eduardo te puedes conectar a skype --- Eduardo Navas <[EMAIL PROTECTED]> 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: > http://transition.turbulence.org/texts/nmf/Navas_EN.html > . 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. > > REMIX DEFINED > > 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 clearno matter whatthe > 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-mixthat 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. > > REMIXES > > 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 > mainstreamwhich 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 === message truncated === ____________________________________________________________________________________ LLama Gratis a cualquier PC del Mundo. 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