[csaa-forum] FCJ new issue—"What Now? : The Imprecise and Disagreeable Aesthetics of Remix"—the Fibreculture Journal issue 15

Tue Dec 8 18:19:02 CST 2009

http://journal.fibreculture.org/issue15/

--

The Fibreculture Journal is affiliated with the Open Humanities Press -
http://openhumanitiespress.org/

The Fibreculture Journal is a peer reviewed international journal that
encourages critical and speculative interventions in the debate and
discussions concerning information and communication technologies and their
policy frameworks, network cultures and their informational logic, new media
forms and their deployment, and the possibilities of socio-technical
invention and sustainability. The Fibreculture Journal encourages
submissions that extend research into critical and investigative networked
theories, knowledges and practices.
---

What Now? : The Imprecise and Disagreeable Aesthetics of Remix

http://journal.fibreculture.org/issue15/

Issue Editors: Darren Tofts (Swinburne University of Technology, Melbourne)
and Christian McCrea (Swinburne University of Technology, Melbourne)

Articles

The Renewable Tradition (Extended Play Remix)
Mark Amerika
http://journal.fibreculture.org/issue15/issue15_amerika.html

Cultural Modulation and The Zero Originality Clause of Remix Culture in
Australian Contemporary Art
Ross Rudesch Harley
http://journal.fibreculture.org/issue15/issue15_harley.html

How can you be found when no-one knows that you are missing?
Lisa Gye
http://journal.fibreculture.org/issue15/issue15_gye.html

Sputnik Baby
Ian Haig
http://journal.fibreculture.org/issue15/issue15_haig.html

James Brown, Sample Culture and the Permanent Distance of Glory
Steve Jones
http://journal.fibreculture.org/issue15/issue15_jones.html

Materialities of Law: Celebrity Production and the Public Domain
Esther Milne
http://journal.fibreculture.org/issue15/issue15_milne.html

Materiality of a Simulation: Scratch Reading Machine, 1931
Craig Saper
http://journal.fibreculture.org/issue15/issue15_saper.html
--

>From the Editorial (http://journal.fibreculture.org/issue15/):

It became a minor phenomenon during 2007. By September 2009 it was a virus
out of control. Described in Wired as a ‘popular internet meme’ (Wortham,
2008), the obsessive serial mash-up of a key sequence from Oliver
Hirschbiegel’s 2004 film of the last days of Adolf Hitler, Der Untergang
(The Downfall), is suggestive of the cultural logic of the contemporary
formation known as remix. Remix culture is comprised of what could loosely
be termed amateurs and professionals engaged in the practice of creatively
re-using found material. The distinction is useful in identifying the
aesthetic and material differences between dedicated intermedia remix
artists (Negativland, Martin Arnold, Craig Baldwin, Soda_Jerk), artists who
incorporate elements of remix into a broader audiovisual practice (Philip
Brophy, Candice Breitz, Christian Marclay, John Zorn) and the vernacular
audio-visual mash-up/remake/dub/scratch aesthetics associated with a broad
range of online practices. The domestication of audio-visual literacies in
the digital age has meant that the processes of sampling, editing and
compositing – once the province of dedicated adepts – have become second
nature for a generation weaned on computers and digital technology.
Audio-visual remix attests to a utilitarian competence in ‘writing’ for the
communications paradigm of the internet and networked conditions that
Gregory L. Ulmer famously termed ‘electracy’; a concept that prioritises the
notion of the ‘remake’ and the use of found material (Ulmer, 1989, 1994,
2005, Tofts, 1996). As well, this pervasive cultural competence (in
Chomsky’s linguistic sense of the term) attests to the dramatic distribution
of the material means of production into the hands of consumers.

The Downfall meme is a portrait in miniature of the doxa of contemporary
remix; namely, the collaborative, socially-networked taste for creatively
manipulating work made by someone else. These received ideas presume the
assurance of an invisible yet simpatico audience of like-minded, DIY-capable
remixers alive to the vertiginous pleasure of knowing that anything labeled
a remix is one file in a conjugate (yours, mine, ours) Shareware .zip
archive of infinite re-use. In other words, an assurance of many happy
returns. [2] The Downfall meme is a weird internet event in that it has
garnered the kind of concentrated anticipation on a singular event usually
associated with cult television series, or, more distantly, the narrow band
era of broadcast television (see Palmer, 2008). As remix artist and theorist
Dan Angeloro has suggested, we are witnessing a ‘popular movement of
incredible momentum – the copy/cut/paste logic of contemporary internet
culture’ (Angeloro, 2006: 20).

--

http://journal.fibreculture.org/issue15/

--

Forthcoming Issues of FCJ: early 2010—Counterplay; May 2010—Media Ecologies
Forthcoming CFPs for FCJ: "Trans"; "Contemporary Media and Sustainability"

-- 
"Take me to the operator, I want to ask some questions" - Barbara
Morgenstern

"A traveller, who has lost his way, should not ask, Where am I? What he
really wants to know is, Where are the other places" - Alfred North
Whitehead

"I thought I had reached port; but I seemed to be cast back again into the
open sea" (Deleuze and Guattari, after Leibniz)

Andrew Murphie - Associate Professor
School of English, Media and Performing Arts, University of New South Wales,
Sydney, Australia, 2052
Editor - The Fibreculture Journal http://journal.fibreculture.org/>
web:
http://www.andrewmurphie.org/
http://www.andrewmurphie.org/blog/
http://www.last.fm/user/andersand/
http://researchhub.cofa.unsw.edu.au/ccap/

fax:612 93856812 tlf:612 93855548 email: a.murphie at unsw.edu.au
room 311H, Webster Building
-------------- next part --------------
An HTML attachment was scrubbed...
URL: http://lists.cdu.edu.au/pipermail/csaa-forum/attachments/20091208/df014b2c/attachment.html 