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Art Packets & Cultural Politics: A brief reflection on the work of Joelle Dietrick and Owen Mundy, by Eduardo Navas

Image: Joelle Dietrick and Owen Mundy, “Grid Sequence Me and The Sea is a Smooth Space,” 2013, Three Channel Projection Dimensions variable, Flashpoint Gallery, Washington D.C., Photographs by Brandon Webster

The following essay was published in Joelle Dietrick’s and Owen Mundy’s art catalog survey of their ongoing art collaboration titled Packet Switching, published at the end of 2014. A PDF of the actual catalog is available for download. I want to thank Joelle and Owen for inviting me to write about their work, which, as the essay should make evident, I consider an important contribution to contemporary media art practice.


Joelle Dietrick’s and Owen Mundy’s ongoing body of work titled Packet Switching focuses on the relation among information exchange, architecture, and social issues. They examine and appropriate the action of data transfer across networks to show the major implications that these three cultural elements have at large.  Packet Switching, in technical terms, is straight-forward; it is designed to be practical, to transfer information over a network, broken into small pieces at point A then to be sent to point B, where it is put back together. Each packet does not necessarily take the same route, and may even go through different cities around the world before it gets to its final destination. The technology that makes this possible was first introduced as a strategic tactic by the U.S. Government to win The Cold War.

Throughout the 1950s and 60s the relation between the military and research universities was the foundation of our contemporary networked culture.[1]  Packet switching was used to send information from and to various centers across the United States. Such a decentralized system of intelligence was developed in case of a Soviet Attack. The network used for this information exchange eventually became the foundation of the Internet.[2] It is evident that delivering information from point A to point B was politically motivated, and in this sense its cultural implementation was pre-defined by the struggle for global power.

Packet Switching, then, in cultural terms, is complex; when it was introduced to the world with the use of the Internet, it came to redefine every aspect of daily life from the way people communicate with others to the way people understand themselves as part of a society. Packet switching in effect is both a technological and ideological action. The relation of these actions is the driving force behind Dietrick and Mundy’s ongoing body of work. Their production consistently points to the history and politics behind a seemingly straight forward functional act of information transfer. Their work connects real aspects of daily life to aesthetics, making evident that they are intimately linked and therefore must be understood as parallel elements that reshape cultures not only in the United States but all over the world. In the realm of aesthetics, Packet Switching is a worthy contribution to the ongoing relation between art and culture, as well as the complexity of art practice, itself, following a line of inquiry that goes back to the days of minimal art throughout the 1970s.

Art Packets
Dietrick’s and Mundy’s work in its most reductive form is data which is reconfigured for specific exhibition settings. So far different projects have been shown in a few cities including, Kassel, Germany; Tallahassee, Florida; Washington D.C. and Orlando, Florida.

Dietrick’s and Mundy’s installations are not merely formal exercises. When looking at the source code of their works, one learns that it consists of information about pre-existing architectural structures, or the housing and real estate markets relevant to the cities in which the work is being shown, which is reconfigured to create semi-abstract images that appear to be in the process of becoming something, never fully completed: in potentia.

The first installation in Kassel conceived for the Temporary Home exhibition during Documenta 13 in July of 2012 already offered a sense of the process through which the body of work would eventually be moving: from large static wall prints to generated animations to be projected on the gallery walls.

Kassel’s installation, in historical terms, is a contribution to the tradition of the white cube, and as such, the gallery visitor was able to evaluate the abstract architectural forms on principles of beauty. The viewer was encouraged to become aware of the gallery space as an architectural environment that aside from the large wall-print, was empty. At the same time, the design was defined by architectural data specific to German architecture; information-fragments of virtual models of Bauhaus buildings were literally remixed to develop the abstract design. And here we can note an important point that will recur in the work of Dietrick and Mundy, which is the use of pre-existing architectural data to develop semi-abstract visualizations.  Given the tradition of appropriation in art practice as a type of commentary, this action, by default, makes their work prone to be a critical reflection on the material it appropriates, even if it appears as a design primarily produced for aesthetic experience. As it becomes evident in the analysis of other installations developed later, this aspect of Dietrick’s and Mundy’s work becomes crucial in bridging the relation between art experienced in the gallery and the sources taken from the world beyond the white cube to develop such work.

Their next wall-print visualization was installed at Weimer Hall in the College of Journalism and Communications at the University of Florida, Gainesville. The philosophy in the construction of this building is to have all media, web, print, TV, and radio together in one space for open collaboration. In this case the work functions along the lines of public art. What this installation shares in common with the first version in Kassel is a clear relation to the architectural space in which it is displayed; in both cases the works of art  demand of the visitor to reconsider the aspects of the buildings that may be taken for granted; however, the installation at the university carefully complements the environment, to the point that, arguably, it gets lost within the architecture, becoming inseparable from it; thus providing an aesthetic experience: a visual form as background noise.

When the design is acknowledged one can reflect on the abstract forms independently, while realizing that they are integral to the architectural space. The design unexpectedly gives a sense of disruption, because the image clashes against the building’s proportions. It does not have uniform vertical and horizontal lines that follow and complement the architecture, but diagonals that move across the walls delineating bright-colored areas that clearly  invite the viewer to question their assumptions about the building itself.

The apparent movement of the architectural structures first introduced in Kassel and Tallahassee comes to be fully animated in the exhibition Grid, Sequence Me. which took place in Washington D.C. In this case, the gallery visitor is able to experience the actual movement of the architectural elements in real time, according to the computer programming by the artists. Transparency is a key point for this installation, which is why the source code is also projected on one of the walls, for the viewer to appreciate the actual process behind the animated wall projections.

This exhibition consisted of two new projections generated with custom software that through its fragmentation of images of publicly-owned buildings in downtown Washington D.C. makes a metaphorical reference to the complex financial systems of the housing market boom. And it is at this point that the artists’ interests in connecting aesthetics with cultural issues become most apparent. In this installation any possible aesthetic experience is met with a reality check, in which the viewer must evaluate how an apparent beautiful image is possible thanks to the dire situation of an economic market.

The postmodern preoccupation with the object of art eventually manifests itself in Dietrick’s and Mundy’s installation 1.5 x 3.5 at the Orlando Museum of Art. This piece is directly related to the tradition of minimalist art. As such,  the artists cite the work of Tony Smith; specifically his writing about the time he drove over an unfinished turnpike in New Jersey. Smith’s incident became known through an interview that was published in the art magazine Artforum in December 1966,[3] and eventually was mentioned by Michael Fried in his essay “Art and Objecthood” as an example of “literalist art” or “ABC art” as he came to define minimalism and other art production that he deemed not to follow Greenbergian aesthetics, taking place during the seventies.[4] Fried’s contention with work such as Smith’s is that it emphasizes a theatricality in art, something that he argued should be distanced from visual art practice because it devalued the experience that art could provide the viewer.  In short, for Fried the work of Smith and his contemporaries diminished the aesthetic experience that art (all the arts including theater) could provide the viewer because it did not offer “presentness”[5] but instead it made reference to the context and the environment which makes the art experience possible.

Cultural Politics
New media art, certainly work similar to Dietrick’s and Mundy’s, has a direct relationship to minimalism. This begins to be apparent in the museum of Kassel’s installation, it becomes evident in the Washington D.C. exhibition, and is fully manifested in their exhibition properly titled Packet Switching at the Orlando Museum, in which the influence of, particularly, the work of Smith is clear.  They write when describing the work:

Ubiquitous as an article for the construction of buildings, as well as a formal, minimal, primitive shape, the 2 x 4 here is transformed through its incorporation into a virtual space. The simulation of the generic form becomes an index for any building material, physical or digital, and its manipulation, a metaphor for the fragmentation of digital communication.[6]

One of Fried’s criticism of Smith’s experience on the New Jersey turnpike is that it points to an inexhaustible possibility which needs no object.  The highway in front of Smith is interpreted by Fried as the possibility to experience “endlessness,”[7] which for him takes away from the presentness that the work of art is supposed to offer the viewer. In fact, Fried considered the hesitance of Robert Morris (another contemporary of Smith), to place minimal objects into the open air, in nature as proof that what literalists art performed in the gallery was what Smith experienced on the turnpike.[8]

The animation by Dietrick and Mundy reenacts the sensibility which Fried critiqued. In their installation, a single beam not only moves in space, but also multiplies to eventually construct, or allude to the possibility of building some type of living space.  Following the hint from Smith’s drive down the incomplete highway, the beam was inspired by a housing development just northeast of Orlando, nestled between the Florida Turnpike and Old Country Road 50. In this sense the potential of literal art to let the world experience a moment that is supposed to privilege presentness comes to take effect, and again one is reminded on the fluctuating economy of the real estate market in the United States, because one has to acknowledge the politics of the U. S. economy and culture.

Switching Packets
At the time of this writing it is well accepted that minimalism, and other forms of art practices, such as performance, and conceptualism, fully acknowledge their relation to the world beyond the white cube. If anything, many contemporary artists strive to make this connection the very core of their practice.  Dietrick and Mundy contribute to this paradigm by taking on the minimalist tradition to comment on the frictions of real estate and architecture in the specific places where their works are exhibited. And by using the concept and technology of packet switching to develop their wall-prints and installations, they remind the viewer of the social context that consists of class relations and the economy that informs the very moments in which we may have an aesthetic experience; one which paradoxically is contingent on information access and interpretation. In other words, in Dietrick’s and Mundy’s work the viewer can appreciate art for its presentness while also understanding that it is informed by complex social and economic issues which paradoxically make the aesthetic experience in the art gallery possible. Their work makes evident that trying to create an art work in which one can escape to have an aesthetic experience without politics is to play into the very politics one is trying to escape, especially in a time when information flows to be remixed everywhere.

Remixing Packets
Presenteness is mashed with politics in Packet Switching. Dietrick and Mundy update and reposition the principles that informed minimalism but they do so with no actual object. There is only information, data at play, which is displayed as a projection on gallery walls.  What’s more, one is aware that such simulation is basically code reconfigured–remixed–to appear as a series of objects that one can recognize as an open-ended, ever-evolving piece of construction.  Packet Switching is a body of work that takes on the very principles of the society of the spectacle; it takes theatricality as critiqued and defined by Fried, and makes art that demands critical reflection from the viewer, but at the same time is abstract and open-ended as a visual experience. One can evaluate the works in terms of aesthetics, but one eventually must also face the social infrastructure that makes such experience possible. It is the balance between these two areas of cultural production that is not always easy to touch upon successfully. Like true hackers, then, Dietrick and Mundy crack into the codes of both the economy and aesthetics to expose the relation among information exchange, architecture, and social issues which are part of a network that affects all aspects of society and culture.

[1] Paul Edwards, The Closed World (Cambridge, Massachussetts: MIT Press, 1996), 43 – 74.
[2] For a consise history see “Brief History of the Internet,” Internet Society, http://www.internetsociety.org/internet/what-internet/history-internet/brief-history-internet, accessed December 15, 2013.
[3] Tony Smith, “From an Interview with Samuel Wagstaff Jr.,” Art in Theory, eds. Charles Harrison and Paul Wood (Oxford, U.K. and Cambridge, U.S.: Blackwell Press, 1995), 741.
[4] See footnote 8 in Fried’s text, where Fried claims that theatricality links the minimalists to other artists in different disciplines, such as Kaprow, Cornell, Rauschenberg, Oldenburg, etc: Michael Fried, “Art and Objecthood,” Minimal Art, ed. Gregory Battcock (Berkley, Los Angeles, London: University of California Press, 1995),  130.
[5] Ibid, 147.
[6] Owen Mundy’s website, http://owenmundy.com/site/1.5×3.5, accessed on December 15, 2013
[7] Fried, 144
[8] Ibid, 135.

Routledge Companion to Remix Studies Now Available

I just received in the mail a hardbound copy of The Routledge Companion to Remix Studies. It’s been such a long process. Editing 41 chapters has been quite an endeavor, but a good one. I would like to thank my co-editors, xtine Burrough and Owen Gallagher, who are just amazing collaborators. This book could not have been published on time had it not been for our mutual diligence in meeting deadlines. I also want to thank the contributors who were just amazing during the long editing process (for a full list of authors see the dedicated site for the book: Remix Studies).

I really hope that researchers, academics and remixers find the anthology worth perusing.

More information on the book:

Routledge: http://www.routledge.com/books/details/9780415716253/

Amazon: http://www.amazon.com/Routledge-Companion-Remix-Studies-Companions/dp/041571625X


Cover for The Routledge Companion to Remix Studies Released

The Cover for The Routledge Companion to Remix Studies has been released online.The image design was a collaboration among xtine burrough, Owen Gallagher and Eduardo Navas (myself). We really look forward to the eventual publication of the 41 chapter volume, which is scheduled to be available on December 3, 2014.

Analysis of the Films In Cold Blood, Capote, and their Corresponding Novel and Biography


Figure 1: selected shots from Capote (left) and In Cold Blood (right).

Interdisciplinary Digital Media Studio is a class in the IDS program in The School of Visual Arts (SoVA) at Penn State in which students are introduced to methodologies and conceptual approaches of media design. For the class, I taught them how to research and develop design presentations with the implementation of data analytics for moving images and texts.

One of the assignments consisted in analyzing the films Capote (2005) directed by Bennett Miller and In Cold Blood (1967) directed by Richard Brooks in relation to their corresponding books, Capote by Gerald Clarke and In Cold Blood by Truman Capote. We viewed the films in class, and read, both, the novel and the biography. The class then analyzed the respective books by doing word searches, analysis of specific passages, and creative approaches by the respective authors, to then evaluate those searches in relation to the films.  For the films I provided montage visualizations, which are selected screen shots representative of all the scenes (figures 2 and 3).

Read the complete entry at Remix Data

Interview for the Radio Show: Fade In/Fade Out, Remixing Culture

At the end of July, I was interviewed  for KulturWelle. Their radio feature titled Fade In/Fade Out, Remixing Culture, which aired on September 3, 2014, presents excerpts of interviews with musicologist Fabian Czolbe, media and communications researcher Steffen Lepa, Ramón Reichert, and, myself, Eduardo Navas.

The feature is literally a remix in German and English of our reflections on the recyclability of culture complemented with music and sound excerpts. Even if one does not understand German, one should listen to the hour long show. It is a true rhetorical soundscape equivalent to a well mixed music recording. Many thanks to Nikita Hock, who first contacted me, and all the producers of the radio show, including  Anastasia Andersson, Bernadette Breyer, Lara Deininger and Angelika Piechotta.

Timeline of Pulp Fiction: Actual Version and Chronological Edit, by Eduardo Navas


Figure 1: four shots from around a third into the film. Left is original edit, Right is chronological edit

During the Fall of 2013, I analyzed Pulp Fiction with my students in my Video Art Class for the School of Visual Arts at Penn State. One of their assignments was to produce  a video and then re-edit it to tell the same story but in different order, and therefore explore how aesthetics play a role in experiencing a narrative.   We went over a few examples that would give them ideas, some of the links I provided as resources included Pulp Fiction and Memento.

Read the full analysis on remix data.

The Steve Reich Remixes

The Steve Reich Remixes consists of  four mashups of  selected tracks of Steve Reich’s Music for 18 Musicians.

I selected tracks from Reich’s original recordings based on their time: 6, 5, 4, or 3 minutes, and matched them to end at the same time. The tracks part of each mix last more than the number which appears in its proper title (after the @) but less than an extra full minute. These remixes are developed based on my previous experimentation with chance in mashups of John Cage’s Compositions for Piano.

Chloë Participating in the Exhibit “10″ at Marte-C, San Salvador, El Salvador, September 2 – October 12, 2014

Image 1: screen capture of Chloë (2001). An online portrait of a young model. The image is sliced into 36 parts, which change every 10 seconds to create different combinations. The purpose of the online project is to expose the tension between the young model’s growing experience vs. her modeling career. It should be noted that Chloë has grown, moved on to college, and as far as I know is no longer modeling. Nevertheless, the online portrait functions as a metaphor of one’s constant change, while also thinking of oneself as a person with a core-self that may not change.

I am very happy to be participating in the exhibit “10″ taking place at the Marte Contemporary (Marte-C) in San Salvador, El Salvador. I want to thank artist Karlos Carcamo for suggesting my name to curator Claire Breukel, who chose Chloë to be exhibited as part of the exhibit, which opens this coming September. Official dates are Septermber 2 to October 12, 2014.

Image 2: screen capture of Chloë (2001). An online portrait of a young model.

After discussing the thematic of the exhibit around issues of identity and diaspora, Breukel and I considered Chloë  to be open enough for people to relate to on various levels that are relevant to the exhibit’s emphasis on Salvadoran artists, while extending it to basic questions on human existence. The work is from a few years back (2001), and had not been featured in any exhibit, so I’m very happy that it will receive attention. I also like the fact that the work can be presented as a relevant work of art in our time while still using old technology of 2001 (not as a work that may be of relevance because it was produced with technology that was once innovative–something that tends to happen with new media work quite often). I also think that the idea of constant-change that it explores remains ever-present no matter the technological changes our culture goes through.

I find the exhibit quite interesting because, as the excerpt of the press release that follows makes clear, 10 artists were initially chosen, and those artists chose 10 more artists. I cannot help to think of this approach as a form of remixing of sorts: of exploring the blurriness of curating and art making.  More information below.

Excerpt from the press release Marte Contemporary:

FOR IMMEDIATE RELEASE: San Salvador/New York, May: Simply titled “10,” this exhibition curated by MARTE Contemporary (MARTE-C), features twenty prolific works produced in, and about El Salvador over the past decade. On view from September 2, 2014 until October 12, 2014 at MARTE Museum in San Salvador, this exhibition celebrates MARTE Contemporary’s 10-year anniversary, and opens on September 2 at 6pm.

The exhibition’s curators worked with MARTE-C’s selection team to identify ten impactful artworks made over the past decade by Salvadorans, including its diaspora. Works include “Home Sweet Home”, a new piece based on Ronald Moran’s 2004 signature work owned by the Margulies collection in Miami, as well as work by Simón Vega, Waltero Iraheta, Mayra Barraza, Irvin Morazan, Danny Zavaleta, Luis Paredes, Rafael Diaz, Karlos Cárcamo and Ernesto Bautista. These artists were in turn invited to nominate an artwork they feel is exemplar. These selected 10 works include an upturned Volkswagen Beetle by performance artist Victor “Crack” Rodriguez as well as work by Mauricio Kabistan, Beatriz Cortez, Patricia Dominguez, Mauricio Esquivel, Eduardo Navas, Natalia Domínguez, Alexia Miranda, Abigail Reyes and Melissa Guevara.

Poemita, an Experimental Online Writing Project

Figure 1: The five most repeated words from 2010-2013. The words and lines above show their recurrence in relation to each other throughout the corpus. See analysis of this and other charts below.

Poemita began in 2010. It means little poem in Spanish. The basic premise was to experiment with tweets as new forms of writing. I eventually decided to use it as a resource (think of it as data mulch) for various projects. Some of the tweets  are being repurposed as short narratives, which I have not released. Poemita was actually preceded by writing I developed for my video [Re]Cuts, a project influenced by William Burroughs’s cut-up method. I am in the process of producing a second video that uses actual tweets from Poemita.

I worked on Poemita on and off, sometimes not posting for months at a time. In fact, I don’t have a single post for the year 2011.  But during the month of August 2014, I realized that Poemita has been a project that is closely related to my ongoing remix of Theodor Adorno’s work in Minima Moralia Redux. It could be thought of as a negative version of that project (I am using the term “negative” here in dialectical terms). To allude to this relation, I inverted the color scheme for the word cloud visualizations of Poemita to be the opposite of Minima Moralia Redux’s. Poemita takes the concept of the aphorism as Adorno practiced it and tries to make the most of each tweet. Most of the postings are well under 140 characters, and they all try to reflect critically on different aspects of life and culture.  I try to do this creatively, and write content that may appear difficult to understand, but ultimately may not even make sense; the aim is to create the possibility for the reader  to see things that would not be possible otherwise. In short it is an experiment in creative writing, and this is why the project was titled Poemita.

I may not be able to post consistently, but I will certainly be posting tweets more regularly then before.  And I will eventually be repurposing the tweets in different ways to explore how context and presentation along with selectivity are ultimately  major elements  in the creative act. This will become clear as I release the tweets in different formats in the future. This, in essence, is a way of remixing data.

To reflect on where this project is going, I decided to analyze it as I would other texts to understand how it is constructed, and to evaluate the type of patterns that may be at play in my online writing. What follows, then, is a set of studies of  the tweets for the years 2010, 2012 and 2013. I will be releasing analysis of 2014 later, after the year is over.

First, it is worth looking at word clouds for the three years:

Poemita_2010Figure 2: Word cloud of tweets for 2010



Figure 3: Word cloud for tweets of 2012



Figure 4: Word cloud for tweets of 2013


Figure 5: Word cloud of tweets from 2010-2013.

We can note the top four or five words for each cloud for the respective years of 2010, 2012, and 2013 and consider how they eventually become part of the larger cloud for all of the years of 2010-2013. The number of occurrences could be accounted for yearly, but for the current purpose of this analysis, it should be sufficient to evaluate the number of words in the largest cloud for all three years (figure 5).

In the cloud above (figure 5), then,  there are a total of a 1,712 words and 863 unique words. The most used words besides articles and prepositions appear much larger. These words appear the following number of times in the actual body of the text:

Time: 12
Thought: 11
Sound: 7
Space: 5
Thoughts: 5

The word trend chart at the top of this page (figure 1) shows how these words relate to each other in terms of writing sequence. If you were to choose a particular node, you would be taken to the actual text and shown how the word appears in its context. The tool I used to this word analysis is Voyant. Seeing the words in a diagram provides a visual idea of how they relate to each other within the actual writing.

This gives a sense of repetition, and may even allude to certain interests in terms of content and ideas within the corpus of the text, but it does not provide a clear sense of how the words actually function, or under what context they recur. For this, the way the words are used in actual sentences can be mapped. In the following word trees, the top five words (in order of times repeated), Time, Thought, Sound, Space, and Thoughts are linked to all the phrases that follow them:


Figure 6: The word “time” linked to the phrases that come after it. Click on the image to view a larger file.


Figure 7: The word “thought” linked to the phrases that come after it. Click on the image to view a larger file.


Figure 8: The word “sound” linked to the phrases that come after it. Click on the image to view a larger file.


Figure 8: The word “space” linked to the phrases that come after it. Click on the image to view a larger file.



Figure 9: The word “thoughts” linked to the phrases that come after it. Click on the image to view a larger file.

The word trees above show how each of the words are implemented to create particular statements. At this point, it is possible to make certain assessments.  Let’s take the word “thoughts” (figure 9).  We can see that three out of five times it comes at the end of the sentences. We can also note that the exception to this is a reflective statement: “thoughts of grandeur.” Let’s take a look at the word “thought” (figure 7) and we can notice that it is part of a much more complex set of phrases. Two times, the word is part of the branching recurrences “Improvisation fills one with…” and “the very thought of…” But notice that in the last one thought is also followed by a period.

Finally, we can consider the words that come before these words. Let’s take the word “thought” for a brief example. For this we can use voyant:

At this point we can get a full sense of how the word recurs and how it functions each time it appears. This approach puts me in the position to evaluate what similarities and differences their implementation may share in order to evaluate particular tendencies I may have in my writing.

We could go on and examine the other top words in the same way, but this is enough to make my point.  It becomes evident that how the word “thought” and its plural “thoughts” are used has much variation in the creative approach in terms of twitting. At least, I, as the actual writer, become aware of the way that I tend to relate to the singular and plural instantiation. This in the end is a reflective exercise that enables me to be critically engaged in understanding my own tendencies as a writer. I plan to use this analytic approach to further the possibilities of writing tweets that can offer a lot more content just under 140 characters.

One of the issues that I assess in all this is the role of repetition.  One may think that repetitive occurrences are bad for creativity, but in practice, it is through repetition that we come to improve our craft and technique in any medium. In terms of how words are used or repeated, with analytical exercises like this one, a writer can come to understand how certain words recur and under what context, to then decide if to implement them differently or omit them altogether in future writing.

I certainly was not thinking that I would use these words the most when I began writing in 2010. They appear to recur and I’m not sure why, but the point is that now I can use this awareness to improve my own creative process.

This analysis can get very detailed, obviously, but this should be enough at this point. This is just a brief sample of how I am data-mining my own writing to also develop other projects  by remixing the content. I will also be mining twitter postings to evaluate how what I learn in this focused project may or may not appear to be at play in the way online communities communicate.

Book Review of Remix Theory in Mixmag

A review of my book, Remix Theory: The Aesthetics of Sampling,  was published on April 11, 2014 in  the German edition of Mixmag. Many thanks Florian Schirmacher for his critical review. It’s in German:

Warum finden wir genau diesen Detroit Beat in so vielen aktuellen Produktionen wieder? Liegt es daran, dass alle denselben Remix machen, weil Spuren im Internet aufgetaucht sind? Oder haben sich die “House-Lover” alle auf dasselbe Sample geeinigt? Der Remix erfährt gerade so eine elementare Wiederbelebung, dass der theoretische Unterbau und das nötige Einbeziehen in einen größeren Zusammenhang zum unausweichlichen Basiswissen geworden ist.

More at http://www.mixmag.net/germany/features/remix-theory

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