[NetBehaviour] hola

Ignacio Nieto ignacio_nieto01 at yahoo.es
Sun Apr 29 01:29:00 CEST 2007

eduardo te puedes conectar a skype
--- Eduardo Navas <eduardo at navasse.net> escribió:

> To read this text with all the proper links, visit:
> http://remixtheory.net/?p=174
> The Three Basic Forms of Remix: a Point of Entry, by
> Eduardo Navas
> Image source: Turbulence.org
> Layout by Ludmil Trenkov
> Duchamp source: Art History Birmington
> Levine source: Artnet
> (This text has been recently added to the section
> titled Remix Defined to
> expand my general definition of Remix.)
> The following summary is a copy and paste collage (a
> type of literary remix)
> of my lectures and preliminary writings since 2005.
> My definition of Remix
> was first introduced in one of my most recent texts:
> Turbulence: Remixes +
> Bonus Beats, commissioned by Turbulence.org:
> . Many of the ideas
> I entertain in the text for Turbulence were first
> discussed in various
> presentations during the Summer of 2006. (See the
> list of places here plus
> an earlier version of my definition of Remix
> http://navasse.net/remixCCEBA/). Below, the section
> titled ³remixes² takes
> parts from the section by the same name in the
> Turbulence text, and the
> section titled ³remix defined² consists of excerpts
> of my definitions which
> have been revised for an upcoming text soon to be
> released in English and
> Spanish by Telefonica in Buenos Aires, Argentina.
> The full text will be
> released online once it is officially published.
> To understand Remix as a cultural phenomenon, we
> must first define it in
> music. A music remix, in general, is a
> reinterpretation of a pre-existing
> song, meaning that the ³aura² of the original will
> be dominant in the
> remixed version. Of course some of the most
> challenging remixes can question
> this generalization. But based on its history, it
> can be stated that there
> are three types of remixes. The first remix is
> extended, that is a longer
> version of the original song containing long
> instrumental sections making it
> more mixable for the club DJ. The first known disco
> song to be extended to
> ten minutes is ³Ten Percent,² by Double Exposure,
> remixed by Walter Gibbons
> in 1976.[1]
> Image source: Vinyl Masterpiece
> The second remix is selective; it consists of adding
> or subtracting material
> from the original song. This is the type of remix
> which made DJs popular
> producers in the music mainstream. One of the most
> successful selective
> remixes is Eric B. & Rakim¹s ³Paid in Full,² remixed
> by Coldcut in 1987. [2]
> In this case Coldcut produced two remixes, the most
> popular version not only
> extended the original recording, following the
> tradition of the club mix
> (like Gibbons), but it also contained new sections
> as well as new sounds,
> while others were subtracted, always keeping the
> ³essence² of the song
> intact.
> Image source: Rate Your Music
> The third remix is reflexive; it 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. An example of this is Mad Professor¹s
> famous dub/trip hop
> album No Protection, which is a remix of Massive
> Attack¹s Protection. In
> this case both albums, the original and the remixed
> versions, are considered
> works on their own, yet the remixed version is
> completely dependent on
> Massive¹s original production for validation.[3] The
> fact that both albums
> were released at the same time in 1994 further
> complicates Mad Professor¹s
> allegory. This complexity lies in the fact that Mad
> Professor¹s production
> is part of the tradition of Jamaica¹s dub, where the
> term ³version² was
> often used to refer to ³remixes² which due to their
> extensive manipulation
> in the studio pushed for allegorical autonomy.[4]
> Image source: Last FM
> Allegory is often deconstructed in more advanced
> remixes following this
> third form, and quickly moves to be a reflexive
> exercise that at times leads
> to a ³remix² in which the only thing that is
> recognizable from the original
> is the title. But, to be clear‹no matter what‹the
> remix will always rely on
> the authority of the original song. When this
> activity is extended to
> culture at large, the remix is in the end a
> re-mix‹that is a rearrangement
> of something already recognizable; it functions at a
> second level: a
> meta-level. This implies that the originality of the
> remix is non-existent,
> therefore it must acknowledge its source of
> validation self-reflexively. In
> brief, the remix when extended as a cultural
> practice is a second mix of
> something pre-existent; the material that is mixed
> at least for a second
> time must be recognized otherwise it could be
> misunderstood as something
> new, and it would become plagiarism. Without a
> history, the remix cannot be
> Remix.[5]
> The extended, selective and reflexive remixes can
> quickly crossover and blur
> their own definitions. Based on a materialist
> historical analysis, it can be
> noted that DJs became invested in remixes which
> inherited a rich practice of
> appropriation that had been at play in culture at
> large for many decades.
> Below are brief definitions with visual examples.
> Extended Remixes
> The Extended Remix was an early form of remix in
> which DJs from New York
> City became invested. On close examination this was
> a reaction against the
> status quo, where everything was made as brief as
> possible, from radio songs
> to novels. I argue that due to this, the extended
> remix is not found in mass
> culture prior to this period.
> The Disco DJs, going against the grain, actually
> extended music compositions
> to make them more danceable. They took 3 to 4 minute
> compositions that would
> be friendly to radio play, and extended them as long
> as 10 minutes.[6] In
> the seventies this was quite radical because in
> fact, it is the summary of
> long material that is constantly privileged in the
> mainstream‹which is true
> even today. The reason behind this tendency has to
> do in part with the
> efficiency that popular culture demands. That is,
> everything is optimized to
> be quickly delivered and consumed by as many people
> as possible. An obvious
> example of this tendency from history is the
> popularity of publications like
> Reader¹s Digest, which offers condensed versions of
> books as well as stories
> for people who want to be informed but do not have
> the time to read the
> original material, which is often more extensive.
> [7]
> Image source: E Bay
> Another recent activity that is now emerging on the
> web is the two-minute
> ³replay² available for TV shows like ³Studio 60 on
> the Sunset Strip.²[8] If
> you missed the show when it aired, you can spend
> just two minutes online
> catching up on the plot; in essence, this is a more
> efficient 
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