02769nam 2200565 450 991078881140332120230802003054.03-99043-500-010.1515/9783990435007(CKB)3360000000516204(MiAaPQ)EBC5049004(DE-B1597)445362(OCoLC)1049682535(OCoLC)1054881087(OCoLC)979635189(DE-B1597)9783990435007(Au-PeEL)EBL5049004(CaPaEBR)ebr11605314(OCoLC)1051138520(EXLCZ)99336000000051620420180920d2012 uy 0engurcnu||||||||txtrdacontentcrdamediacrrdacarrierRemix theory the aesthetics of sampling /Eduardo NavasWien ;New York :Springer,[2012]©20121 online resource (192 pages)Includes index.3-99043-499-3 Frontmatter -- Contents -- Acknowledgments -- Preface -- Introduction: Remix and Noise -- Chapter One: Remix[ing] Sampling -- Chapter Two: Remix[ing] Music -- Chapter Three: Remix[ing] Theory -- Chapter Four: Remix[ing] Art -- Conclusion: Noise and Remix -- IndexRemix Theory: The Aesthetics of Sampling is an analysis of Remix in art, music, and new media. Navas argues that Remix, as a form of discourse, affects culture in ways that go beyond the basic recombination of material. His investigation locates the roots of Remix in early forms of mechanical reproduction, in seven stages, beginning in the nineteenth century with the development of the photo camera and the phonograph, leading to contemporary remix culture. This book places particular emphasis on the rise of Remix in music during the 1970s and '80s in relation to art and media at the beginning of the twenty-first Century. Navas argues that Remix is a type of binder, a cultural glue-a virus-that informs and supports contemporary culture.Sampling and remixing are now common in art, music and new media. Assessing their aesthetic qualities by focusing on technical advances in 1970s and 80s music, and later in art and media, the author argues that 'Remix' punches above its deemed cultural weight.MusicAppropriation (Art)Sampling (Sound)Music.Appropriation (Art)Sampling (Sound)780Navas Eduardo1537684MiAaPQMiAaPQMiAaPQBOOK9910788811403321Remix theory3787119UNINA