Occupying the increasingly thin line that separates legitimate appropriation from plagiarism, remix practice raises significant ethical issues. The issue is rendered more complicated by the fact that this line frequently shifts, both in academic debates and in legal. If in large Western nations remix practice is widely considered legitimate, it is still considered necessary to add something personal to one’s sources, and if at all possible to enrich those sources in some way. This is usually considered sufficient to (...) avoid misappropriating someone else’s intellectual work. In the last few years, various legal actions in the EU and the USA have revealed a significant gap between this apparently moderate position, and the position of legislators. The purpose of this paper is to take a look at some of the most controversial positions on the issue of ‘remix ethics’, attending more closely to aesthetic implications than to political consequences. (shrink)

Cases of overdetermination or preemption continue to play an important role in the debate about the proper interpretation of causal claims of the form "C was a cause of E". I argue that the best treatment of preemption cases is given by Mackie's venerable INUS account of causal claims. The Mackie account suffers, however, from problems of its own. Inspired by its ability to handle preemption, I propose a dramatic revision to the Mackie account – one that Mackie himself would (...) certainly have rejected – to solve these difficulties. The result is, I contend, a very attractive account of singular causal claims. (shrink)

This article develops a liberal theory of cultural rights that must be guaranteed by just legal and political institutions. People form their own individual conceptions of the good in the cultural space constructed by the political societies they inhabit. This article argues that only rarely do individuals develop views of what is valuable that diverge more than slightly from the conceptions of the good widely circulating in their societies. In order for everyone to have an equal opportunity to autonomously form (...) their own independent conception of the good, rather than merely following others, culture must be democratically controlled. Equal respect for members of a liberal democracy requires that all citizens have roughly equal opportunities to do things like make movies, publish novels, and exhibit paintings. This article contends that the contemporary American legal order fails to guarantee that all cititizens have roughly equal opportunities to shape and influence their shared culture. Guaranteeing the liberty to do so would require reforms to many areas of law, including applying anti-discrimination law more broadly to the conduct of cultural organizations, expanding fair use protections in copyright law, limiting the ability of businesses to arbitrarily refuse service to customers, and restricting private control of capital in order to democratize the means of cultural production. (shrink)

I argue that sometimes a group can author a work of art without the work being either co-authored or multiply-authored. Sometimes the group, itself, is an author, rather than any of its members alone or together. I argue that when a group is an author like this, it has mental properties that no individual member of the group possesses. For example, we can consider the groups that authored digital remixes based on a film titled #INTRODUCTIONS created by the artists LaBeouf, (...) Rönkkö & Turner. YouTubers posted their digital remixes online, and the question is: Who authored those remixes? I contend that many digital remixes are authored by groups that are capable of cognition. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Remixing the Classroom: Toward an Open Philosophy of Music Education by Randall Everett AllsupJuliet HessRandall Everett Allsup, Remixing the Classroom: Toward an Open Philosophy of Music Education (Bloomington, IN: Indiana University Press, 2016).As a leading voice in music education, Randall Allsup works continually to reconceptualize music education toward democratic and socially just praxis.1 He routinely challenges the field to become self-conscious of practices that limit forward movement, providing (...) powerful critiques2 and urging music education toward open possibilities.3 Remixing the Classroom: Toward an Open Philosophy of Music Education is work that will shift our field. His comprehensive philosophy of music education looks, longs, for moral openings4 through which twenty-first-century music education may become a space of possibility. His writing interweaves stories and theory toward what he calls an "open philosophy," drawing upon the ideas of John Dewey, Maxine Greene, and Roland Barthes. Allsup introduces stories of Dapper Dan, Jiro Ono, Kafka, Atul Gawande, and the Orpheus Orchestra in New York City to illustrate powerful points about current and possible paradigms of music education.Chapter 1, "Toward Open Encounters," discusses the making and breaking of the law (tradition) and explores how tradition and the Master-Apprentice model restrict what is possible in music education. Allsup explores the nature of music education and the limitations it places upon its participants. Chapter 2, "Music-Teacher Quality and Expertise," asks fundamental questions of our field and [End Page 100] explores and challenges the "place and purpose of public schooling in a democratic society."5 Allsup speaks to the function of education and critiques music education. Chapter 3, "learning in laboratories," puts forward a Deweyan laboratory model in which a museum is at the center of the school with learning laboratories situated around it. He explores what this structural fluidity might enable and develops notions of lawmaking and lawbreaking, extending possibilities of the open encounter. The final chapter, "looking, Longing, for Moral Openings," calls on music educators to embrace a more open music education paradigm. Allsup draws upon Greene to challenge music education to move "from the predictable to the possible."6 He puts forward the Orpheus Orchestra, a conductorless orchestra, as one possibility.I situate myself as an anti-racist, anti-colonial, feminist scholar rooted in anti-oppression scholarship.7 locating my review through this framework, I elaborate upon what I see as the major strengths and limitations of this work, drawing upon Judith Butler8 and postcolonial theory. significantly, Allsup's book calls upon music education to "give an account of [it]self" and promotes a self-consciousness crucial for our field in the age of high stakes accountability measures. I contend that he provides a music education philosophy for what stuart Hall terms the "postcolonial moment"9 and ultimately positions music education as a space of possibility. Alongside these strengths, I offer a challenge toward what I view as the open possibilities of closed forms and a critique of his "pedagogy of travel and surprise."Judith Butler points to the impossibility of giving an account of oneself. she notes,I speak as an 'I,' but do not make the mistake of thinking that I know precisely all that I am doing when I speak in that way. I find that my very formation implicates the other and me, that my own foreignness to myself is, paradoxically, the source of my ethical connection with others.10Butler notes the subject's "partial opacity to [her]self."11 In Remixing the Classroom, Allsup calls upon music educators to account for the practices and traditions continually reinscribed in the field. He poses challenging but fundamental questions in the work in music education, asking readers to consider what they do unconsciously. Butler asserts we can never fully account for ourselves. Allsup challenges the field to try, pushing music educators to face hard truths and limitations of what music education is and has been. In chapter 1, for example, he argues:To call a studying musician "unmusical" is to extinguish a light; it is to act as if the future is certain and that human potential is somehow fixed. It is to act [End Page 101... (shrink)

This essay is a cut-up / remix / montage of the work of Slavoj Žižek. It is a recombination of materials from his critical publications, including The Sublime Object of Ideology, For They Know Not What They Do, The Fragile Absolute: Or, Why is the Christian Legacy Worth Fighting For?, Welcome to the Desert of the Real, The Parallax View, In Defense of Lost Causes, First As Tragedy, Then As Farce, Absolute Recoil: Towards a New Foundation of Dialectical Materialism, (...) and Trouble in Paradise: From the End of History to the End of Capitalism. The section headers are all direct quotations from Žižek’s texts, as are the individual sentences in the essay’s first section. All other sentences are splicings-together of syntactic fragments from his texts. This essay is part of A Recombinant Theory Project. Micro-reports from this project are regularly published on Twitter: @remixtheory. (shrink)

John and Mary have fully consensual sex, but they do not want to have a child, so they use contraception with the intention of avoiding pregnancy. Unfortunately, although they used the contraception in the way in which it is supposed to be used, Mary has become pregnant. The couple decides to have the baby, whom they name ‘Ernie’. Now we fill in the story a bit. The universe is causally deterministic, and 30 years later Ernie performs some action A and (...) thereby brings about event E. We also stipulate that Ernie meets plausible compatibilist conditions for acting freely . That is, we suppose that there are no uncontroversially freedom- and responsibility-undermining conditions present in the context in which Ernie performs A, and, further, that Ernie meets plausible compatibilist conditions for acting freely. Let us say, for example, that one adopts the theory according to which the freedom-relevant condition on moral responsibility is that the agent exhibits ‘guidance control’ of his action and . On this approach, one acts freely in so far as one acts from one's own, suitably reasons-responsive mechanism. We can then simply stipulate that, in the relevant context, Ernie acts from his own, suitably reasons-responsive mechanism . If one prefers a different set of compatiblist-friendly conditions for acting freely, one can simply stipulate that Ernie meets them; indeed, the plausible compatibilist-friendly conditions seem to be compatible with each other, and thus Ernie could presumably meet all of them in the relevant context. In such a case, and given that the epistemic condition on acting freely and moral responsibility is met, I am inclined to say that Ernie …. (shrink)

In this paper, I examine the views of contemporary aesthetician of music Stephen Davies about musical transcriptions as special forms of classical music and try to apply his theoretical views to remixing as a musical practice that is primarily related to contemporary electronic music. Using the theoretical approaches of Davies’ aesthetics of music, I point out the similarities between the creative attitudes of a musician in transcribing and remixing, similarities that can be found in the way these musical forms relate (...) to the original composition on which transcriptions or remixes are based. Comparisons between transcription and remix are further investigated by considering the various roles that these musical practices fulfil in various cultural contexts. (shrink)

This article explores the uptake and circulation of ‘transgender’ in academic and philanthropic institutions, as a way of taking seriously Robyn Wiegman’s call for a divergentist approach. In so doing, the article aims to demonstrate the intimate entanglements between non-profit and academic spheres and identity knowledges therein. Taken together, both contexts reveal the messiness and complexities of institutionality, not only as a lived reality for individuals such as philanthropy professionals and academics, but also as an object of study itself.

The first attempt to represent the Periodic system graphically was the Telluric Helix presented in 1862 by Alexandre-Emile Béguyer de Chancourtois, in which the sequence of elements was wound round a cylinder. This has hardly been attempted since, because the intervals between periodic returns vary in length from 2 to 32 elements, but Charles Janet presented a model wound round four nested cylinders. The rows in Janet’s table are defined by a constant sum of the first two quantum numbers, n (...) and l, so that they end with the s-block, headed by hydrogen and helium. By combining Janet’s table, Edward Mazurs’ version, in which each row represents an electron shell and Valery Tsimmerman’s use of a half square for each element, I have produced a representation that can be printed out and wound round to make a cylinder with manageable dimensions. In the unwound version, I have placed the s-block in the middle, to emphasise its pivotal nature, since it both ends each row and contributes electrons to the valence of elements in the next row; it thus does not necessarily belong either on the left or the right side of a table. The downward arrows that link subshells within each series graphically illustrate the Janet Effect. To acknowledge my debt to Chancourtois, Janet, Mazurs and Tsimmerman, I call my design the ‘Telluric Remix’. (shrink)

In The Deaths of Hintsa: Postapartheid South Africa and the Shape of Recurring Pasts, Premesh Lalu claims to offer a critique of apartheid’s colonial past. Emblematic of this colonial past is the 1835 killing and mutilation of the Xhosa king Hintsa. Lalu uses this violent event to argue against the evidence provided by the colonial archives. He argues that the killing of Hintsa was not an empirical fact but a product of the colonial imagination. The review argues that although the (...) critique of apartheid’s colonial past is timely, the book is not about Hintsa and does not therefore offer an alternative narrative of the death of the Xhosa king. (shrink)

A new theory of moral and aesthetic value for the age of remix, going beyond the usual debates over originality and appropriation. Remix—or the practice of recombining preexisting content—has proliferated across media both digital and analog. Fans celebrate it as a revolutionary new creative practice; critics characterize it as a lazy and cheap (and often illegal) recycling of other people's work. In Of Remixology, David Gunkel argues that to understand remix, we need to change the terms of (...) the debate. The two sides of the remix controversy, Gunkel contends, share certain underlying values—originality, innovation, artistic integrity. And each side seeks to protect these values from the threat that is represented by the other. In reevaluating these shared philosophical assumptions, Gunkel not only provides a new way to understand remix, he also offers an innovative theory of moral and aesthetic value for the twenty-first century. In a section called “Premix,” Gunkel examines the terminology of remix (including “collage,” “sample,” “bootleg,” and “mashup”) and its material preconditions, the technology of recording. In “Remix,” he takes on the distinction between original and copy; makes a case for repetition; and considers the question of authorship in a world of seemingly endless recompiled and repurposed content. Finally, in “Postmix,” Gunkel outlines a new theory of moral and aesthetic value that can accommodate remix and its cultural significance, remixing—or reconfiguring and recombining—traditional philosophical approaches in the process. (shrink)

Por meio dos fragmentos de narrativas da trajetória da musicista e ativista Kathleen Hanna, pioneira do movimento Riot Grrrl, remontamos, a partir do documentário The Punk Singer, a terceira onda do movimento feminista, evidenciando a interseccionalidade e protagonismo juvenil. Através de fanzines, arte, colagens, letras de música, performances e formação de bandas a partir de uma filosofia punk do it yourself (DIY), salientamos a ampla contribuição de Hanna para o feminismo contemporâneo ao desafiar um cenário opressor dentro do movimento punk, (...) estimulando o surgimento de outras iniciativas feministas, rebeldes e riot grrrls. Sua prática e performance artística são abordadas pelo viés das culturas DIY e remix, potencializando partilhas do sensível e politicidades no engajamento de subjetividades que superam a contenção dos imaginários vigentes.Palavras-chave: Feminismo. Riot Grrrl. Kathleen Hanna. Cultura remix. Imaginário político. AbstractThrough fragments of narratives gathered from the documentary The Punk Singer, based on the life and career of musician and activist Kathleen Hanna, pioneer of the Riot Grrrl movement, we refer to the third wave of the feminist movement, by demonstrating the dimensions of intersectionality and youth protagonism within her work. Ranging from fanzines, art, collages and lyric-making to performance and music groups based on a punk "do it yourself" (DIY) philosophy, we highlight Hanna's broad contribution to contemporary feminism by challenging an oppressive scenario within the punk movement, and by stimulating the emergence of other feminist, rebel and riot grrrls initiatives. Her artistic practice and performance are analyzed through the bias of DIY and remix cultures, thus potentializing distributions of the sensible and politicities in the engagement of subjectivities that surpass the containment of current imaginaries.Keywords: Feminism. Riot Grrrl. Kathleen Hanna. Remix culture. Political imaginary. (shrink)

This book offers insight into the many identity work processes in play in the construction of yoga categories, inviting readers to consider pop culture yoga, a distinct way of understanding this complex phenomenon.

Drawing on interviews with mashup producers, close readings of the mashup music and videos, and a historically and aesthetically informed cultural studies approach, Brøvig demonstrates how mashup music embraces the essence of parody through its mashing and repurposing of sources, associations, and connotations.

Argues that many popular approaches to questions of social justice are illiberal and offers an alternative vision for social justice based on liberal principles, adapted from the Wall Street Journal bestseller Cynical Theories.

An exploration of YouTube as a platform for remix, reuse, and sampling.

This essay foregrounds “covers” of popular recorded songs as well as male and female desire, in addition to Nietzsche’s interest in composition, together with his rhythmic analysis of Ancient Greek as the basis of what he called the “spirit of music” with respect to tragedy. The language of “sonic branding” allows a discussion of what Günther Anders described as the self-creation of mass consumer but also the ghostly time-space of music in the broadcast world. A brief allusion to Rilke complements (...) a similarly brief reference to Jankelevitch’s “ineffable.”. (shrink)

This text is a remix of an archival engagement with recordings/performances of 'freedom songs' or 'liberation songs' in a south or southern African context. The authors began this collaborative research project as part of a course in the Masters in History degree programme at the University of the Western Cape (UWC). The essay includes a re-edited, updated transcript of dialogue the authors shared along with two mix(tap)es they produced together. The conversation speaks of songs as archives, archives of song(s), (...) and memory/ies pertaining to anti-Apartheid struggle and ongoing Fallism. (shrink)

This booklet is a Korean adaptation and translation of Part VIII of forall x: Calgary (Fall 2021 edition), which is intended to be introductory material for modal logic. The original text is based on Robert Trueman's A Modal Logic Primer, which is revised and expanded by Richard Zach and Aaron Thomas-Bolduc in forall x: Calgary. (forall x: Calgary is based on forall x: Cambridge by Tim Button, which is in turn based on forall x by P. D. Magnus, and also (...) includes material from forall x: Lorain County Remix by Cathal Woods and J. Robert Loftis.) This booklet is licensed under a Creative Commons Attribution 4.0 license. (shrink)

Studios resist reductive analyses. Although isolated, they have their own frontstages and backstages, and like the laboratories studied by Knorr-Cetina, function as more than simply “internal environments.” The placeness of studios leaves both audible traces (the early reflections of sounds) and visible ones, if we think of those studios that become shrines or pilgrimage sites, or photo or video documentation of studios that provide the outside world a brief glimpse into the interior isolation of recording studio life. It would seem (...) that major facilities such as Abbey Road, Ocean Way or Sun Records are emphatically not “placeless place[s]” (Gieryn 2008), nor are they decontextualized from their immediate geographic surroundings. -/- Although atomized project studios (including bedroom studios, garages, and barns) may not immediately appear to be embedded within the social relations of a bounded local culture, many such studios are embedded within the social relations of specific online networked cultures,20 as is evinced by the vibrant online recording engineer communities that support everything from amateur acoustician pedagogy to advanced mixing techniques and even online mixing/remixing competitions. Such studios can be considered as “local anchoring points in the cultural metropolises of the global urban network” (Watson, Hoyler and Mager 2009). Knorr-Cetina (1992) suggests something similar when she discusses how laboratories function not just as “internal environments” but rather as “a link between internal and external environments, a border in a wider traffic of objects and observations”. Like their larger counterparts, project studios are acoustic environments isolated from various perceived outsides, use the very same technologies of audition to make up for the constrained paths of audibility, and similarly shape the kinds of musical and social practices that can transpire within (even if this shaping process effectively restricts the studio’s usage to a single musician at a time). I argue that the more we wish to understand the vibe and sound of the studios, the more we may wish to consider the studio as an active agent in the process of recording production, an actor in the social worlds that inhabit its very wombs and bunkers. (shrink)

BackgroundThe public and healthcare workers have a high expectation of animal research which they perceive as necessary to predict the safety and efficacy of drugs before testing in clinical trials. However, the expectation is not always realised and there is evidence that the research often fails to stand up to scientific scrutiny and its 'predictive value' is either weak or absent.DiscussionProblems with the use of animals as models of humans arise from a variety of biases and systemic failures including: 1) (...) bias and poor practice in research methodology and data analysis ; 2) lack of transparency in scientific assessment and regulation of the research; 3) long-term denial of weaknesses in cross-species translation; 4) profit-driven motives overriding patient interests; 5) lack of accountability of expenditure on animal research; 6) reductionist-materialism in science which tends to dictate scientific inquiry and control the direction of funding in biomedical research.SummaryBias in animal research needs to be addressed before medical research and healthcare decision-making can be more evidence-based. Research funding may be misdirected on studying 'disease mechanisms' in animals that cannot be replicated outside tightly controlled laboratory conditions, and without sufficient critical evaluation animal research may divert attention away from avenues of research that hold promise for human health. The potential for harm to patients and trial volunteers from reliance on biased animal data1 requires measures to improve its conduct, regulation and analysis. This article draws attention to a few of the many forms of bias in animal research that have come to light in the last decade and offers a strategy incorporating ten recommendations stated at the end of each section on bias. The proposals need development through open debate and subsequent rigorous implementation so that reviewers may determine the value of animal research to human health. The 10Rs + are protected by a Creative Commons Attribution 3.0 Unported License and therefore may be 'shared, remixed or built on, even commercially, so long as attributed by giving appropriate credit with a link to the license, and indicate if changes were made.’. (shrink)

Les « émeutes de novembre 2005 » ont donné lieu à de nombreux discours développant une thèse particulièrement univoque et déniant toute capacité de s'exprimer à la jeunesse des cités. À partir d'une veille réalisée sur Internet et portant sur différents objets expressifs , cet article vise à montrer comment la « racaille » s'exprime, entre performance identitaire et resignification critique, en usant des ressources de l'expressivisme généralisé: le remix culturel ou la convergence créative des publics des jeux, de (...) la musique et de la télévision.The "riots of November 2005" resulted in numerous speeches developing a thesis and denying any particularly unique ability to speak to the youth of the cities. From a day on the internet and realized on various expressive objects , this article aims to show how the "scum" is expressed between performance and identity resignification critical, using the resources expressivism generalized: the remix convergence cultural or creative public games, music and television. (shrink)

The article examines some of the consequences of the migration of musical works in cyberspace, particularly with regard to their ways of being and the ways in which we listen to them. Streaming is interpreted as the last stage in the expansion of a phenomenon that arose with the advent of phonography, namely, the ubiquity and availability of the works. A new development consists in the production of musical units in modular terms: works can consist of independent parts, which can (...) be replaced or constituted, in an order that depends on the user, taking inspiration from the model of the playlist. The diffusion of works on the web has also facilitated the development of the remix practice, changing listening standards and generating new conceptual conflicts concerning the identity of the works. The web weakens the distinction between the medium of communication and the medium of recording. It also favors the formation of new cognitive dispositions and generates more flexible and interactive ways of listening, generally different from those implicated in the era of the disc. (shrink)

On Popular Music and Its Unruly Entanglements comprises eleven essays that explore the myriad ways in which popular music is entwined within social, cultural, musical, historical, and media networks. The authors discuss genres as diverse as mainstream pop, hip hop, classic rock, instrumental synthwave, video game music, amateur ukelele groups, and audiovisual remixes, while also considering the music’s relationship to technological developments, various media and materials, and personal and social identity. The collection presents a range of different methodologies and theoretical (...) positions, which results in an eclecticism that aptly demonstrates the breadth of contemporary popular music research. The chapters are divided into three major sections that address: wider theoretical and analytical issues, familiar repertoire or concepts from a new perspective, and the meanings to arise from music’s connections with other media forms. (shrink)

Corposcopio is a collaborative project that integrates two different worlds or territories: circle dances and new media technologies. Ancient circle dances are cultural manifestations present in different countries around the world. They have a great power of community integration and provide a unique experience of extended consciousness. In Brazil there are a number of amazing circle dances and one of the most popular is called ciranda, whose movements are inspired by sea waves. Ciranda is performed by hundreds of people and (...) some participants fall into a trance. The purpose of the interactive performance is to stimulate, simultaneously, the perception of the media in contemporary reality and the collective body emergence. Corposcopio invites the participants to experience some circle dances and aggregates real-time image manipulation, software art, VJ and remix aesthetics. The transparent, ubiquitous and pervasive presence of computer systems in contemporary spaces is a quotidian fact. Nevertheless, the emergence of digital communities demonstrated the power of the human factor in the disruptive use of technologies. Human beings are social beings. Our depart point is to invite the participants to dance within the scenery of real-time image manipulation, ubiquitous computing and mixed reality. The performance itself deals with co-creation development and uncertainty. Each performance has peculiar characteristics hence it is an open system, open to receive the group interaction and participation. The experience stimulates an extended consciousness, a simultaneous perception of the individual body and the collective body. Our hypothesis is that each group will catalyze the emergence of an embodied consciousness of our mediated situation in a different way. As Bernhard Wosien (1988), one of the pioneer researchers on circle dance, has said, dance is a path to totality. In Wosien's view, circle dance has deep ritual characteristics and evokes a tremendous collective enthusiasm. (shrink)

Jean-Paul Sartre is the author of possibly the most notorious one-liner of twentieth-century philosophy: 'Hell is other people'. Albert Camus was The Outsider. The two men first came together in Occupied Paris in the middle of the Second World War, and quickly became friends, comrades, and mutual admirers. But the intellectual honeymoon was short-lived. In 1943, with Nazis patrolling the streets, Sartre and Camus sat in a café on the boulevard Saint-Germain with Simone de Beauvoir and began a discussion about (...) life and love and literature that would pull them all together and finally tear them apart. They ended up on opposite sides in a war of words over just about everything: women, philosophy, politics. Their fraught, fractured friendship culminated in a bitter and very public feud that was described as 'the end of a love-affair' but which never really finished. Sartre was a boxer and a drug-addict; Camus was a goalkeeper who subscribed to a degree-zero approach to style and ecstasy. Sartre, obsessed with his own ugliness, took up the challenge of accumulating women; Camus, part-Bogart, part-Samurai, was also a self-confessed Don Juan who aspired to chastity. Sartre and Camus play out an epic struggle between the symbolic and the savage. But what if the friction between these two unique individuals is also the source of our own inevitable conflicts? The Boxer and the Goalkeeper: Sartre vs Camus reconstructs the intense and antagonistic relationship that was (in Sartre's terms) 'doomed to failure'. Weaving together the lives and ideas and writings of Albert Camus and Jean-Paul Sartre, Andy Martin relives the existential drama that still binds them inseparably together and remixes a philosophical dialogue that speaks to us now. (shrink)

The character of the current controversy over geneticallymodified (GM) agriculture, typified by protesters' use of emotivesymbolism, has been largely inspired by the Green movement'snon-governmental organizations and political parties. This articleexplores the deeper philosophical and spiritual motivations of the Greenmovement, to inquire why it is implacably opposed to GM agriculture. TheGreen movement's anti-capitalism, exemplified by the hate-symbol statusof Monsanto as the company pioneering GM crops, is viewed within thewider context of alienation in the modern era. A complex of meanings isseen in (...) Frankenstein as the focal symbol of GM protests, includingperceptions of risk, fears of the remixing of living identities seen ingenetic engineering, and resentment at the spiritual nihilism of thereduction of life to the digital code of DNA. By contrast, RobertGoodin's Green Theory of Value, which postulates the deep psychologicalimportance of nature in locating the self in a meaningful context largerthan ourselves, can explain the power of the Green symbol of thethreatened environment, Gaia. The advent of GM agriculture seems toimply that capitalism and technology can now enframe nature itself,leaving a world devoid of natural myth or meaning, with no escape fromthe alienation and nihilism of modernity. The central question posed forprotagonists of the GM debate is whether their agenda is based on thesepowerful but mythical conceptions of the environment, or whetherpreservation of the real environment is their primary ethic. (shrink)

Derek Turner, Professor of Philosophy, has written an introductory logic textbook that students at Connecticut College, or anywhere, can access for free. The book differs from other standard logic textbooks in its reliance on fun, low-stakes examples involving dinosaurs, a dog and his friends, etc. This work is published in 2020 under a Creative Commons AttributionNonCommercial-NoDerivatives 4.0 International License. You may share this text in any format or medium. You may not use it for commercial purposes. If you share it, (...) you must give appropriate credit. If you remix, transform, add to, or modify the text in any way, you may not then redistribute the modified text. (shrink)

This essay explores the archive of a 1971 interview of Angela Davis by Swedish journalist Bo Holmström—recorded in Santa Clara County Jail where Davis awaited trial—to examine the relationship between Black radical thought and its social and intellectual mediation, especially when it comes to questions of violence versus nonviolence. Where Holmström invokes the “violence/nonviolence” binary in the interview, Davis pointedly resists its distortions, restoring the record of contemporary and historical conditions of racial terror that both necessitate and criminalize Black self-defense. (...) Decades later, the interview was filtered through the violence/nonviolence binary in editing for the acclaimed 2011 documentary, The Black Power Mixtape 1967-1975, with Davis’s wider conversation with Holmström not only abridged but remixed into a shorter exchange on armed self-defense. Studying the interview from its conditions of possibility through its later remixing, and reading it together with her opening defense statement (1972) and later speeches and writings, the essay excavates and explicates Davis’s original theoretical interventions and indexes a cluster of forces that mediate Black radical thought, Black women’s radical thought more specifically, and prison texts. The final section historicizes Davis’s theorization of the spatial and relational contexts of Black self-defense in Dynamite Hill, Alabama, and in California, and contends that her incisive interventions into the violence/nonviolence binary in 1971 remain critical here and now. (shrink)

RESUMO Este artigo contempla nosso estudo de práticas socioculturais que demonstram que/como o sujeito contemporâneo dialoga online com enunciados advindos de acontecimentos do universo off-line. Nosso corpus apresenta postagens circuladas publicamente em páginas diversas no Facebook em que se lê: “É verdade esse bilete”. A afirmativa, proveniente de um bilhete escrito por uma criança em sua esfera familiar e divulgado em redes sociais, foi apropriada por múltiplos interlocutores no ciberespaço a fim de produzir efeitos de humor e dizeres contraditórios em (...) diferentes instâncias discursivas. Para a análise, recorremos a elementos constitutivos do dialogismo de proposição bakhtiniana; aos conceitos de meme e remix e às discussões foucaultianas acerca da vontade de verdade. Nossas interpretações apontam que é possível rastrear, nas réplicas ativas analisadas, posições axiológicas que nos remetem ao sujeito contemporâneo, o qual, usando a ironia e efeitos de humor, constitui/compartilha enunciados no intuito de estabelecer sua vontade de verdade na ágora digital. ABSTRACT This paper presents a study of sociocultural practices that exemplify how subjects interact online with offline events. We analyse selected posts collected from social media profiles supported by Facebook. Each excerpt shows the affirmative “It’s true this notte,” a rough translation of a written message addressed by a four-year-old Brazilian boy to his mother stating that there would “supposedly” be a school holiday the following day. The note went viral after his teacher posted it publicly on her social media timeline and the reassuring assertion was appropriated multiple times in the cyberspace so as to as trigger a humour effect in different discourse instances. Grounded on the concepts of meme; remix; Bakhtinian dialogism and Foucauldian’s ideas on truth, we perform a discursive analysis. Our results point to track marks of axiological positions of contemporary subjects that resort to irony to construct/share utterances in order to establish their will to truth in the digital landscape. (shrink)

This paper discusses the work of the Einstein's Brain Project and its representations of a dynamic world through the production of technologically sustained realities and recursive cognitive systems examining bio-electrical fields. These augmented realities combine the languages of art, science and technology, and the new structures of hypermorphism - the ever morphing, ever changing object, and the parallaxic remix - the ever moving contextual eye -to reveal the invisible elements of biological existence and the dynamics of living systems.

Music raises many problems for those who would understand it more deeply. It is rooted in time, yet timeless. It is pure form, yet conveys emotion. It is written, but performed, interpreted, improvised, transcribed, recorded, sampled, remixed, revised, rebroadcast, reinterpreted, and more. Music can be studied by philosophers, psychologists, sociologists, mathematicians, biologists, computer scientists, neuro-scientists, critics, politicians, promoters, and of course musicians. Moreover, no single perspective seems either sufficient or invalid. This situation is not so different from that of other (...) arts, but perhaps more intense, due to the pervasiveness of pop, the inaccessability of much contemporary classical music, the strong cultural associations of many styles, the infusions of technology, and the combination with lyrics. (shrink)

In recent years, the majority of studies on new technology-related phenomena have focused either on proving the benefits of innovative solutions or on criticizing social costs. The path chosen in the reviewed book Collaborative Society by Dariusz Jemielniak and Aleksandra Przegalinska is to capture a wider cultural shift that is taking place because ICT tools allow people to take advantage of their willingness to cooperate. The key thesis is that the collaborative society goes far beyond the sharing economy – or (...) economy in general. New means of digital communication, remix culture and citizen science prove that this shift is transforming social relations and our mutual relations. The authors search for the manifestations of a collaborative society in joint online production and consumption, cooperation of social activists and hacktivism, social production of knowledge, gadgets encouraging cooperation and subversive connection in digital spaces. The future of cooperation is a story about the tension between the new, communal mode of production and its distortion by capitalism. The book is a good summary of the research area and an introduction for anyone looking to explore this topic or participate in a collaborative society. (shrink)

The evolution of the record producer from organizer to auteur, from Phil Spector and George Martin to the rise of hip-hop and remixing.

Among the many forms of artistic expression that characterize the digital era, remix occupies a rather central position. At the same time, however, the success of remix as an artistic practice raises several hard questions. What is original and what is derived? How can we sort out and make sense of questions concerning origination and derivation in situations where one thing is appropriated, reused, and repurposed for something else? What theory of moral and aesthetic value can accommodate and (...) explain these situations where authorship, authority, and origination are already distributed across a network of derivations, borrowings, and re-appropriated found objects? This paper develops a response to these questions, and it does so in three steps or movements. The first briefly introduces the concept of remix and the opportunities and challenges that this now wide-spread, content creation practice presents to existing models and theories of moral and aesthetic value. The second outlines the three elements of what I call “remixology”—a new axiology (or theory of moral and aesthetic value) that is designed to scale to these new opportunities and challenges. The third and final movement investigates the consequences of this proposal, demonstrating how remixology can be read backwards through time, providing us with some new perspectives on artistry and creativity in all human endeavors, and read forwards into the emerging challenges that have been made available by innovations in algorithmic content generation and computational creativity. (shrink)

GeneMusiK is an artistic project that puts into play ideas about the capacity of physical morphologies to act as mnemonic systems by using DNA to transcode and remix musical structures. The project suggests that both biological and cultural information can function as both macro- and micro-scale structures arrayed at physical loci to create topologies which function as keys to the mapping of memory.

In early March 2020, the March‐April Hastings Center Report was very nearly assembled and contained nothing about Covid‐19, which was still just beginning to make itself publicly known in the United States. Two weeks later, the editorial line‐up was undergoing a remix, and essays that lay out sweeping agendas for the response to the worldwide crisis were in preparation. The central theme in the agenda that Lawrence O. Gostin and colleagues develop is that the pandemic requires a sharp break (...) from usual ethical norms yet simultaneously demands a return to core ethical commitments. A similar theme is sounded by Mildred Z. Solomon and colleagues in a commentary calling for federal actions to keep the health care system functioning. Other essays in the issue take up an assortment of topical issues—including international patient dumping—that were simmering along prior to the pandemic, and the two articles take up foundational questions about the nature of moral reasoning. (shrink)

Usually, the shape of the future is seen as the result of a cultural flow that, according to some privileged cultural variable, like technology, goes undisturbed towards its own outcome. This is a quite naive attitude that has been very rarely successful. Both conventional technology and technology of the artificial show that, within culture, ‘demons’ are always active trying to exploit or even bypass standards in order to give birth to unexpected novelties. This is true within the pure technology area (...) and even more in its artistic extensions. Therefore, no deterministic process is going on but, rather, a permanent remixing of chances that makes any prophecy impossible. (shrink)

Noisefest! is an interactive, multisensory experience centered around a small Maine town and rooted in the sounds and noise of its streets. Comprising a Virtual Reality tour, soundwalks and remixes, a 2D laser cut geographical map with Arduino controllers, and a Futuristic noise intoner, one of the objectives of this collaborative, transdisciplinary, and theory-based project is to create concrete opportunities for students to participate in the “real” world and engage with the materiality of noise and its manifestations by interacting with (...) the soundscape through novel, interactive, and multisensory practices. Noisefest! is also an example of how one can creatively and artistically extend the reach of the digital humanities beyond the borders of academia and into the public realm. (shrink)

The aim of this paper is to discuss how the image of the artist has formed in Western culture and how digital art may shed light on some of its internal contradictions, if not perhaps even help us overcome them. Firstly, I take into consideration the Jewish and Christian tradition according to which the image of God as Creator may play the role of the archetypal artist, of whom the human artist is a sort of copy and imitator – an (...) idea that fully established itself during the Renaissance and even now widely influences the image of the creative artist, whom is commonly endowed with an almost absolute subjectivity able to derive from her boundless spontaneity everything is needed for the making of the work of art. Next to the image of God as Creator I focus on the influence exerted by the Platonic myth of the Demiurge, the divine craftsman who, trusting its own ability and insight, shapes a given matter according to a preexisting model it contemplates. It will then be shown how the image of the Demiurge might temper the absoluteness proper to the notion of the artist deriving from the image of God as Creator and, therefore, how it might help rediscover the dimension of historicity and conditionedness that is inseparable from human artistic creativity, even though it has been strongly downplayed and despised. Finally, I argue that the philosophical study of digital art – particularly of computational creativity and remix – may offer a precious occasion for shedding new light on the objective and conditioned elements of artistic creativity and, as such, may lead the way towards a reconfiguration of the image of the artist (and of the many concepts connected to it) not under the absolute sign of God as Creator, but rather under the historical aegis of the Demiurge. (shrink)

Creating a mobile software-based exploration (artwork?/app?) puts the artist-coder in a position to interact with the mediated image streams that connect people on the Internet. The mediated streams often contain portraits and self-portraits, selfies, of the participants. These selfies are visual status messages of the people participating in the data streams. They can be used by the poster to identify themselves in the data stream and represent a way the creator of the selfie wants to be seen by the social (...) circle in which the image is posted. These images could reveal recognizable characteristics of the subject. The characteristics could be recognizable by people and software along the mediated path that the image traverses. Algorithmic intervention on the image affects the human and software interpretation of the image. In the works #autoselfie and FIFO ribbon, images are modified on a pixel level, in a way that the user of the app/work cannot control completely. The modifications reveals the potential power of the software systems to modify the imagery that people use to identify themselves in mediated communication environments. Moreover, the changes applied are chosen by the artist coder to impede recognition by software systems downstream but make human recognition possible in some cases. The alterations make the software in the app visible on a pixel level. The works then let the user post the altered images on Twitter or Google+ social media streams. The framing of this work as artwork or mobile app creates a tension, which affects audience interpretation and user experience choices made by the artist. These ideas are explored in the 2013 work #autoselfie and the 2014 work FIFO ribbon that runs on Android devices. #autoselfie was used to remix images created by winners of the South African 2013 Sanlam National Portrait Award, to explore the intervention of algorithms on mediated portraits and self-portraits. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Feminist Studies 41, no. 2. © 2015 by Feminist Studies, Inc. 463 Kawika Guillermo Libido Ergo Sum Sitting atop a red beanbag stained with dark splotches, Kelsey watched the tells from the five boys sitting on the carpet in front of her. One by one they gave away their hands, their eyes dodging hers, perhaps afraid of her female intuition. She loved these surreptitious moments, when her boys tried (...) to fool her, believing that they had her in their clutches, as if she couldn’t help but be pulled by their charms. Kelsey went all in, moving her chips into the middle of the carpet. Kaleb’s mouth grinned to the right while Gabriel impatiently tapped on his knee, keeping beat with the remixed 80’s tune coming from the large boom box behind him. Billy’s face was in a gleeful Leave-It-to-Beaver of daffiness, and Michael’s dumbfounded expression—worn to distract her— was put out by a nervous scratch of his neck. After each had pussied out, Kelsey leaned over to distract them further with her cleavage as she picked up the red playing cards, her hair settling onto the boys’ laps as if to imitate fellatio. “Alright, pussy bitches,” she said, collecting the chips and stirring the toothpick in her mouth like a mortar. “Pass’em down,” pointing to the gold dealer’s piece. “Big blind, little blind.” She watched the world as if from a recliner and saw herself dealing the next hand with the finesse of a professional dealer. Her gaze circled the carpet of poker players. Their eyes never met hers. In every house party Kelsey hosted, she always saw a faint bleakness in her guests. She always cleaned them out, her eyes scanning them like food at a supermarket, unveiling their moves with every glance. She watched them all at once: Jackson wiping his mouth, Michael adjusting his glasses, Gabriel 464 Kawika Guillermo chewing on bubblegum in loud smacks, Billy grinning as he mouthed curse words. Finally, Kelsey took only a glimpse at her own cards before doubling the ante. Tommy shrugged and tossed his cards; Michael met her raise and she went all in. She noticed these patterns all between them. She saw their reactions before they even happened: Michael shaking his head and calling her a bitch as he splashed his cards onto her living room carpet. At two in the morning she drank two tequila shots in the kitchen with Paul, one of the many toxic men that she had invited to her party from work. He was a sturdy baseball player/lightweight alcoholic, toxic in his thoughtless remarks on meeting schedules, upcoming due-dates, and portfolios. “Then you put the salt on your thumb, or whatever,” Paul said, shaking up a bottle of Patrón Silver, as if it needed to be shaken. Kelsey stuck out her shot glass for another. A year ago she would have been doing homework, playfully kicking off the dust of the world with a big biology textbook in her hands. Since then, she had discovered that there was a pattern to debauchery that led to some existential fulfillment—a realizing of herself as a living substance—an uber-debauchery. Refusing to dilute her angst into anything but total surrender, she was still a Vegas girl, willing to throw herself into in the Las Vegas rites of passage of drunk driving, diving nude into neighbor’s pools, and waking up in hotel rooms with a hundred dollar bill on the cupboard, weighted in place by Gideon’s Bible. “Another sausage fest,” said a man in a cowboy hat and vintage overalls. Kelsey didn’t know him. He sat on the countertop like the Cheshire Cat and flipped through a book of bumper stickers. He wore one with the words “Libido Ergo Sum” on his forehead. “All right!” another drunken voice shouldered through waves of sound: “Seize the day!” “James’s baby sure looks cute tonight,” said another drunken voice. “’Course no one would try, except this guy.” The man in the cowboy hat smiled up at her. “How come you don’t invite your girlfriends to your parties?” “I don’t have... (shrink)