Remix Theory
http://remixtheory.net/
Remix Theory is an online resource by Eduardo Navas that offers some of his research on Remix.
Navas focuses on Remix itself as opposed to Remix Culture. In this site you will find a brief definition of Remix, which is examined more extensively in essays that will be added to this website as they become available.
Remix Theory is not meant to function on a daily basis. It is a resource updated periodically, according to the flow of research. It does not focus on the latest information, but on relevant material to the history of Remix, some which may have been published years ago. The site contains material that is obtained from other online sources, with the proper reference. The content of the site consists of reviews, articles, projects and images relevant to Remix. The site also features texts and projects by Eduardo Navas.
Remix Theory is designed to move towards a remix of itself, by recombining much of the material that is archived to put to test the possibilities of Remix. This will become transparent as the database grows, and specific projects are developed. The site is designed to host, archive and promote projects which explore the current possibilities of Remix online and offline; it is prepared to become a repository of collaborations with different people and institutions.
To learn more about the interdisciplinary practice of Eduardo Navas, Please visit http://navasse.net
Notes Towards Affect Engines
http://vogmae.net.au/drupal/files/IAP...
Notes Towards Affect Engines
printable page
Wed, 02/07/2008 - 10:48 — Adrian
Original Citation:
Miles, Adrian. "Notes Towards Affect Engines." International Association of Philosophy and Literature. Melbourne, July 2008.
abstract:
Contemporary theory in its approach to digital media has largely relied upon traditional notions of story and narrative to understand the similarities and differences afforded by digital media. While this work has been invaluable it has emphasised the ways in which things like hypertext may, or may not be, story like and so has examined the new roles of the reader (Douglas 1994; Douglas 2000), and the implications for multilinearity for story sense. (Bolter 1991; Joyce 1995; Joyce 1995; Joyce 1995; Aarseth 1997; Gaggi 1997; Bernstein 1998; Dovey 2002; Landow 2006) However, emerging dominant digital forms juxtapose highly local content and practices with system wide and global combinatory systems.
Traditional approaches which retain assumptions of media as narratively informed run the risk of misreading or ‘missing’ what is peculiar to the possibilities of these digital systems where there are an enormous number of discursive forms available which probably fall outside of what we would ordinarily identify as the subject of the literary or narratological.(Eskelinen 2001; Eskelinen 2004) Many of these forms, while clearly story like (for example blogs) also move away from the regimes of representational narratives, whether fiction or non fiction, and produce work that could be characterised as ambient. For example, a video sharing site such as YouTube, while consisting of millions of micro narratives in the form of televisual fragments, only has the possibility of coherence in any formal narratological sense through theoretical sleight of hand, however is much more amenable to theorisation when considered as an ambient form. When considered in this light it is clear that much contemporary online systems are in fact systems for the production of ambient narrative, and as a consequence are moving away from representative narrative (stories about things) towards affective assemblages — systems for the production, distribution and participation of affects.
Dance, Dance, Revolution
http://profile.myspace.com/index.cfm?...
Engaging in a practice of permissive exploration, we strove to develop various formats for critical exchange that are both intellectually rigorous and playful. This intuitive and open generation of ideas, coupled with the speed and intensity necessitated by a limited creation period, propelled us towards an approach of decentralization. Not only did we as a Curation/Production group conceptualize and develop events, we also invited other artists to engage in the shaping of the festival. As a group we have nurtured a spirit of irreverence, and encouraged omni-directional experimentation throughout the festival’s framework. We offer a skeleton, a potentiality. We are excited to see where and how it will meet you. With love, Rebecca Brooks, Beth Gill, Erika Hand and Isabel Lewis. Neal Beasley was a member of the Trisha Brown Dance Company from 2003-2007. He is a graduate of Idyllwild Arts Academy and holds a BFA in dance from NYU/Tisch School of the Arts. In his newfound freelance life, he is currently scheduled to work with choreographers Beth Gill, Eleanor Bauer, and Larry Keigwin. He has taught technique and repertory internationally for TBDC, as well as in the New York studios. He directed rehearsals for Ms. Brown's creation for the Paris Opera Ballet, both in its 2004 debut and the revival earlier this year.
Dada at the Movies: an overview of da...
http://www.guylivingston.com/dada/ove...
Dada at the Movies: an overview of dadaism
Dada at the Movies is a new show from Guy Livingston, launched at the Holland Festival on June 9, 10, 11, 2006. The show is touring European venues and festivals in 2006-07 and 2007-08.
View the program and technical requirements; view photos and videos from the preview tryouts
Photography at the Bauhaus
http://www.metmuseum.org/TOAH/hd/phbh...
Founded by the architect Walter Gropius (1883–1969) in 1919, the Bauhaus was a utopian haven for avant-garde artists during the period of radical change and tenuous peace in Germany after World War I. A war veteran, Gropius found his battered country badly in need of rejuvenation and believed that the collective of Bauhaus artists could play an important role in that process. Based on the concept of the medieval cooperative of artists and craftsmen combining their talents to build the great Gothic cathedrals, the progressive school of art and design sought to bring together the fine and applied arts, human ingenuity, and modern technology in order to help construct a new rational, egalitarian, and ordered society.
read more at this excellent overview from the MET as well as related articles on photography from the same period
Look Back: Influences and Major Figur...
http://ferdyonfilms.com/2006/02/look-...
You could argue--at least the pervert in me would--that the British New Wave kicked off with Terence Fisher's The Curse of Frankenstein, in the same way Vadim's trashy Et Dieu...crea la femme gave the French New Wave its start by proving commercial viability and reinvigorating a moribund industry. You can at least trace the beginning of Brit pop culture as an individual, powerful force from that point.
