Mixing is about creating seamless interpolations between objects of thought to fabricate a zone of representation in which the interplay of the one and the many, the original and its double all come under question.
Egh. Not entirely. Remix can also border on the purposely obtrusive or juxtaposed. Consider a demolition derby or a Jasper Johns. There is the purposeful use of collision.
Does it fit?
Yes
Is it seamless?
No.
Seamless transition in a world without seams. In movement we become memory. In a mix we exist between seams. The shards post impact that glimmer in our collective media mind as we wonder if glass is a remix of sand.
Transform like Megatron and more idea's about cars and recycled plastic.
Sound and the electro-digitized imagination in an ever burgeoning culture is the manifestation of language as a total text. Or as Toni Morrison says, "The imagination that produces work which bears and invites rereadings, which motions to future readings, as well as contemporary ones, implies a shareable world and an endlessly flexible language.
Ours is the now and heAr of freedom.
Reactivate where you've become a product.
And now the whole world out of the radio.
All the tech used to make art was Napoleon's. Now it's corporate, inherited from our mothers and fathers.
Remix acknowledges who speaks through you based on whose speech threw you.
The photo in my memory, Accidents and Emergencies, committed poetry.
Fugazi inhabits collage space in this way, a product of D.C. reactivated outside of the radio nonetheless a production reaction to the reaction of hard-core and a reaction to and remix of the world view propagated by Reagan, Bush, Nixon, Ford and the rest of the neo-con corporate space of America.
This is an example of remix as reaction to of overly oppressive psychogeography.
Whatever works is the American Modus Operandi.
Ossification, Kali Rising, 1949 phases of the moon in Finnegan's Wake.
Yeah, stuff like that was what was on my mind, mellowed by age, paved into a co-op. Small spots on the landscape, my text with sound. Oral culture in a world of networks.
This is an example of Remix as Obsolescence.
A nihilist parallax view.
Subliminal semiotics transgressing without seam. Sand as glass as collision as movement as memory as an occupied collection of found space through which to create further collisions.
As the boundaries of between blur the boundaries towards a transformation of hermeneutics a quantum account of gravity approaches a dictionary in which each word is translated into several other words becomes affable.
Known languages do not un-reciprocally express the translation of French words or other languages. This makes this dictionary -by means of requirements- find how to classify this hermeneutical order out/out of the disordered sense we accept daily.
There is no known one way communication.
Each language expresses itself reciprocally or not at all. We find what's between in things and play in our mutual known unknown space. We get so Donald Rumsfeld.
Now proceed. Plus a change.
Found objects are memory permutation machines based on determinacy becoming obsolete.
In this way media bombardment approaches the sonic immersed song of a dead dreamer with the flow against the current.
In a different between the nothing that is there and the nothing that is not. In Stevens' Nothing is meant to stand alone. An audio sculpture obsessed with death. Shards of "art" culture caught in the still of a collision.
People are so programmed to accept a media construct, (consolidate for evolutionary gains) that if something isn't affirmed by their peers and/or mass culture, then it might as well not exist.
An Interplanetary Revolution Approach to Remix
or
Exposure to Space
Forget a dead empire and build a living republic.
Proclaim a new era an set up a new calender.
Replace alien language.
Destroy or neutralize alien gods.
Destroy alien machinery of government control.
Take wealth and land from individual aliens.
With the so permanent nature of death forgetting movement, fragments of recording environments -frequencies open within the city of physical culture- detach from their own beings and into collectives.
There's Miles Davis between my ears and yours.
On the corner lectures scream poems of a new science of sight. A new Dub-tometry skewing sciences of perception.
Treating sound as found object, spotted, picked up, felt and displaced. Versioning additive subtraction in a palimpsest of visual sound play.
Remixing the Found Text
Erasure; the voice fragmented and left to drift on shards of itself. It's body taken in quotations.
Writing; May be a little retro but that's cool too. That's why people still where bell bottoms jeans.
A Textual remix is a totally reflexive Guttenberg's galaxy.
An aside is;
(Take Nietzsche. Feel great within his paragraphs. Derrida is there too, if you ever come looking.)
The remix author is a cross medium psychogeographic flaneur set on subjective implosion. Here words are the expressed equivalent of a "found object." Semiotic representation of and on the earth.
The representation becomes the momentary memory. Emotion and catharsis become the cybernetic etymology of art and music and text. That simple. That complex.
This is the occupied complex culture complex.
The moment of revelation -the collision- is encoded in action. The selection becomes a resonative narrative traveling by synecdoche into the space between things as we take words out of and place words into (Insert your Sampler's Here) mouth.
For Duchamp the glitch serves as metaphysical critique. A mistake in frame creates narrative.
In a bombarded media saturated world there is almost no sound. An un-anechoic chamber where the remixer's frequencies supply the glitch.
Progress in an un-vacuum.
