Remix[ing] Theory
This chapter defines three basic forms of Remix in music and evaluates how they extend as a fourth form in art and media. I evaluate the principles of Remix against a set of new media art projects. I point out as necessary when a project is informed by re
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Eduardo Navas
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THE AESTHETICS OF SAMPLING
SpringerWienNewYork
Eduardo Navas, Ph.D. Post-Doctoral Research Fellow Information Science and Media Studies University of Bergen, Norway With financial support of The Department of Information Science and Media Studies at The University of Bergen, Norway. This work is subject to copyright. All rights are reserved, whether the whole or part of the material is concerned, specifically those of translation, reprinting, re-use of illustrations, broadcasting, reproduction by photocopying machines or similar means, and storage in data banks. Product Liability: The publisher can give no guarantee for all the information contained in this book. The use of registered names, trademarks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. © 2012 Springer-Verlag/Wien
SpringerWienNewYork is part of Springer Science+Business Media springer.at Cover Image: Eduardo Navas Cover Design: Ludmil Trenkov Printing: Strauss GmbH, D-69509 Mörlenbach Printed on acid-free and chlorine-free bleached paper SPIN 86094050 With 60 figures Library of Congress Control Number: 2012939340 ISBN 978-3-7091-1262-5 SpringerWienNewYork
Contents Acknowledgments [vii] Preface [xi]
Introduction: Remix and Noise [1]
Chapter One: Remix[ing] Sampling [9] Sampling Defined (11) —The Three Chronological Stages of Mechanical Reproduction (17) —The Four Stages of Remix (20) — Analytics: From Photography to Remix Culture (22) — The Regressive Ideology of Remix (27)
Chapter Two: Remix[ing] Music [33] A Night at Kadan, San Diego, CA (35) — Dub, B Sides and Their [re]versions in the Threshold of Remix (36) — The Threshold in Dub (37) — Dub: From Acetate to Digital (39) — Subversion and the Threshold (42) — Analytics: From Reggae to Electronic Dub (44) — Dub in Hip Hop, Down Tempo and Drum ‘n’ Bass (47) — Dub ‘n’ Theory (50) —Dub-b-[ing] the Threshold (53) — Dub ‘n’ Remix (58) — Bonus Beats: Remix as Composing (60)
Chapter Three: Remix[ing] Theory [63] Remix Defined (65) —Allegory in Remix (66) — Analytics: Variations of the Reflexive Remix in Music (68) — The Regenerative Remix (73) — Remix in Art (76) — The Waning of Affect in Remix (86) — Remix in the Culture Industry (89) — Mashups Defined (93) — From Music to Culture to Web 2.0 (100) — Web Application Mashups (101) — The Ideology Behind the Reflexive Mashup (103) Analytics: From Music Video to Software Mashups (105) — Sampling and the Reflexive Mashup (108) — Resistance in Remix (109) — Remix in History (111) — Remix in Blogging (120) — Bon
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