The Fibreculture Journal is affiliated with the Open Humanities Press -
<http://openhumanitiespress.org/>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.
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What Now? : The Imprecise and Disagreeable Aesthetics of Remix
<http://journal.fibreculture.org/issue15/>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>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>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>http://journal.fibreculture.org/issue15/issue15_gye.html
Sputnik Baby
Ian Haig
<http://journal.fibreculture.org/issue15/issue15_haig.html>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>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>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>http://journal.fibreculture.org/issue15/issue15_saper.html
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From the Editorial
(<http://journal.fibreculture.org/issue15/>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/>http://journal.fibreculture.org/issue15/
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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/>http://journal.fibreculture.org/>
web:
<http://www.andrewmurphie.org/>http://www.andrewmurphie.org/
http://www.andrewmurphie.org/blog/
<http://www.last.fm/user/andersand/>http://www.last.fm/user/andersand/
http://researchhub.cofa.unsw.edu.au/ccap/
fax:612 93856812 tlf:612 93855548 email:
<mailto:(a.murphie /at/ unsw.edu.au)>(a.murphie /at/ unsw.edu.au)
room 311H, Webster Building
