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En Turbulence Remixes and Bonus Beats | CNTP 350, Study notes of Art

Ramapo College of New Jersey (RCNJ)Art
Prof. Jonathan M. Lipkin

Material Type: Notes; Professor: Lipkin; Class: DIGITAL CULTURE; Subject: Contemporary Arts; University: Ramapo College of New Jersey; Term: Spring 2009;

Typology: Study notes

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Uploaded on 08/18/2009

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Week 6 Reading Guide
Brian Kurtz, Kerry Smith and Daniel Donderko
Professor Lipkin
CNTP 350: Digital Culture
Due February 19, 2009
EN Turbulence: remixes + bonus beats
Vocabulary
Remix – The activity of taking samples from pre-existing materials to combine them into new forms
according to personal taste.
Remix culture – global activity in the creative and efficient exchange of information by digital
technologies supported by cut/copy and paste.
Music Remix – A reinterpretation of a pre-existing song, meaning that the “aura” of the original will
be dominant in the remixed version.
Turbulence – a website started in 1996 by New Radio and Performing Arts Inc (NRPA) that
commissions, exhibits, and archives the new hybrid networked art forms that have emerged.
Archive – A place or collection containing records, documents, or other materials of historical interest.
Allegorical – Relies on pre-existing material to gain meaning; indirect representation.
Corporeal – Bodily, physical
Aura –A general impression produced by a predominant quality or characteristic.
Autonomy –Independence
Extended Remix – A longer version of the original
Selective Remix – The original composition has parts added to it, leaving the spectacular aura intact.
Reflexive Remix – The remixed version challenges the aura of the original and claims autonomy even
when it carries the original’s name.
Contextual – Relating to or determined by or in context.
Cartographic – Relating to the making of maps or charts.
Ephemeral – Lasting only for a short time.
Outline
I. Turbulence remix + Bonus Beats
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Week 6 Reading Guide Brian Kurtz, Kerry Smith and Daniel Donderko Professor Lipkin CNTP 350: Digital Culture Due February 19, 2009 EN Turbulence: remixes + bonus beats Vocabulary Remix – The activity of taking samples from pre-existing materials to combine them into new forms according to personal taste. Remix culture – global activity in the creative and efficient exchange of information by digital technologies supported by cut/copy and paste. Music Remix – A reinterpretation of a pre-existing song, meaning that the “aura” of the original will be dominant in the remixed version. Turbulence – a website started in 1996 by New Radio and Performing Arts Inc (NRPA) that commissions, exhibits, and archives the new hybrid networked art forms that have emerged. Archive – A place or collection containing records, documents, or other materials of historical interest. Allegorical – Relies on pre-existing material to gain meaning; indirect representation. Corporeal – Bodily, physical Aura – A general impression produced by a predominant quality or characteristic. Autonomy – Independence Extended Remix – A longer version of the original Selective Remix – The original composition has parts added to it, leaving the spectacular aura intact. Reflexive Remix – The remixed version challenges the aura of the original and claims autonomy even when it carries the original’s name. Contextual – Relating to or determined by or in context. Cartographic – Relating to the making of maps or charts. Ephemeral – Lasting only for a short time. Outline I. Turbulence remix + Bonus Beats

a. Turbulence i. A website for commissioned artwork ii. Turbulence is important in new media art iii. Turbulence is part of the remix culture b. Remix i. Derives from the model of music remixes ii. Roots in Jamaican music iii. Extended to other areas of culture including the visual arts iv. Plays vital role in mass communication, especially on the Internet II. Turbulence: nothing but a remix a. Music remix developed during postmodern period i. Mid/late sixties to mid eighties was timing ii. Postmodern period is one of fragmentation , bits and pieces, incompleteness and open-ended possibilities b. Music remix defined by DJ’s in NYC, Chicago and other east coast areas i. Re-combined or extended preexisting songs to make them more danceable ii. Cutting/copying and pasting pre-recorded material to create their own music compositions c. Importance of Cut/copy and paste i. Found in popular software applications – Adobe Photoshop and Microsoft Word ii. Internet depends on it to function as a network – file sharing, downloading, open source software, live streaming of video and audio, sending and receiving of emails. iii. Important element of Internet based art and Turbulence archive d. Internet art compared to music DJ i. User activates the work like a DJ does when playing vinyl records ii. Both access pre-recorded material iii. Think of Turbulence archive as a record, like a “vinyl recording” which can develop scratches – unplayable tracks III. Literature: remixed as internet art a. Allegory is Remix’s most vital element i. Cultural code that new media art/Internet Art inherited from the postmodern ii. Depends on recognition of a pre-existing text or cultural code iii. Internet art is allegorical – relies on pre-existing material to gain authority b. Literature and narratives i. Literature is an inspiration and foundation of many works

  1. Authors treat web-browser as direct extension of the printed book
  2. Works are remixing pre-existing stories on the web which hold on to the linear model of storytelling
  3. Selective remixes leave the “spectacular aura” of stories intact a. The Grimm Tale by Marianne Petit with John Nelson
  1. This strategy important to pop artists like Andy Warhol iii. Grafik Dynamo is a live action comic strip where panels are updated with new images and caption bubbles every few seconds. Images and text fragments are combined at random leaving it up to the user to make sense of them
  2. It is a remix because it leaves the aura of the original intact – it never denies authority of comic strip iv. Getawayexperiment.net by Nathaniel Stern and Marcus Neustetter uses the word remix in description of the work
  3. Artists commissioned local sign-makers in Johannesburg, South Africa to re-mix five live websites which included: a. Solidarity – consists of remixes of a painting created from a picture b. Joburg – portal to the city of Johannesburg where hand drawn graphics are presented next to headlines on politics of the city c. Google Images – all images hand drawn mimicking format found on the actual website d. Fox News Channel – makes social comments on news sources e. Turbulence – remix of the website itself
  4. Work relies on the spectacular aura of the websites c. Reflexive remix directly allegorize and extends the aesthetic sampling; challenges the aura of the original and claims autonomy even when it carries the original’s name; spectacular aura must remain a vital part of the remix i. Works of John Heartfield take material out of context to create social commentary
  5. Adolf the Superman: Swallows Gold and Spouts Junk a. Hitler is presented swallowing gold and is questioned as a leader of Germany
  6. Hurrah, the Butter is All Gone a. A German family is having dinner eating military weapons so the stability of the home is questioned due to German politics ii. Works of Hannah H?ch are examples of reflexive remix
  7. Collages blur origin of images and often question notions of identity and gender roles but her work is still fully dependent on an allegorical recognition of forms in culture a. Grotesque and Tamar take body parts of men and women remixed to create a collage of de-gendered figures. iii. The Secret Lives of Numbers is an extensive study of numbers between one and a million; online visualization of data for one hundred thousand
  8. Numbers are ranked and some associated with an actual activity
  9. Piece takes numbers from everyday and remixes them as abstraction
  10. Piece is about numerology and questions scientific methods of measurement – it allegorizes the authority of numbers and the

authority of science bringing forth its limitations as a measuring device of the human experience

  1. Piece questions the way numbers are seen as objective – using tools of measurement such as graphs and charts
  2. Demands that the Internet user reflect upon and question everything iv. Grey Area questions the way we measure ourselves
  3. Grey interface offering the abstraction of numbers
  4. Analyzes using three charts the wants, consumption and fulfillment of the artist
  5. Project questions our relation to measuring ourselves and shows that interpreting data is subjective
  6. A Reflexive Remix because it takes a person’s information and presents it as facts; but the end result is questioned when we try to understand the portrait based on supposed accurate data obtained from a subjective study v. Reflexive remix is powerful form of art because it causes friction – a tension that demands the viewers reconsider everything in front of them V. Loops and samples: the essence of remix a. Loops are essential to computer technology because computers execute loops to know what they should be doing at all times b. Turntablism – Hip hop DJs took beatmixing and turned it into beat juggling – beats and sounds were repeated (looped) on the turntable to create unique momentary compositions c. Loop in music became crucial for DJ Culture and DJ culture meets digital culture in new media art, especially Internet art VI. Remix defined a. Need to understand music remix before can understand role of Remix in online culture i. Music remix is a reinterpretation of a pre-existing song – aura of the original will be dominant in the remixed version ii. Three types of remixes
  7. Extended – longer version of the original song containing long instrumental sections making it more mixable for the club a. Not found in popular culture before the 70s and is not found outside of music
  8. Selective – consists of adding or subtracting from the original song
  9. Reflexive – allegorizes and extends the aesthetic of sampling where the remixed version challenges the aura of the original and claims autonomy even when it carries the name of the original – material is added or deleted but the original tracks are largely left intact to be recognizable VII. Bonus Beats a. Criticism of works takes two forms

b. TELEVISION Robot Chicken (http://www.youtube.com/watch?v=RBzsLxdiRF8)

  1. Creators: Seth Green and Matthew Senreich
  2. parodies pop culture television and movies by using animation, claymation and other various non-living characters (like The Game of Life pegs)
  3. Creation process a. Writing Writers gather to create a circa dozen sketches and submit to attorneys who make sure it meets legal standard for parody b. Dubbing Recording voiceovers c. Construction Toy wranglers, puppet builders and set builders d. Animation Fourteen animators on fourteen stages snap video frame by frame / GOAL: 10 seconds of animation per stage, per day e. Postproduction i. Green and Senreich edit sketches into 15 minute segments c. WRITING
  4. Beat writing a. Allen Ginsberg ( Howl ), Jack Kerouac ( On the Road ) and William S. Burroughs
  5. William S. Burroughs – Naked Lunch Included pieces of other writers’ texts into his work d. GAMES Unreal Tournament A game where the players can change graphics, a prime platform for modifications e. MOVIES Quentin Tarantino
  6. Took themes and scenes from other works to create his own movies a. Reservoir Dogs (Mexican standoff scene) matches Ringo Lam’s City on Fire. b. Reservoir Dogs (ear scene) matches Stanley Kubrick’s rape scene in Clockwork Orange. c. Kill Bill matches 1973 Lady Snowblood f. CRASH-UPS The merge of different car models
  7. DeLorean/Monster Truck
  8. Hummer/Golf Cart
  9. Mini Cooper/Station Wagon/Limo
  10. Subaru Van/Classic VW Bus g. ART i. Shepard Fairey – digital appropriation
  11. Obey Giant Turned Andre the Giant’s likeness into urban art
  1. Obama Poster Now famous for his Obama poster h. CLOTHING i. Rick Klotz
  2. Reworked pop iconography and product logos for street wear (printed t- shirts with graphics based on the Tide box, 7-Eleven’s Big Gulp and Special K cereal)
  3. how his aesthetic has changed fashion To some degree, clothing remixes have always been there, but his work levels playing field for aspiring designers. You no longer have to create an all new fashion and you don’t have to be trained to take an already existing graphic and rework it ii. Peter Kim Cross faded Nike designs with other fabric, paints and pieces of other shoes Examples: Alpha, When Animals Attack 2, L’Ange de Mort, Karma, Stella Trigger i. VIDEO MODS i. MTV2’s monthly digital-animation showcase (http://www.youtube.com/watch?v=9abPod4j1eM)
  4. Example: combining games like BloodRayne 2 and a band like Evanescence to create a video
  5. How they do it a. Licensing – securing rights to combine a song and game b. Tweaking and pre-viz – models and backgrounds are loaded into animation program to produce storyboard (pre-viz) c. Motion-capture – characters moves originate from joint tracking in 3-D space d. Animating and editing – load motion data into pre-viz e. Rendering – work is sent to Center for Computing Research at SUNY Buffalo III. RIP, REMIX, BURN - Remix Software What makes remixing possible