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Category: Remix

2nd International Graduate Conference in Communication and Culture: The Culture of Remix

Lisbon, 13-14 October, 2011*

This inter-disciplinary graduate conference seeks to address questions concerning the multiple dimensions of remix at the intersection of culture and communication.  Lawrence Lessig has proposed “remix” as one of the main outcomes of social and cultural practices enabled by new technologies that allow for easy production and sharing. Remix is the creative mixing of cultural elements, a collage, a blending, a hybridization of genres, creative destruction.

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New Chapter, “Remix and the Rouelles of Media Production”

Networked: a (networked_book) about (networked_art) invites you to Read | Write:“Remix and the Rouelles of Media Production”by Mette Birk, Mark Cantwell, Owen Gallagher, Eli Horwatt, Martin Leduc, Eduardo Navas, Tara Zepel

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Glide art intern working at colleting sound

Urban Remix partnered with Glide Church for a workshop.

Collective Soundscapes: UrbanRemix in San Francisco

by Carl DiSalvo 

This past June we had the opportunity to participate in the City Centered Festival of Locative Media, in San Francisco. Working together with members of Glide Memorial Church and Bay Area musician Ken Ueno, we used the UrbanRemix platform to explore the collective production of soundscapes from the Tenderloin district. The technical platform of UrbanRemix consists of both a mobile application (for iPhone and Android phones) for recoding field audio and a web application for browsing and mixing that audio.

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Dead Fingers Talk: The Tape Experiments of William S. Burroughs

28th May – 18th July 2010

Listen to your present time tapes and you will begin to see who you are and what you are doing here mix yesterday in with today and hear tomorrow your future rising out of old recordings

everybody splice himself in with everybody else

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STRP Festival presents RE: le Poème Electronique: a symposium about a contemporary muse

STRP Festival presents RE: le Poème Electronique: a symposium about a contemporary muse

The STRP Festival is a multidisciplinary all-out experience of art, music and technology taking place 2 – 13 April in Eindhoven (the Netherlands). During every edition of STRP, special attention is paid to a theme that focuses on Eindhoven and the relationship between creativity and technology under the “RE:” banner. This year, RE: is dedicated to the 1958 work of art Le Poème Électronique.

In 1956 Philips commissioned the renowned architect Le Corbusier to build a pavilion for the World’s Fair in Brussels. Le Corbusier wished to avoid designing yet another industrial exhibit and told Philips that he would create an “electronic poem” about the technological development of mankind. Together with composer Edgar Varèse, architect Iannis Xenakis and cinematographer Philippe Agostini, Le Corbusier developed a spectacular work of art in which light, sound, film and architecture merge to form a revolutionary multimedia spectacle. STRP will host a symposium on this remarkable cultural legacy, which was created in Eindhoven’s NatLab.

Five hundred visitors gather inside the futuristic pavilion at the World’s Fair. The excitement is palpable. While an introductory text is projected on the wall, oscillating sounds issue from the left and right from hidden speakers. A nude female mannequin at the top of the ceiling lights up as ultraviolet lights flashed across the diagonal side walls. The audience is startled by the weird electronic sounds cascading over them from somewhere far off in the distance in the pavilion. A series of abstract light patterns and graphic images and photographs of monkeys, birds, skeletons, explosions and babies alternate as the soundscape seems to continue moving along the walls of the tent-like structure. After eight minutes, the lights go out and everything is quiet. The dazzled spectators stumble out through the exit doors, making way for the next group of curious World’s Fair visitors.

Le Poème Électronique tells the story of mankind and the quest for harmony in an ever-increasingly technological society. In the mid-1950s, technology is a source of hope, inspiration and optimism. At home, families gather around the radio or the black and white TV set. In the streets, the first affordable cars cruise around. In space, the Russians launch Sputnik, the first satellite. At Philips’ Natuurkundig Laboratorium (Natlab) in Eindhoven, in addition to developing new electronic appliances, which include an honest to goodness colour TV, the future of music is taking shape, too. Using huge tape recorders, reels, mixing boards and homemade electronic instruments, pioneers such as Dick Raaijmakers, Tom Dissevelt and Henk Badings create new electronic music. This technical playground in Strip-S is where the composer Varèse spent several months working with the Natlab technicians on Le Poème Électronique presented in the mathematically constructed pavilion at the World’s Fair.

Today, Le Poème Électronique is more popular than ever. Books and documentaries are being made, reenactments are being discussed, and the experience is being reproduced with new, virtual technologies. The questions arise what le Poème Électronique means today. What story does the Gesammtkunstwerk tell us? What are the underlying ideals about mankind and technology? How is Le Poème Électronique being used today as source of inspiration? What kind of story should a contemporary Le Poème Électronique tell us about mankind and it’s increasing technological environment? These questions (and more) are being discussed during a diverse programme on Thursday April 9th.

The symposium RE: Le Poème Électronique takes place in the Klokgebouw at Strijp-S, not even a mile away from the spot where Le Poème Électronique originated. In addition to lectures, discussions, and performances, the documentary ‘Kamer 306’ is shown. Kamer 306 is a documentary about the experimental musical practices in the NatLab during 1956 – 1960. The symposium is part of the regular STRP Expo+, and is meant for students, researchers, artists, technologists, and everyone else interested in this unique work of art.

From 2 – 13 April Eindhoven (the Netherlands) will once again embrace electronic music, interactive installations, film, art performances, live cinema and robotics. The STRP Festival is an all-out experience of music, art and technology. On Thursday, 9 April, STRP is hosting a symposium with lectures, discussions, presentations and works of art about Le Poème Électronique and its significance today. For more information about STRP Festival, Le Poème Électronique and the programme, please visit: (

Link to Le Poème Électronique @ Youtube:


Deadline March 10th 2009

Video sharing sites like Youtube and DailyMotion are now the norm, and remixers everywhere are busy mashing-up film clips, movie-trailers and music videos and posting them for the world to see.

French music and digital arts festival Tilt are launching a video mash-up competition in collaboration with curators who have been screening work of video remix artists for over a decade, and trail-blazing audio/video remixers Addictive TV, who’ll sit on the judging panel. The winner will receive €1000.

The deadline to submit a piece to the Tilt Festival is midnight on MARCH 10th 2009, contestants are invited to create a short video mash-up by sampling and remixing public domain video clips. For more information on how to participate, entry rules and to get links to some public domain archives, please visit:

To see examples of video remixes and mash-ups of competition juror Addictive TV, check out:

And for more info about Cinefeel, please visit [you’ll also find more info on the competition].

Software Takes Command, a New Book by Lev Manovich

November 20, 2008.
Please note that this version has not been proofread yet, and it is also missing illustrations.
Length: 82,071 Words (including footnotes).

Software Takes Command by Lev Manovich is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 United States License.
Please notify me if you want to reprint any parts of the book.

One of the advantages of online distribution which I can control is that I don’t have to permanently fix the book’s contents. Like contemporary software and web services, the book can change as often as I like, with new “features” and “big fixes” added periodically. I plan to take advantage of these possibilities. From time to time, I will be adding new material and making changes and corrections to the text.

Check for the latest version of the book.

send to with the word “softbook” in the email header.

FEATURE: Networked: a (networked_book) about (networked_art)

A Juried International Competition

Call for Proposals

Deadline: December 15, 2008

Five writers will be commissioned to develop chapters for a networked book about networked art. The chapters will be open for revision, commentary, and translation by online collaborators. Each commissioned writer will receive $3,000 (US).

Networked Committee:

Steve Dietz (Northern Lights, MN) :: Martha CC Gabriel (net artist, Brazil) :: Geert Lovink (Institute for Network Cultures, The Netherlands) :: Nick Montfort (Massachusetts Institute for Technology, MA) :: Anne Bray (LA Freewaves, LA) :: Sean Dockray (Telic Arts Exchange, LA) :: Jo-Anne Green (NRPA, MA) :: Eduardo Navas (newmediaFIX) :: Helen Thorington (NRPA, NY)

Networked Partners:

New Radio and Performing Arts, Inc. (NRPA) :: newmediaFIX :: LA Freewaves :: Telic Arts Exchange

“A networked book is an open book designed to be written, edited and read in a networked environment.” – Institute for the Future of the Book

Networked Goals:

(1) To commission five chapters and publish them online using Wiki/blog technology to enable the public to revise, update, debate and translate them

(2) To present public forums to publicize the online book and solicit participation in its development.

Networked Objectives:

:: To develop and publish an online, trans-disciplinary book that will address recent artistic developments made possible by computers, networks, and mobile connectivity

:::: To present the book in an open, participatory and social form

:::::: To document:

:::::::::: the collapse of the traditional distinction between artist, art work and audience

:::::::::: the shaping of creative practice that is open, contingent and participatory

:::::::::: the building of virtual communities which, in the words of Howard Rheingold, “becomes inevitable wherever computer mediated communications technology becomes available to people anywhere.” (The Virtual Community, 1993)

We invite contributions that critically and creatively rethink how networked art is categorized, analyzed, legitimized — and by whom — as norms of authority, trust, authenticity and legitimacy evolve.

“Networked” proposes that a history or critique of interactive and/or participatory art must itself be interactive and/or participatory; that the technologies used to create a work suggest new forms a “book” might take.

We hope to spark a conversation between researchers and practitioners, curators, artists, and academics in the fields of art (music, sound, dance, e-lit, visual art .), architecture, convergence, mapping, urbanism, games, sociology, visualization, cultural studies, and environmental studies.

In keeping with the transdisciplinary nature of the book, authors may consider, but are by no means limited to, themes such as:

:: cyberspace and identity
:: ubiquitous computing – surveillance, politics, and privacy
:: avatars, wearables, bioart and embodiment
:: collective storytelling, audio narratives and sound art
:: virtual worlds, mixed realities
:: locative media – place, mobility, augmented reality
:: massively multiplayer online games – networked play
:: responsive architecture and relational environments
:: social networks
:: nomadism, psychogeography, and the city
:: tactical media – performance, agency and activism
:: open source and crowdsourcing
:: Originality, copies, remix, mashup

All papers will be reviewed by our international committee.

Commissioned chapters, as well as contributions by collaborators, will be subject to the Creative Commons License Attribution-Noncommercial-Share Alike 3.0/Unported:

Once the chapters are published online, registered users will be able to revise, add to, and translate the existing texts. There is no end date for the project. When “Networked” has attracted substantive participation, we will consider publishing a print version of the project, which may itself be updated over time.


Submissions must be based on original, unpublished research. They should include:

1. Name, address, URL, email and one page CV of author.

2. A 1000 word proposal that should be accompanied by an abstract of no more than 250 words and a list of keywords to indicate the subject area of the chapter. [Each of the commissioned chapters will contain text, images, videos, and/or audio.]

3. Three networked writing samples. Samples may include a blog entry, a Wikipedia article the applicant worked on extensively, or samples from any other participatory project (send URLs).

Acceptable Submission Formats: Either a web page (send url in an email) or a single text document (send as an email attachment)

Final chapters must be no less than 5,000 words.

Submissions and Questions should be sent to: jo at turbulence dot org


Deadline for Proposals: December 15, 2008
Notification: January 31, 2009
Deadline for Complete Chapters: April 30, 2009
Online Publication Date: July 1, 2009

Join our Facebook group:

Funded by the National Endowment for the Arts.

Jo-Anne Green, Co-Director
New Radio and Performing Arts, Inc.:
New York: 917.548.7780 . Boston: 617.522.3856
Networked_Performance Blog:
Upgrade! Boston:
New American Radio:

VJam Theory: Collective Writings on Realtime Visual Performance

VJam Theory (collective writings on realtime visual performance) presents the major concerns of practitioners and theorists of realtime media under the categories of performance, performer and interactors, audiences and participators. The volume is experimental in its attempt to produce a collective theoretical text with a focus on a new criticality based on practitioner/artist theory in which artist/practitioners utilise theoretical models to debate their practices.

Visit Lulu to purchase this book

Printed: 62 pages
6.63″ x 10.25″
saddle-stitch binding
black and white interior

ISBN: 978-0-9558982-0-4
Publication date: 2008

VJam Theory project

MEDIATOPIA/ISEA SINGAPORE 2008: Call for Participation

Submit any media files, playlists, links,node coordinates, live webcasts or URLs.
Please read criteria for Border Transmissions at ISEA 2008 Singapore for related context.
Your media can be uploaded or linked into the Mediatopia database and be included in the participatory sequence produced onsite at the National Gallery of Singapore and viewable / re mixable / mash-up-able on the net via live webcast.

For more information on this project, to submit images and to view the live broadcast visit the project site at:

Project Details:

The Mediatopia Project and related events will reflect upon the ISEA 2008 Border Transmissions Theme and will exploit the potential of networks, communication tools, alternate economies and experiential technologies as a collaborative engine to enable the emergence of a different conception of borders, and of the transmissions that problematize these demarcations.

It also seeks to expand the models of production and distribution that have arisen as social networks, hardware, generative software components, small-scale download practices and peer-to-peer protocols have changed the nature of not only how material is made but distributed. Mediatopia will act as an incubator and working model for experimentation, inquiry, and cross-cultural collaboration within the framework of these overarching themes.

Mediatopia seeks to expand upon the concepts of production and distribution as participants contribute discrete media from a variety of readily available sources, recognizing advances in technology, software and social networking strategies that have arisen in recent years. The Mediatopia project will be able to function as an international mashup/remix of broadcast media and simultaneously as a database and interface of freely accessible sound/video materials that transcends time, location, cultural and geographical borders without emphasis on market driven outcome.

The Mediatopia Project and scheduled events at ISEA 2008 will function as the primary event host while numerous satellite nodes worldwide will serve to further expand and engage the participating individuals in creative collaborations and cross cultural exchanges. The Mediatopia Project and related international events will be accessible online and live throughout ISEA Singapore 2008 and culminate in a 24 hour live remix in the Gallery Theatre at the National Museum of Singapore. To view, participate and/or contribute to the project or to see a complete list of participating artists and scheduled events both onsite and at remote nodes, please visit the project website at: