By Eduardo Navas
Remix concept: The Aesthetics of Sampling is an research of Remix in paintings, track, and new media. Navas argues that Remix, as a sort of discourse, impacts tradition in ways in which transcend the fundamental recombination of fabric. His research locates the roots of Remix in early kinds of mechanical replica, in seven phases, starting within the 19th century with the improvement of the photograph digital camera and the phonograph, resulting in modern Remix tradition. This ebook locations specific emphasis at the upward thrust of Remix in tune through the Seventies and '80s on the subject of paintings and media firstly of the twenty-first Century. Navas argues that Remix is one of those binder, a cultural glue - a scourge - that informs and helps modern tradition.
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Extra info for Remix Theory: The Aesthetics of Sampling
In Las Vegas, as a concrete example, image and sound are strategically repeated incessantly to create a seamless spectacular loop. In this city with no clocks anywhere to be found, time is suspended—night and day become one timeless loop, encouraging people to stay up as much as possible and spend all of their time at the gambling tables. Kitsch art exhibitions and collections are promoted as just another major spectacle on the strip; nightly performances by cover bands of The Beatles, along with Elvis Presley impersonators, are naturally juxtaposed with actual performers, including Cher, Prince, and Wayne Newton—as if they belong to the same time period.
29 Part of the interest in sampling within the culture industry, then, is in taking a bit of music that the listener will recognize, who will in turn most likely become excited when she recognizes the sample. At this point, sampling manifests itself as loops that can potentially go on forever. It begins to expose the basic aesthetic of loops as vehicles of ideology in consumer culture. 30 And with this form of mechanical repetition, with loops, time gives way to space, because in modularity, time is not marked linearly, but circularly, for the sake of consumption and regression.
See Scratch, DVD. Directed by Doug Prey. USA: Firewalks Film, 2001. 47 Eduardo Navas Toasting means, literally, to make toasts—make celebratory announcements—on the microphone while also animating the audience. With his mobile sound system, and the concept of the breaks—Herc made the most of instrumental sections, where the drummer could find expression just for a few bars before the lyrics came back. This was the basis for turntablism. DJs became obsessed with finding breaks they could remix on the spot for dancers and especially B-boys.