Its Breaking Up (Emelea Remix)
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Emilia finds La Prima Streghe's grimoire in the catacombs of the monastery. After agreeing to become the witch bride that Pride seeks, Emilia meets Wrath in the cave by the ocean where she originally summoned him. Wrath gives her the contract that signs away her soul, and Emilia signs it in her blood. Wrath then uses transvenio to bring her to the Wicked Kingdom. At this point, Emilia believes she has sold her soul and her hand in marriage to Pride, breaking the marriage bond she inadvertently started with Wrath.
The Routledge Handbook of Remix Studies and Digital Humanities was published in March, 2021. In order to highlight our third anthology on remix studies and support interdisciplinary research on remix as a form of creative production and communication, xtine burrough, Owen Gallagher, and I decided to organize a series of dialogues via Zoom. The first dialogue took place on May 5, 2021. It featured scholars, artists, and designers: Anne Burdick, David J. Gunkel, Virginia Kuhn, and Paul D. Miller AKA DJ Spooky. A video recording of the event is archived and available for viewing.
Our second dialogue is taking place on September 23 and will feature scholars, artists, and designers: Aram Sinnreich, Maggie Clifford, Fernanda Rosa, Scott Church, and Michael Collins who are brought together to continue our ongoing discussions on remix as a creative variable at play across culture. Registration for this free event is free via Zoom.
In this article I analyze the cover version as a specific form of copying in music recording and performance, and then evaluate it as a cultural variable that is part of the creative process in remix practice. This analysis demonstrates that cover versions, versioning, editing, sampling, and remixing are dependent on copying and, for this reason, my eventual focus is on the relation of copies to originals and copies to copies. Another important element examined throughout the essay is the role of selectivity in the creative process as a foundational principle of communication and how it shapes varying popular and individualized assumptions about definitions of originals and copies.
My book Art, Media Design, and Postproduction: Open Guidelines on Appropriation and Remix (Routledge 2018) is now available on hardback, paperback, and ebook. I want to thank the entire team at Routledge for making the publication process an energetic and positive experience. This book is the result of my long term engagement with remix in terms of theory and practice as both scholar and practitioner. Below is the backcover description along with reviews by Jay David Bolter, DJ Spooky, and David J. Gunkel. I give more specific thanks in the book to many people that helped me along the way. I hope the book will be of interest to everyone who finds remixing an important and vital form of creative expression for global communication. Photos documenting the moment I received my personal copies are available on my Twitter feed.
Author Eduardo Navas divides his book into three parts: Media Production, Metaproduction, and Postproduction. The chapters that comprise the three parts each include an introduction, goals for guidelines of a studio-based project, which are complemented with an explanation of relevant history, as well as examples and case studies. Each set of guidelines is open-ended, enabling the reader to repurpose the instructional material according to their own methodologies and choice of medium. Navas also provides theoretical context to encourage critical reflection on the effects of remix in the production of art and design.
Art, Media Design, and Postproduction: Open Guidelines on Appropriation and Remix is the first book of guidelines to take into account the historical, theoretical, and practical context of remix as an interdisciplinary act. It is an essential read for those interested in remix studies and appropriation in art, design and media.
[Hannes Liechti]: Eduardo, just to start with: what is a remix?[Eduardo Navas]: Remixes are specific forms of expression using pre-existing sources (sound, image, text) to develop work that may be considered derivative while also gaining autonomy.
When we think of remixing, most likely it is remixing byway of material sampling that comes to mind (taking a piece of an actual music recording). But remix principles are also at play in terms of cultural citation (making reference to an idea, or a style, story, etc). The difference between these two forms of recycling content and concepts can be noticed when examining the forms of the medley and the megamix. The medley is usually performed by a band, while a megamix is composed in the studio usually by a DJ producer, who understands how to manipulate breaks on the turntables.
When considering this difference and evaluating how sampling functions in the megamix (which is basically an extended mashup of many songs), it becomes evident that a remix in the strict sense of its foundational definition has to be materially grounded on a citation that can be quantified, in other words, measured because a remix is based on samples. While a sample is quantifiable, a cultural reference (citation) is not, and may not even be noticed by an audience, thus making the material performed appear original. Due to the ability to trace samples back to their sources, given that they are recordings, DJ producers quickly ran into trouble with copyright law: a lawyer could play a sample from a Hip Hop song, in direct juxtaposition with the source of the sample and prove on material grounds that the sample was an act of plagiarism.
xtine burrough, Owen Gallagher, I are very happy to share the news that Keywords in Remix Studies is now available. It was released on November 28, 2017 in both hard copy, paperback as well as ebook. We thank our colleagues who contributed rigorous chapters to a second anthology on remix studies. We hope the remix community finds the book of interest as a contribution to the ongoing reevaluation of remix as a creative and critical form of cultural production. The book is available among major sellers. The easiest way to buy it is on Amazon or directly from Routledge. Below is the abstract plus the table of contents.
This text is different from others I have written. It is in part a transcription of a presentation I gave for a roundtable discussion at Bayreuth for the exhibit Mashup, on June 1, 2015. I expanded the basic transcription to revisit my definitions of remix. What is unique of this text is the elaboration of the remix diagram [Figure 1], which in the past I have included in different publications as a visual reference, but have not referred to directly as each term is discussed. Some of the material that follows below was not part of my actual presentation but is added to emphasize remix as a variable at play in Mashup the Archive. The last part of this essay, in particular, is based on the discussion that took place during our panel presentation. It is a reflection on questions about the future of the archive, and who can use it. The text itself, in a way, is a selective remix because its foundation is the transcription of my roundtable presentation to which I added and deleted selected material. This basic form of remix is explained further in what follows. Because of its hybrid format, the text may appear to go on brief tangents, or include comments that are normal in a conversation, but which may not be expected in a formal paper. This text effectively functions between spaces. It borrows from moments in time and makes the most of them to put into practice the theories upon which it reflects.
I would like to start by thanking everyone for making this roundtable possible, Sam Hopkins, Nadine Siegert, and Ulf Vierke from the Iwalewahaus, and my fellow panel participants Beatrice Ferrara, Nina Huber, and Mark Nash who joined me during the roundtable discussion. My focus on this occasion is on the interrelation of the mashup, the archive and what I will call dividual agency in accordance to principles of remixing. I will first define remix and the mashup in music and relate it to contemporary culture in general; then I will evaluate the mashup in relation to the archive and authorship by generally reflecting on the exhibit at the Iwalewahaus.
As soon as she could Nikki left the family home and found a university as far as she could from her father. Always curious and open-minded, Nikki revelled in her passion for history and anthropology and she began her academic career in those areas, studying in various universities in Europe. Her expertise with archaeological finds - in particular bones - led her into that field and she gained her qualifications as a pathologist along the way. When she was twenty, Nikki dated a fellow student named Scott King and intended to go travelling with him, but was instead convinced by Professor Belinda Roach to begin her training as a pathologist right away, leading them breaking up. Nikki trained at the Institute of Pathology under Roach; she was also mentored by Dr Helen Karamides. Nikki was eventually qualified to be certified by the Home Office to practise pathology. She found work as a forensic anthropologist specialising in Iron Age finds; prior to her arrival at the Lyell Centre, Nikki also worked as a pathologist for six months in Johannesburg.
Cook the ground pork and beef in a thick, heavy-bottom pan over medium heat until it starts to render and the fat coats the bottom of the pan. Continue to cook, breaking up the meat with a wooden spoon. Reserving the juices in the pan, remove the meat and set aside.
Because of the amount of water used, and because Glue-All/PVA Glue is not meant to be used in this way, you do risk your paints breaking down and becoming less pigmented when creating pieces with this medium. Although the painting may look beautiful when poured, a few years down the road, it will likely be faded or peeling. 781b155fdc