Wednesday, December 09, 2009

Extended Play Remix

It looks like I'm ending the year the same way I started it, i.e. with another peer-reviewed artist writing published in an international journal devoted to network cultures. Here's the feed from Fibreculture:
The Fibreculture Journal is affiliated with the Open Humanities Press -

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

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


The Renewable Tradition (Extended Play Remix)
Mark Amerika

Cultural Modulation and The Zero Originality Clause of Remix Culture in Australian Contemporary Art
Ross Rudesch Harley

How can you be found when no-one knows that you are missing?
Lisa Gye

Sputnik Baby
Ian Haig

James Brown, Sample Culture and the Permanent Distance of Glory
Steve Jones

Materialities of Law: Celebrity Production and the Public Domain
Esther Milne

Materiality of a Simulation: Scratch Reading Machine, 1931
Craig Saper
This publication perfectly book-ends the year which started with the publication of Source Material Everywhere: The Alfred North Whitehead Remix in the special "Pirate Philosophy" issue of Culture Machine, another high-brow international peer-reviewed journal that is part of the Open Humanities Press. I say high-brow because to think these thoughts and to unravel them as part of an ongoing narrative that positions itself at the uncategorizable writing space where fiction meets memoir meets creative nonfiction meets theory is not the easiest thing in the world to either write or read. But it's the only way I know how to live (writing is surviving). For example, the Source Material Everywhere concept evolved out of nowhere while hyperimprovisationally blogging a few new riffs on remixology in relation to the process theory of Whitehead. These initial "discoveries" (unconsciously projected deep interior shots captured in asynchronous realtime) took place exactly two years ago in Hawaii. Those initial blog riffs then fed into the Culture Machine article which was then remixed into a few seminar sessions in my Remix Culture course. These ideas then got transcoded into some of the narrative material i.e. storyline (if you can call it that) that I finally unfinished as part of my feature-length mobile phone art film, Immobilité, which then fed into my thinking through more general issues relating to contemporary media arts practice that I waxed (poetically?) on in the Rhizome interview.

Make no mistake about it: to remix is to become. It's the only way creatures who perform the role of "postproduction medium" can survive in an age of aesthetics.

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