling such a successful cultural technique?
About the Author
Eduardo Navas researches the crossover of art and media in culture. His production includes art & media projects, critical texts, and curatorial projects. He has presented and lectured about his work and research internationally. Navas collaborates with artists and institutions in various countries to organize events and develop new forms of publication. He has lectured on art and media theory and practice at various colleges and universities in the United States including Otis College of Art and Design, San Diego State University, Pennsylvania State University, as well as Eugene Lang College of Liberal Arts and The School for Public Engagement at The New School. Navas received his Ph.D. from the Department of Art and Media History, Theory, and Criticism at the University of California in San Diego and is a Post Doctoral Fellow in the Department of Information Science and Media Studies at the University of Bergen, Norway. Selected texts and research projects are available on Remix Theory: http://remixtheory.net. His main website: http://navasse.net
Table of Contents
Chapter One: Remix[ing] Sampling Sections: Sampling Defined--From Photography to Remix--The Three Chronological Stages of Mechanical Reproduction--The Four Stages of Remix--The Regressive Ideology of Remix Chapter Two: Remix[ing] Music Sections: A Night at Kadan, San Diego, CA--Dub, B Sides and Their [re]versions in the Threshold of Remix--The Threshold in Dub, Dub: From Acetate to Digital--Subversion and the Threshold--Dub in Hip Hop--Down Tempo and Drum 'n' Bass--Dub 'n' Theory--Dub-b-[ing] the Threshold--Dub 'n' Remix--Bonus Beats: Remix as Composing Chapter Three: Remix[ing] Theory Sections: Remix Defined--Allegory in Remix--The Regenerative Remix--Remix in Art, The Waning of Affect in Remix--Remix in the Culture Industry--Mashups Defined--From Music to Culture to Web 2.0--Web Application Mashups--The Ideology Behind the Reflexive Mashup--Sampling and the Reflexive Mashup--Resistance in Remix--Remix in History--Remix in Blogging--Bonus Beats: Remix in Culture Chapter Four: Remix[ing] Art Sections: A Late Night in Berlin--Remix is Meta--The Role of the Author and the Viewer in Remix--The Role of the Author and the Viewer in Performance and Minimalism--New Media's Dependence on Collaboration--The Curator as Remixer--Online Practice and Conceptualism--The Regressive Ideology of Remix Part 2--Bonus Beats: The transparency of Remix Conclusion: Noise and Remix Sections: Periférico, Mexico City--After the Domestication of Noise--Bonus Beats: the Causality of Remix