CCTP 725
Cultural Hybridity:
Remix Culture
Fall 2009
Professor Martin Irvine |
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Required Books:
- Philip Smith and Alexander Riley, Cultural Theory: An Introduction. 2nd ed. Oxford and Malden, MA: Blackwell, 2009. [ISBN: 9781405169073]
- Klaus Honnef, Pop Art. NY: Taschen Books, 2004.
- Klaus Honnef, Andy Warhol: Commerce into Art. NY: Taschen
Books, 2000.
- Paul D. Miller (DJ Spooky), Rhythm Science. Cambridge,
MA: Mediawork/MIT Press, 2004.
- Mark Taylor, The Moment of Complexity: Emerging Network
Culture. Chicago: University of Chicago Press, 2001.
- Jan Nederveen Pieterse, Globalization and Culture: Global Melange. Rowman & Littlefield, 2003.
- The Photo Book. New York: Phaidon Press, 2003 and
reprints.
Recommended Books:
- David Campany, Art and Photography. New York, Phaidon Press,
2003
- Uta Grosenick, ed. Art Now Vol. 2: Artists at the Rise
of the New Millennium (New York: Taschen, 2006). ISBN
978-3-8228-3996-6
- Regis Debray, Media Manifestos. Trans. Eric Rauth.
London and NY: Verso, 1996. ISBN: 1859840876.
Course Procedures and Requirements: This
course will be conducted as a seminar, and students will work together
to make new discoveries about the seminar themes, which are always
ongoing and developing in real time. Grading and evaluation will
be based on weekly student seminar reports, weekly contributions
to a course Wiki, seminar discussions, and a final Wiki
individual mixed-media article/essay project.
Student Presentation Schedule, Fall 2009
Click on the + / - to expand and collapse weekly units
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| 1 Introduction: The "Always
Already New" and Cultural (Re)Mixing |
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"I'll play it for you first and tell you what it is later." --Miles
Davis
Introductory readings
- Miller, Rhythm Science, pp. 1-29 | Paul D. Miller (DJ
Spooky) website
- Dario Robleto, On DJ Culture and Historical Re-Mixing | Interview with Robleto
- Kwame Anthony Appiah, "Toward
a New Cosmopolitanism: The Case for Contamination," New
York Times Magazine, Jan. 1, 2006. [Text-only version. This
essay is adapted from Cosmopolitanism: Ethics in a World of
Strangers (New York: W.W. Norton).]
- Taylor, Intro., 3-14.
- Jonathan Lethem, "The Ecstasy of Influence," Harpers Magazine, Feb. 2007. [All writing has always already been a hybrid collage of language, sources, references, unconscious quotations, remix of inhereted written culture.]
Class Discussion & Examples:
Introductory Examples
from art, music, popular culture, movies, TV, photography, post-photography
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| 2 Core Theory Readings, I |
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Key concepts from Postmodernism, Postcolonial theory, and
Globalization theory:
pastiche, irony, parody, sampling, collapsing hierarchies,
horizontal vs. vertical analysis, merging popular and high culture, global
and international merging of cultures, global marketing of cultural goods.
The Post-postmodern?
Taking the "postmodern condition" as a given
and creating new hybrids disassociated from the modern-postmodern arguments
and oppositions. Movement from grids to networks and complexity.
Readings and Sources
- Overview of concepts
- Fredric Jameson's influential views of post-modern pastiche, irony,
and hybridity
- Jameson, "Postmodernism
and Consumer Society." From E. Ann Kaplan, ed. Postmodernism
and its Discontents (London and New York: Verso, 1988): 13-29.
His first statement of the argument that appears in his Postmodernism,
or, The Cultural Logic of Late Capitalism.
- Hybridity in Post-Colonial Views of Global Culture and Globalization
Theory
- Homi Bhabha, from The
Location of Culture (read Introduction) (London, New
York: Routledge, 1994).
- Jan Nederveen Pieterse, Globalization and Culture: Global Mélange (Rowman & Littlefield,
2003) (Excerpts online: Intro | Chap.
3)
- Marwan Kraidy, Hybridity,
or the Cultural Logic of Globalization. (Philadelphia:
Temple University Press, 2005). Read Preface and Chapter 1. [good
overview of issues from the point of view of international communications]
- Hybridity and Complexity
- Taylor, Moment of Complexity, 19-46.
- The Post-postmodern: Remix Culture as Altermodern and Postproduction culture (Bourriaud)
- An introduction to the idea of appropriation, remix, and found art; see Week 5 on Pop Art.
Lecture Notes & Discussion Topics: PoMo
to Globalized Complexity Networks
Further Reading:
Discussion of examples of postmodernism and post-postmodern culture
- Madmen: What genre is this? Retro-sendup, period drama, soap opera, nostalgia? History as a style.
- Wangechi Mutu: post-postmodern post-globalization artist?
- A chain of post-Matrix simulation states movies: Gamer (trailer) | Surrogates (trailer)
Student Group Presentations and Wiki content discussions
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| 3 Core Theory Readings, II |
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The Status of the Image and Image-Making Technologies:
The Contemporary Image is Always Already a Hybrid
Discussion Topics
Hybridity in all forms is also part of the ongoing question of the status
of images and cross-mediation of visual content (representation of "the same" images
in multiple media forms):
- How do we receive and understand images in all media that have no necessary
connection to a referential world outside of the image?
- Why are photography/video/film-based images given the code of "reality," some
assumed direct relation to something outside the image that it represents,
refers to, depicts?
- How much of our image-world or visual culture has no connection to non-mediated
world?
- How does the current mixed source and cross-mediation environment encourage
hybridity?
Readings and Sources
- Walter Benjamin, The
Work of Art in the Age of Mechanical Reproduction. [Another copy.]
(1936) (Selections only: Focus on sections: Pref., I-VI, and XII)
- Guy Debord, The
Society of the Spectacle (1967) [Another copy.]
(Selections: Sections 1-6, 10-11, 17-18, 24-30)
- Jean Baudrillard, "Simulacra
and Simulations." From Simulations, 1981; English trans.,
1988.
- Seyda Ozturk, "Simulation
Reloaded," Cinetext, August, 2003.
- Angela Ndalianis, "The
Frenzy of the Visible: Spectacle and Motion in the Era of the Digital," Senses
of Cinema, 3/2000.
- William Merrin, "'Did
You Ever Eat Tasty Wheat?': Baudrillard and The Matrix." Scope
(University of Nottingham, UK),
August, 2003.
Lecture Notes:
Presentation on the the Status of Images: Statement,
Representation, Reference, Sign, Image
Exempla
- Las Vegas: Pure Realization of Simulacra and the Hyperreal?
- Of course, the porn industry embraced the simulacral hyperreal first!
Photography and Video
Film and Television: Visualization and the Hyperreal
- CNN and the televisual: TV images as hyperreal
- "Reality" TV shows; American Idol
- The Matrix series
- Post-photography photography, post-film cinema (virtual cameras, optical flow technology, 3D virtual imagery)
Student Group Presentations and Wiki content discussions
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| 4 Hybridity in Visual Media: Intertextuality to Intermediality |
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Key Concepts and Learning Objectives: Ideas of postmodernism are closely linked
to the concepts of dialogism and intertextuality. Intertextuality should
now be redefined for contemporary media studies as intermediality, or
the ongoing dialogue among many kinds of cultural expressions in any medium.
A new work emerges within a network of prior and contemporary works, and we
interpret expression in a variety of genres that cut across our popular media--TV,
Web, books and magazines, art works, music.
Dialogism/Intertextuality Readings
- See Intertextuality: Key Concepts
- Daniel Chandler, "Intertextuality."
[Overview]
- Kristeva, excerpt from "Word,
Dialogue, and Novel." From Toril Moi, ed., The Kristeva
Reader [New York: Columbia University Press, 1986]).
- Gunhild Agger, "Intertextuality
Revisited: Dialogues and Negotiations in Media Studies."
Canadian Journal of Aesthetics, 4, 1999. [Good overview
of theories as they apply to media studies.]
- Film Grammar: In case you need the basic background:
Intertextuality: Intersection with Appropriation, Remix, Postproduction
Film and Video Exempla
Lecture and Discussion Notes
Reading and Resources
Student Group Presentation
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| 5 Introduction to Pop and Appropriation Art: Rauschenberg,
Lichtenstein, Warhol |
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Pop art appeared at a moment when high and low ("popular") culture were circulating in new ways through the mainstream media and in galleries, museums, and art discourse. The era from c.1960-c.1972 saw explicit remixing, hybridization, and appropriation from all sources in art, music, design, and graphics.
The remix of materials, mediums, sources, genres, traditions, histories, and subcultures that are part of the Pop Art story provide an important case study, and an influence on ways of working that extends through today.
Warhol and other Pop artists raided the "cultural encyclopedia" and presented new kinds of imagery and works in a "high art" context that had never been done before. The rest is (our) history.
Reading and Resources
- Honnef, Pop Art, 6-26; sections on Rauschenberg, Lichtenstein,
Warhol
- Background readings for art and cultural history: first definitions of "Pop Art":
- Lawrence Alloway, "The
Arts and the Mass Media," Architectural Design & Construction,
February 1958. [the article often credited with starting the notion
of "pop art"]
- Alloway, "Popular Culture and Pop Art," Studio International, July-August 1969: 17-21.
- Richard Hamilton, Letter
on Pop Art, 1957.
- Pop Art Symposium (1962) with Peter Selz, Henry Geldzahler, Hilton Kramer, Dore Ashton, Leo Steinberg, Stanley Kunitz. Read especially the comments by Geldzahler, the main curatorial advocate for Warhol and the pop movement.
- Primary source articles and essays of the Pop movement (Pop Masters)
- Warhol Museum: PowerPoint presentation (Pop art background)
- Working with the idea of "the cultural encyclopedia"
(Umberto Eco):
- Useful current reviews and criticism on pop art exhibitions:
- [Recall] Michael Kimmelman, Art
Out of Anything," Review of Robert Rauschenberg, Combines,
Metropolitan Museum of Art, New York Times, 12.23.2005.
- Luc Sante, Review of
1997 Rauschenberg Retrospective, Slate, 1997.
- Current Critic's view of eclecticism and hybridity in art: Christopher
Knight, LA Times, 11.1.2006.
Exempla/Sources
Lecture and Discussion Notes:
Student Group Presentations and Wiki content
discussions
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| 6 Andy Warhol: Icon of the Hybrid
Artist: Theory and Practice |
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Camp meets postmodernism: pop, combining high
and low visual culture, new materials in the artworld
- Camp always creates hybrids: deflations of high (straight) culture,
drag, sexual cross-overs in new forms.
- Susan Sontag, Notes
on Camp (1964; reprinted in essay collection, Against
Interpretation, 1966).
Reading and Resources
- The Warhol Museum
| Warhol
on Artnet | PBS
Bio | Museum
Images of Warhol's Work
- Warhol
at Dia | Warhol
in Artcyclopedia | Index
of Warhol images| Warhol
Foundation
- Warhol, List
of Major Exhibitions, 1952-1987.
- Warhol ranking in Artfacts.Net's
artist ranking list.
- Warhol Articles
and Interviews (Warhol Stars).
- Review
of 2002 Retrospective (Artnet)
- Douglas Crimp, "Getting
the Warhol We Deserve: Cultural Studies and Queer Culture."
Invisible Culture, 1, 1999. [Useful review of debates
on approaches to Warhol: art history, cultural studies, visual
culture.]
- Thierry de Duve, "Andy
Warhol, or The Machine Perfected," October 48
(1989).
- Klaus Honnef, Andy Warhol: Commerce into Art. NY:
Taschen Books, 2000.
- Gerard Malanga (Warhol's first studio assistant) discusses working with Warhol (video).
Plenty of videos about Warhol on YouTube (Andy would have loved it!)
- From the PBS Modern Masters Series: 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 (Billy Name and Solanis shooting) | 10 (after shooting) | 11 | 12 |
Discussion: Selected works by Warhol
Screening: Chuck Workman, The Life and
Times of Andy Warhol - Superstar (1990). (Info:
IMDB)
- "Andy made fame more famous." Fran Lebowitz
Student Group Presentations and Wiki content
discussions
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| 7 Outside is Inside:
"Street Art," "Outsider Art," Graffiti, Illustration, Graphics |
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"Pop art took the inside and put it outside, took the outside
and put it inside."
--Andy Warhol
Discussion Questions
- How did "street art" and "graffiti art"
become recognized cultural categories? What are the current hierarchies and categories of all this work inside and outside the established art world?
- How does the "outside" become a privileged category
"inside" the established art and media institutions?
- Media coverage, rebel artist persona's, identity politics,
art world institutions.
- "Street cred," "authenticity," outsider status.
- How do the people and genres continually cross-over institutional
boundaries? Multidimensional cultural categories and differentiations,
cross-category sourcing for hybrid art forms.
- Post-Everything art since 2000: "high" and "low"
culture categories also subverted in the "low-brow"
and "no-brow" art movement (John
Seabrook's essay on "nobrow" from The New Yorker,
1999).
- How is street art a form of Post-Pop: beyond, after, "pop," but possible only
through the cultural preconditions and new market categories assumed
since Pop.
Sources and Readings:
- 1980s: First Wave of post-Pop "street art" hitting
the mainstream:
Jean-Michel Basquiat & Keith Haring
- Documents for Recent Street Art and Hybrid Art:
- Artists & Street-Graf Art Collectives
- Magazines Devoted to Hybrid Art and the Street Art Pop, Surrealism, Illustration Art Scene:
- Art Galleries featuring Cross-Over Street Artists,
Hybrid Art, Pop-Surrealism
Student Group Presentations and Wiki content
discussions
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| 8 International Pop, Anime, Japanese
Pop |
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Anime and Manga: Examples of Contemporary Developments
in the Genre
Japanese and pan-asian anime and manga have now produced an international pop animation style.
- Ghost in the Shell: Original and Part 2, followed by the TV series, Stand
Alone Complex
- Appleseed: Directed by Shinji Aramaki. Hybrid anime, composition with photography
of scale models, computer graphics, 3-D animation rendering,
digital editing; also hybrid story elements, Japanese and Western
classical mythology, quotes from everything from Bladerunner to
the Matrix series, anime rendering of "bullet time."
- Appleseed: Ex Machina: Produced/Co-Directed by John Woo, Directed by Shinji Aramaki. Further hybrid development of the theme and ideas with new 3D animation technology and digital motion capture from live actors.
References all prior SF, anime, and the John Woo style of action movies.
- Cartoon Network: Adult
Swim: US reception of anime inspired animation and
cartoons
Resources and Background:
Japanese Pop and Contemporary Art as Paradigm for the Internationalization of Pop
Recent Japanese Pop Art is both a fascinating ongoing hybrid
experiment and a major influence on the international art market
and art world in general. Takashi Murakami and his studio (with
proteges like Takano, Aoshima, and "Mr.") have been
the most influential. Examine some examples as case studies for
things going on around the world.
Murakami's Art and Context: The Philosophy of "Superflat" (1999-2001)
- Review
of 1999 Show (Jerry Saltz)
- Superflat Exhibition (Museum of Contemporary Art, LA
and Walker Art Center, Minneapolis): Walker
Art Center |
- Michael Darling, "Plumbing
the Depths of Superflatness," Art Journal,
Vol. 60, No. 3. (Autumn, 2001), pp. 76-89.
- Hiroki
Azuma, "Superflat Japanese Postmodernity," Lecture,
MOCA, LA
- Review
of "Superflat," 2001 (Artnet)
- Murakami, et al., Margrit Brehm, ed., The
Japanese Experience: Inevitable (In the Floating World: Slash
with a Knife (book)
(Amazon). Publisher's
website.
- Wired
Magazine Review,
2003
Murakami's Little Boy: The Arts of Japan's Exploding
Subculture (2005) (Exhibition and Book)
Takashi Murakami, his studio, and art entrepreneurship
(2004-present)
- Artist's Studio Website:
Kai Kai Kiki (Japanese)
- Arthur Lubow, "The
Murakami Method," New York Times Magazine,
April 3, 2005. [See slide show.]
- Carol Vogel, "The
Murakami Influence," New York Times, April
6, 2005.
- Review
of Murakami's book, The Art Entrepreneurship Theory (2005).
(Artnet)
- Murkami as Art Fair Promoter: Geisai
No. 10: Review of Event | Press
Release | Geisai Website
- Shows
at Marianne
Boesky Gallery, NY (2003) and Gagosian
Gallery | 2007
show
- Retrospective in LA: © Murakami,
MOCA LA
- Feature article on Murakami
and Retrospective (Art + Auction Magazine) (pdf, 6m)
© Murakami Retrospective @ MOCA-LA-Geffen Contemporary:
Follow the Money and Symbolic Capital
© Murakami is made possible by endowment support from the Sydney Irmas Exhibition Endowment. The exhibition and publication are made possible by generous support from Maria and Bill Bell. Major support is provided by Blum & Poe, Los Angeles. Generous additional support is provided by Steven and Alexandra Cohen; Kathi and Gary Cypres; Gagosian Gallery; Galerie Emmanuel Perrotin, Paris and Miami; The Norton Family Foundation; Dallas Price-Van Breda; Janet and Tom Unterman; Ruth and Jacob Bloom; Marianne Boesky; David Teiger; The MOCA Contemporaries; The Japan Foundation; and the E. Rhodes and Leona B. Carpenter Foundation.
Images of Murakami's Art Works
Yoshitomo Nara
Aya Takano
American Post-Pop Pop: Jeff Koons:
Hybridity, Irony, Satire, Humor, and the Art Market
Student Group Presentations and Wiki content
discussions
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| 9 Photography: Introduction to the Defining
Medium of the Contemporary World |
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Overview of highlights in the history of photography
From optics to pixel grid:
Photography has always required hybrids:
the invention of photography was optics + chemistry = photographic image. Today
there is a shift in thinking with photographic images: from what
the lens "sees"
(principles of optics, focus, perspective, light sources), and metaphors of
capturing, registering, mechanical means, to what a screen
can display (digital
pixels, imitation of camera lens point-of-view, focus, and perspective).
Now many images are made to look photographic, and are still called "photographs," whether
a lens, or many lenses, were used in the making of the image.
Intersections of technologies and institutions:
Photography
has always been linked to developments in technology for the film medium and
cameras as light capturing devices. But the interesting history is found in
the many conceptual uses of photography, the institutions and social organization
of the medium, and the mass adoption of cameras in the middle class for "taking
pictures" of
family and domestic life.
What important ideas can we extrapolate from the history of photography,
early cameras to digital cameras and camera in phones (iPhone)?
Readings and Sources
- Early encoding of photography: photography as an index of reality, photography
and truth (documentation, evidence). Early photographs and other arts:
early photographs imitated paintings and theatrical staging for making images
"pictorial".
- Introduction to Photography (Powerpoint) (Irvine)
- Examples from The Photo Book (Phaidon Press,
2003):
Note genres and photo technologies
- See: Abbe, Ansel Adams, Atget, Barnard, Bellocq, Brady, Brassai, Cartier-Bresson,
Daguerre, Doisneau, Durieu, Eakins, Eisenstaedt, Fox Talbot, Hill and
Adamson, Hine, Horst, Karsh, Lange, Lissitzky, Man Ray, Moholy-Nagy,
Muybridge, Nadar, Negre, Rosenthal, Sander, Southworth and Hawes, Stieglitz,
Tripe, Turner, Weegee, Weston
- Key Issues in Modern Photography: Making a Photograph vs. Taking a Picture (Irvine)
- Photography Resources Site (Irvine)
History of Photography Sources
Introductory Theory and Statements on Photography
- Henri Cartier-Bresson, "Statement
on Photography" ("The Decisive Moment" theory), 1933.
- André Bazin, "The
Ontology of the Photographic Image," Film
Quarterly,
1960. (Focus on pp. 6-9.)
- Roland Barthes, "The
Rhetoric of the Image," from Image,
Music, Text, 1964.
- Rosalind Krauss, "A
Note on Photography and the Simulacral," October 31
(1984), especially pp. 55-62.
- Christian Metz, "Photography
and Fetish," October 34, 1985.
- Pierre
Bourdieu, Photography: A Middle-Brow Art
- Extracts from Bourdieu, Photography. See especially Part 1, sec. 2. pp. 73-75 on "The Social Defibition of Photography."
- J. A. Gonzalez, "A
Contemporary Look at Pierre Bourdieu's Photography: A Middle-Brow Art,"
Visual Anthropology Review, 8/1, 1992.
- Review of Pierre Bourdieu, Photography:
A Middle-Brow Art in Contemporary Sociology, 21, 1992.
- Bourdieu's book is one of
the most important statements on photography from a socio-historical
viewpoint. These articles are a good review of Bourdieu's theory, which
is also cited in the Krauss article.
Video documentaries of prominent photographers and their processes and medium:
Sally Mann, Hiroshi Sugimoto, Jeff Wall, Nan Goldin (begin and continue in the following week)
Student Group Presentations and Wiki content discussions
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| 10 Photography to Post-Photography: Contemporary
Photography and Hybrid Media |
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Overview
of Important Directions in Photography Today & Exemplary Artists
Some observers and theorists of photography and film are talking about our current era being "post-photographic": we live in a culture trained to read photo-produced images (and images as judged or assumed to live up to photographic expectations), yet many of the images we experience every day imitate photographic features without being produced by (or solely by) a device with a lens and recording medium. What are the implications of living "post-photographic"? Is this an extension of the notion of the hyper-real? With photographic "realism" still providing the codes for "the real"?
- The Changing Status and Function of Photography in Art Institutions
- Sign of the Times: New gallery for modern and contemporary photography
at the Metropolitan Museum of Art: News | Met
Press Release |
Readings, Sources, Theory
- Photography
to Post-Photography and the Hybrid Image [Resource Page]
- Review Modern and Contemporary Photographers in The Photo Book: Araki,
Arbus, Baldessari, DiCorcia, Dijkstra, Fuss, Goldin, Gursky, LaChapelle,
Leibovitz, Mann, Mapplethorpe, Prince, Sherman, Sugimoto, Tillmans, Wall,
Warhol
- Taylor, Moment of Complexity, 125-143
- Göran Sonesson (Lund University):
- Douglas Crimp, "The
Photographic Activity of Post-Modernism," October 15,
1980.
- Deidre Stein Greben, "The
Medium of the Moment," ARTnews, Feb. 2003. [On large-scale
photography in the art market.
Discussion of leading photographers and multiple category
cross-overs
Fashion Photography, Advertising, Art: W Magazine
and Cross-Over Art
Student Group Presentations and Wiki content discussions
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| 11 Music: Post-Digital, Post-Globalization
Genre Mixing |
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Remix and Hybridity as the Foundation of Modern and Contemporary Music
Remix and hybridity in music involves issues at multiple levels simultaneously:
1. At the macro-cultural level: "remix culture" and hybridity as the normal, living context of cultural production, which is now rendered more visibly as such through the digital media platform.
2. At the level of technology platforms: recording and performance equipment, technologies and instruments, software & hardware, networks.
The implications of the digital media platform for music, and the ongoing hybridization of forms, genres, sounds.
Sampling, remix of sources in both studio recordings and live performance.
3. At the level of the cultures and sub-cultures of music production, styles, and genres: the remix and collage aesthetics of blues and jazz, electronic and digital music composition from the classical and "high" music culture traditions, hip-hop and the global hip-hop diaspora, reggae and dub music, disco and club music, global hybrid forms.
4. At the level of globalization, information flows, and the DNA of a networked world: Multi-sourcing of music post-globalization, hybrids of
sources and digital sounds, horizontal recombinant DNA of contemporary
music, real-time awareness of musical forms from cultures and sources all over the world. A networked urban phenomenon: music produced in global information cities, dense nodes of cultural information and remixing, distributed via the Web and Internet file sharing.
5. At the level of political economy, cultural goods, intellectual property, and the economic
models for the production, ownership, distribution, and use of digital music: the ongoing debate about copyright, consolidation of "copyright portfolio" media corporations, Creative Commons and alternative legal and rights models, alternative distribution and licensing models.
We can only hope to introduce some of the interesting topics in points 2, 3 and 4 in this unit. Other issues can be pursued later.
Demonstration and Performance in Class:
- Yoko K: Electronic/digital music composer and performer. A live demonstration and performance of her compositions, instruments, software and digital platform.
- See: Yoko K and Aphrodizia site | Myspace page with streaming music samples
Background Sources for Electronic, Digital, and Remix Music
Readings:
- Miller (DJ Spooky), Rhythm Science (finish book, listen
to CD)
- Paul Miller, ed. Sound Unbound: Sampling Digital
Music and Culture
Some Exemplary Musicians and Music Labels
Music Industry and Production Info
Internet Radio
Contemporary Music Theory
Playlist
Student Group Presentations and Wiki content
discussions
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| 12 Peter Greenaway:
The Pillow Book, Hybrid Film, and the Body as Medium |
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Writing
on the Body, Film of a Book, and the Body as Text or Writing Medium
Greenaway has been making fascinating "hybrid" cinema for over 15 years. The Pillow Book allowed him to combine new film technologies (film window within the main film frame for contrasting two narrative time sequences) and a film whose subject matter was writing, sex, the body as text and instrument of desire--the word made flesh made film.
"...this notion of the skin
was as an open palimpsest on which to write." --Peter Greenaway, interview in
Salon Magazine
"I wanted to make a cinema of ideas, not plots, and to use the same aesthetics as painting, which has always paid great attention to formal devices of structure, composition and framing." -- Peter Greenaway
Greenaway Sources
Body|Writing|Word and Flesh
- Compare: Whitney Museum exhibition: Skin
is a Language:
January 12, 2006-May 21, 2006
The largest organ of the human body, skin is also the
one with which we are most intimate, even as it presents
the exterior of our self to the world. Skin is a Language
explores ways in which artists use skin, literally and
metaphorically, to examine a diverse array of social,
physical, and cultural phenomena. Featuring sculpture,
drawing, photography, and prints from the permanent
collection, the exhibition includes works by Bruce Conner,
Ellen Gallagher, Félix González-Torres,
Nancy Grossman, Eva Hesse, Roni Horn, Jasper Johns, Annette Lemieux, Glenn
Ligon, Catherine Opie, and David Wojnarowicz.
- Shelley Jackson
- Ineradicable Stain (body-text-art project)
- Lee
Wagstaff (tattoo art on the body of the artist) | Artist's
website
- Tattoo history, demographics, and background on The
Vanishing Tattoo site.
- Shirin Neshat: calligraphy on the body, women as sites for inscription:
TIME
photo essay
- Zhang Huan at the Asian Society: "The body is proof of identity; the body is language."
Student Group Presentations and Wiki content
discussions
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| 13-14 Final Project Presentation |
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