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.

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Breve historia y antología de la estética

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Paradoxically, the control of noise may have reached, at least partially, the stage of composing that Attali predicted in his book on noise: There is no communication possible between men any longer, now that the codes have been destroyed, including even the code of exchange in repetition. We are all condemned to silence—unless we create our own relation with the world and try to tie other people into the meaning we thus create. That is what composing is. […] Composition thus appears as a

what he calls anarcho-communism, are actually working together. He claims that both political camps function simultaneously by compromising and sharing resources. He explains: What was once revolutionary has now become banal. As Net Access grows, more and more ordinary people are circulating free information across the Net. Crucially, their potlatches are not attempts to regain a lost emotional authenticity. Far from having any belief in the revolutionary ideals of May ’68 the overwhelming

preoccupation with textuality, which is further pushed by Jameson in terms of intertextuality. In brief, Remix has elements of textuality and intertextuality that also informed art practice during the 1960s and ‘70s. Evaluating how appropriation as a form of textual sampling was at play in the arts is important because art has always been in close conversation with music and culture at large. We turn to this aspect of sampling as a form of reading and writing in the next section. The premises of

gallery space.13 The viewer was not only expected to walk around the space, but also to listen carefully to what Acconci was doing under the platform especially created for the installation. Acconci masturbated while talking to the viewer (whispering through a microphone). Here the presence of the viewer is essential to complete the work of art. If Acconci has nobody to address, his project is incomplete—it is interaction or “reading” by the gallery attendee, following the concept of the reader

Armstrong, Kate, 76, 78-80, 82-84, 124 Ray (film), 109 Asher, Michael, 153 Centro + Media Exhibition, 163 Atkins, Juan, 44 Chemical Brothers, 42 Attali, Jacques, 5 - 7, 28, 61, 89-92, 96, 103- 104, 109-110, 114, 125, 145, 167-168 Cher, 30 Cherry Poppin' Daddies, 114 avant-garde, 88 Chic (music group), 95 New York, 139 Clinton, Hillary, 158 cultural citation/s, 69-73, 77-80 Bambaataa, Afrikaa (footnote), 48, 55, 95 CODeDOC, 146, 149 Barbrook, Richard, 121, 123, 170 Coldcut, 49, 66 Barthes, Roland,

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