The Routledge Handbook of Remix Studies and Digital Humanities 2020055919, 2020055920, 9780367361426, 9780429355875, 9780367698805

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THE ROUTLEDGE HANDBOOK OF REMIX S T U D I E S A N D D I G I TA L H U M A N I T I E S In this comprehensive and highly interdisciplinary companion, contributors reflect on remix across the broad spectrum of media and culture, with each chapter offering in-depth reflections on the relationship between remix studies and digital humanities. The anthology is organized into sections that explore remix studies and digital humanities in relation to topics such as archives, artificial intelligence, cinema, epistemology, gaming, generative art, hacking, pedagogy, sound, and VR, among other subjects of study. Selected chapters focus on practice-based projects produced by artists, designers, remix studies scholars, and digital humanists. With this mix of practical and theoretical chapters, editors Navas, Gallagher, and burrough offer a tapestry of critical reflection on the contemporary cultural and political implications of remix studies and the digital humanities, functioning as an ideal reference manual to these evolving areas of study across the arts, humanities, and social sciences. This book will be of particular interest to students and scholars of digital humanities, remix studies, media arts, information studies, interactive arts and technology, and digital media studies. Eduardo Navas is Associate Research Professor of Art at The School of Visual Arts at The Pennsylvania State University, PA. He implements methodologies of cultural analytics and digital humanities to research the crossover of art and media in culture. His production includes art and media projects, critical texts, and curatorial projects. Navas is co-editor of The Routledge Companion to Remix Studies (2015), Keywords in Remix Studies (2018), and has published extensively on remix theory and practice. He is Research Faculty in the College of Arts and Architecture’s Art & Design Research Incubator (ADRI). Owen Gallagher is Programme Manager and Assistant Professor of Web Media at Bahrain Polytechnic, where he lectures in film, sound, animation, and game design. He is the author of Reclaiming Critical Remix Video (2018), and co-editor of Keywords in Remix Studies (2018) and The Routledge Companion to Remix Studies (2015) with Eduardo Navas and xtine burrough. He has published a number of book chapters, journal articles, and conference papers on remix culture, intellectual property, and visual semiotics, and is particularly concerned with the changing role of copyright in the networked era. xtine burrough is Professor and Area Head of Design + Creative Practice in the School of Arts, Technology, and Emerging Communication at UT Dallas, and she is the Director of LabSynthE, a laboratory for creating synthetic, electronic poetry. She uses emerging technologies and remix as a strategy for engaging networked audiences in critical participation. She is the author of Foundations of Digital Art and Design with Adobe Creative Cloud, 2nd Edition, and co-editor of The Routledge Companion to Remix Studies and Keywords in Remix Studies with Eduardo Navas and Owen Gallagher.

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THE ROUTLEDGE HANDBOOK OF REMIX S T U D I E S A N D D I G I TA L HUMANITIES Edited by Eduardo Navas, Owen Gallagher, and xtine burrough

First published 2021 by Routledge 52 Vanderbilt Avenue, New York, NY 10017 and by Routledge 2 Park Square, Milton Park, Abingdon, Oxon, OX14 4RN Routledge is an imprint of the Taylor & Francis Group, an Informa business © 2021 Taylor & Francis The right of Eduardo Navas, Owen Gallagher, and xtine burrough to be identified as the authors of the editorial material, and of the authors for their individual chapters, has been asserted in accordance with Sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. Library of Congress Cataloging-in-Publication Data Names: Navas, Eduardo, editor. | Gallagher, Owen, 1980- editor. | burrough, xtine, editor. Title: The Routledge handbook of remix studies and digital humanities / edited by Eduardo Navas, Owen Gallagher, and xtine burrough. Description: New York : Routledge, 2021. | Includes bibliographical references and index. Identifiers: LCCN 2020055919 (print) | LCCN 2020055920 (ebook) | ISBN 9780367361426 (hardback) | ISBN 9780429355875 (ebook) Subjects: LCSH: Appropriation (Art) | Digital humanities. | Remix History and criticism Classification: LCC NX197 .R385 2021 (print) | LCC NX197 (ebook) | DDC 701/.1--dc23 LC record available at https://lccn.loc.gov/2020055919 LC ebook record available at https://lccn.loc.gov/2020055920 ISBN: 978-0-367-36142-6 (hbk) ISBN: 978-0-367-69880-5 (pbk) ISBN: 978-0-429-35587-5 (ebk) Typeset in Goudy by KnowledgeWorks Global Ltd.

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CONT ENT S viii x xvi xvii

Acknowledgments List of Figures List of Tables Notes on Contributors Introduction EDUARDO NAVAS, OWEN GALLAGHER, AND XTINE BURROUGH PART I Epistemology and Theory

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1 A Brief History of Remix: From Caves to Networks GIANCARLO FROSIO

19

2 The More Things Change: Who Gets Left Behind as Remix Goes Mainstream? FERNANDA R. ROSA, MAGGIE CLIFFORD, AND ARAM SINNREICH

36

3 Experiments in Performance, Identity, and Digital Space: 48 Mystory Remixes, Remixed LYNDSAY MICHALIK GRATCH

53

4 Production Plus Consumption: Remix and the Digital Humanities VIRGINIA KUHN

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5 Immersive Feminist Remix: An Affect Dissonance Methodology KAREN KEIFER-BOYD

80

6 Versioning Buddhism: Remix and Recyclability in the Study of Religion SETH M. WALKER

95

7 Monster Theory 2.0: Remix, the Digital Humanities, and the Limits of Transgression MEGEN DE BRUIN-MOLÉ

109

8 Sampling New Literacies: Remix Studies and Digital Humanities in a Cross-Disciplinary Approach EDUARDO DE MOURA

125

9 RS (Remix Studies) + DH (Digital Humanities): Critical Reflections on Chance and Strategy for Empathy EDUARDO NAVAS

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PART II Accessibility and Pedagogy

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10 Designing the Remix Library ANNE BURDICK

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11 Interdisciplinary Design and Transcultural Collaboration as Transformative Remix Tools IAN MCARTHUR 12 In the Mix, the Collaborative Remix to Repair, Reconnect, Rebuild VICKI CALLAHAN, NICOLE RICHTER, CHRISTINA LANE, AND DANIEL CLARKSON FISHER

175 194

13 Remixing Literature in the Classroom: From Canons to Playlists in the Study of Latinx Literature and Beyond KELLEY KREITZ

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14 Metadata for Digital Teaching: Enabling Remix for Open Educational Resources MICHAEL COLLINS

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15 Hack It! Diy Divine Tools: An Art Hack Implemented as New Media Pedagogy in the Public Liberal Arts VICTORIA BRADBURY

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16 On The Capabilities of Hip Hop-Inspired Design Research: An Annotated Syllabus 247 JOYCELYN WILSON 17 Internet Memes as Remixes: Simpsons Memes and the Swarm Archive SCOTT HADEN CHURCH AND GAVIN FELLER

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18 Poetically Remixing the Archive XTINE BURROUGH

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PART III Modularity and Ontology

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19 Hallucination or Classification: How Computational Literature Interacts with Text Analysis ERAN HADAS

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20 Machine-Driven Text Remixes ALESSANDRO LUDOVICO

302

21 Talk to Transformer: AI as Meta Remix Engine MARK AMERIKA

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22 The Critical Role of New Media in Transforming Gamers into Remixers 325 LISA HORTON AND DAVID BEARD

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23 Vandalize a Webpage: Automation and Agency, Destruction and Repair ETHAN PLAUT

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24 Allegories of Streaming: Image Synthesis and/as Remix STEVE F. ANDERSON

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25 Always Already Just: Combinatorial Inventiveness in New Media Art DEJAN GRBA

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26 Computational Creativity: Algorithms, Art, and Artistry DAVID J. GUNKEL

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27 Remix Games as Instruments of Digital Humanities Scholarship: Harnessing the Potential of Virtual Worlds OWEN GALLAGHER PART IV Aurality and Visuality

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28 Popular Song Remixed: Mashups, Aesthetic Transformation, and Resistance CHRISTINE BOONE

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29 Remixing the Object of Study: Performing Screen Studies through Videographic Scholarship AIDAN DELANEY

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30 Cinema Remixed 4.0: The Rescoring, Remixing, and Live Performance of Film Soundtracks SARAH ATKINSON

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31 The Sound of the Future: A Digital Humanities Remix Essay PAUL WATKINS

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32 Hacking the Digital Humanities: Critical Practice and DIY Pedagogy 473 MARINA HASSAPOPOULOU, WITH DONNA CAMERON, CRISTINA CAJULIS, DA YE KIM, JASPER LAUDERDALE, ERIC HAHN, PEDRO CABELLO, HOJONG LEE, SOYOUNG ELIZABETH YUN, KELSEY CHRISTENSEN, AND KATE ANDERSON-SONG 33 Djing Archival Interruptions: A Remix Praxis and Reflective Guide MARK V. CAMPBELL

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34 Exploring Remix Process: The Case of the Spanish Megamix ADRIAN RENZO

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35 Scratch Video: Analog Herald of Remix Culture NICK COPE

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36 Curating, Remixing, and Migrating Archived “Muse Files” PAUL DOUGHERTY

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Index

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A CK NOWL E D GM ENT S This book could not be possible without the relevant and timely contributions by the distinguished scholars who accepted our invitation to participate. We thank them for their willingness to go through a long editing process, especially during unprecedented times of a global pandemic, global political instability, as well as ongoing climate change events. Their commitment to meet the deadlines to make this publication a reality makes more than evident their commitment to each of their respective fields of research. We also thank our editors at Routledge, Erica Wetter and Emma Sherriff, for supporting a book that brings together two areas of research that continue to be very much in development and overseeing this manuscript during all stages of editing, review, and production. We thank the editorial board at Routledge for finding potential in a third anthology on Remix Studies. We thank the remix community of activists, artists, designers, cultural producers, and scholars who continue to be engaged in very real, even lifechanging, cultural challenges, and push against norms of creativity—always moving toward a fairer and more inclusive future. —Eduardo Navas, Owen Gallagher, and xtine burrough As has been the case for every major publication I have been fortunate enough to work on, I was able to complete this project thanks to the selfless support of colleagues, friends, and family. I must thank xtine and Owen for being amazing friends and collaborators. I hope we can keep working together in future projects. I thank my faculty colleagues in the School of Visual Arts at The Pennsylvania State University, who make me feel fortunate to be part of a thriving community, for which creativity is truly a way of life. I thank B. Stephen Carpenter II, Dean of The College of Arts and Architecture at The Pennsylvania State University, for his ongoing support in all aspects of my teaching and research. I thank William Doan, Director of the Arts & Design Research Incubator (ADRI), for supporting my ongoing research and for creating a strong interdisciplinary community that brings together the arts, humanities, and sciences. I also thank Mallika Bose, Associate Dean for Research in The College of Arts and Architecture and her assistant Barbara Cutler, for helping me in finding support for my ongoing research. I thank my family, especially my partner, Annie Mendoza, who encourages me to do all that I do. And I thank my two sons Oscar Eduardo and Oliver Antonio who continue to amaze me as they remind me, again and again, about what is ultimately important in life. —Eduardo Navas Working with my long-time friends and collaborators, Eduardo and xtine, on this, our third remix book together, has been a pleasure once again. We have all experienced challenging circumstances in 2020 and it is a testament to our working relationship that we have produced something that we can all be proud of. I look forward to our next viii

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fruitful collaboration. I thank each and every one of our contributors for their creativity, hard work, and willingness to respond positively to our collective feedback in the pursuit of achieving the best possible outcome. I am grateful to my family—Brendan, Frances, Leona, Vincent, Emily, and Stephanie—for their unconditional love and support through difficult times. Thanks also to Brendan Muller and Paul O’Brien for their ongoing reassurance and counsel. Most importantly, I wish to express my thanks and gratitude to my partner Angela O’Brien and my daughters, Jennifer and Rebecca Gallagher, for always being there for me with words of encouragement, affirmation, and love. —Owen Gallagher It is always a pleasure to collaborate with my friends and peers, Eduardo Navas and Owen Gallagher, and this third book collaboration is a tribute to our sustained friendship and our growth as scholars. I hope we will continue to have opportunities to be grateful together. To my partner, Paul Martin Lester, our sons Parker and Martin, my parents Viola and Bill, and my dear friend Sam Martin: “thank you” barely captures the essence of my gratitude. Your support, encouragement, wisdom, and silliness sustained me in this project. I would also like to fondly acknowledge Dean Anne Balsamo and Associate Dean of Research and Creative Technologies, Dale MacDonald, at The University of Texas at Dallas—as well as my life-long mentors, Christopher James, Steven Kurtz, and Humberto Ramirez, for their ongoing support. My personal contribution to this book centers on projects I created with humanities scholars, Sabrina Starnaman and Dan Sutko. I am grateful to call you my friends and collaborators. —xtine burrough

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FI GU R ES 2.1 2.2 2.3 2.4 2.5 3.1 3.2 3.3 3.4 4.1

4.2 4.3 4.4 5.1 5.2 5.3

5.4 6.1

Configurable music engagement, 2010–17 Configurable video engagement, 2010–17 Configurable game engagement, 2010–17 Top: Age bias in configurable cultural activities among men, 2017. Bottom: Age bias in configurable cultural activities among women, 2017 Top: Gender bias (% women relative to baseline) among older adults, 2017. Bottom: Gender bias (% women relative to baseline) among younger adults, 2017 Screenshot of “Personal: images and writing” webpage from Lyndsay/ Cindy confidential by Lyndsay Michalik Gratch (2019) Screenshot of “Personal” webpage from Mystory by Averi Davis (2019) (Image courtesy of Averi Davis) Screenshot of “Personal” webpage from Mystory Space: Where Ideas Are Made website by Jordan Rose (2019) (Image courtesy of Jordan Rose) Screenshot of orders and chaos (video) by Lee Chen (2019) (Image courtesy of Lee Hsin Chen) Left: Screenshot of the “I on News,” featured segment of The Daily Show, 2002. http://www.cc.com/video-clips/4s9r5v/the-daily-show-with-jonstewart-i-on-news—washington. Right: Screenshot of the “I on News,” featured segment of The Daily Show, 2002. http://www.cc.com/video-clips/ an05ak/the-daily-show-with-jon-stewart-i-on-news—advertising Screenshot from “Scary Mary,” Christopher Rule, 2006. https://www.youtube.com/watch?v=2T5_0AGdFic Screenshot depicting the opening lines from “Repetition in the Mirrors of Reason.” http://www.thecine-files.com/repetition-issue11/ Amethyst Kiah singing the Grammy-nominated “Black Myself” at the Troubadour February 25, 2020 Shapeshifters Above Skyscrapers 1005, 2020, Collage, 8.25 × 8.25” by Linda Stein Freedom Tower and Sentinels 1010, 2020, Collage, 16.75 x 22 x 1” by Linda Stein The Penn State art education program, including students and faculty, set-up a month-long performance, presentation, and exhibition space in October 2019 that included a comfortable place to sit while wearing a virtual reality headset to view a playlist of 360-degree videos. The screen capture is on view from the Letters to the Unknown 360-degree video remix by Alvaro Jordán, Elham Hajesmaeili, and Xalli Zúñiga (2019) Versioning Buddhism x

40 41 42 43 45 58 61 62 63

72 73 74 77 82 83

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8.1 Visual rhythm: AMV’s genre. Color code: Dark grey = scene cuts 132 8.2 Frame scale variation: Visualization composed of the dataset obtained through ML model and from the density correlation between episodes 133 2, 8, and 11, according to the use of frame scale variation 8.3 Frame scale variation: AMV’s genre 134 8.4 Frame scale variation: Song structure 135 9.1 In the basic process of meaning production (signification), a concept (signified) is associated with an object (signifier) in order to create 148 meaning (a sign). 9.2 Empathy takes place when people identify with something that is 149 meaningful to them. 9.3 In critical analysis, meaning (a sign) is examined with the goal to understand how it is constructed with concepts (signifieds) that are 150 combined with objects (signifiers). 9.4 Critical analysis and empathy can be combined in order to develop a fair assessment of an object or situation with the goal to keep at bay one’s 153 biases 10.1 An interior view of Harvard’s Harry Elkins Widener Memorial Library 161 under construction. 10.2 Top: Diagrammatic analysis showing the distribution of the SCL’s contents before and after its redesign by the Office for Metropolitan Architecture (OMA). Reprinted with permission. © OMA. Middle: Diagram showing the continuous loop of the SCL’s book spiral. Reprinted with permission. © OMA. Bottom: Interior view of the book spiral showing the DDC notation indicated by removable floor mats. Book spiral—Seattle Central Library, October 1, 2006, by brewbooks/CC BY-SA 2.0 (https://creativecommons.org/ 162 licenses/by-sa/2.0) 10.3 Underground Robot Library, an illustration by Graham Murdoch, shows how the Mansueto Library’s automated search and retrieval system works 164 (Reprinted with permission. © Graham Murdoch, www.mmdi.co.uk) 10.4 What chaotic storage looks like. “Governor Hogan Tours Amazon Fulfillment Center at 2010 Broening Hwy, Baltimore MD 21224,” Maryland GovPics, September 15, 2017, by Joe Adrucyk/CC BY 2.0 165 (https://creativecommons.org/licenses/by/2.0) 10.5 Left: The reading antenna of Sitterwerk’s “mobile reader” scans books as it moves along the shelves powered by an automated mechanical system. Reprinted with permission. © Sitterwerk, photograph: Katalin Deér. Right: Sitterwerk’s Werkbank allows users to compose analog and digital materials. Reprinted with permission. © Sitterwerk, photograph: 167 Katalin Deér 10.6 (a) A Kiva Systems robotic drive unit supports an inventory pod that services Amazon’s chaotic storage. The barcodes that are visible on the floor guide the robots. “Governor Hogan Tours Amazon Fulfillment Center at 2010 Broening Hwy, Baltimore MD 21224,” Maryland GovPics, September 15, 2017, by Joe Adrucyk, CC BY 2.0 (https://creativecommons.org/licenses/by/2.0). (b) Screenshot showing the results of a query for Portrait of Picasso in Sitterwerk’s online catalog. (Sitterwerk Katalog, accessed May 5, 2020, http:// sitterwerk-katalog.ch/books/GM00404317). (c) Screenshot showing the xi

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11.1 11.2 11.3 11.4

14.1

15.1 15.2 15.3 17.1

17.2 17.3 18.1

18.2

Werkbank collection, “An Enormous Bump of Marvelousness,” on the Sitterwerk website. (Werkbank.Sitterwerk, accessed May 5, 2020, http://werkbank. sitterwerk-katalog.ch/table/55f1b1c4fbfcd67e04750b59). 168 mad.lab is designed to immerse diverse communities of practice and 176 culture in situated collaboration (Image: McArthur, 2018) mad.lab projects produce outcomes at scales from the body to the precinct. Left image: Abject Glass, Eliza MacDonnell, 2018. Right 178 image: The Layer, Ruoxue Chen, Jiahao Li, Jinlong Li, 2018 Observational map created using “The Stakeout” tool (Image: Peter 181 Davidson, 2015) Remixed cultural probes. Left image: Community lighting installation designed by Harry Copas mapping local resident’s daily journeys using mobile GPS apps (Image credit by Eloise McCrea-Steele, 2019); Right image: Mapping to learn how citizens describe and feel about 182 Chongqing (Image credit: Jacinta Stewart-O’Toole, 2015) Diagram depicts an example web of relationships between linked information established by OER Schema. This is a reproduction of a visualization originally created by Phil Barker in “OER Schema in 227 comparison to LRMI/Schema.” Advanced Interactive Media student Anitra Griffin, mentor of the 241 Buddha group, builds an Arduino circuit with her team Completed interactive prototype from the Buddha group 241 Left: 3D printed gold and silver awards, designed by AIM student 242 Logan Bates. Right: Ideation phase with Enkidu group Left: “Homer Simpson Reaction GIF.” Retrieved from https://giphy.com /gifs/the-simpsons-scared-homer-simpson-jUwpNzg9IcyrK. Photo by Scott Haden Church. Right Top: “You Got the Dud V2.0.” Screenshot from https://www.youtube.com/watch?v=2gB-Vcyrk8s. Right Bottom: “S U N D A Y S C H O O L.” Screenshot from https://www.youtube. 264 com/watch?v=rTfa-9aCTYg&t=2s A meme posted on subreddits to recruit Simpsons fans to take a survey 265 for the present study (Meme created and posted by Scott Haden Church) Top: Age range of the participants of the Reddit survey. Middle: Race/ethnicity of the participants of the Reddit survey. Bottom: 267 Countries of origin of the participants of the Reddit survey Top: The Women of El Toro, xtine burrough, and Dan Sutko, 2016. A free iOS app that augments the Orange County Great Park with stories from women Marines who served at El Toro and wives of Marine vets stationed there during World War II. Bottom: For audiences unable to visit the Orange County Great Park, this map shows landmarks in the park with their selected quotes from interviews: http://www.missconceptions.net/woelt 277 /map.html Top: This set of images appears in my first and second edition of Foundations of Digital Art and Design with Adobe Creative Cloud (2014, 2019) to demonstration organizing image files with Adobe software. Readers download these images from the Library of Congress as part of an activity centered on understanding copyright and fair use while subtly noticing this

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18.3

18.4

19.1 19.2 19.3 19.4 20.1 20.2 21.1 21.2 22.1 24.1 24.2 24.3

interesting set of unnamed women in Brady’s portfolio. Bottom: There are 417 photographs in burrough and Starnaman’s An Archive of Unnamed Women (2018–ongoing) 279 An Archive of Unnamed Women is a speculative remix project by burrough and Starnaman (2018–ongoing). As viewers click what appear to be links to further information, they are instead confronted with quotes describing women’s lives, written by women writers, from approximately the same time period as the photographs in the collection 280 Top left: The literary database for A Kitchen of One’s Own pairs each quote with one of the 25 verbs in use by Epic Kitchens across their set of training videos. Top right: A frame from of A Kitchen of One’s Own as the automated media wall displays a randomized grid design, including video and text combinations associated with the keyframe verb “mix” (assigned by Epic Kitchens) and a quote from our dataset of literature that is also “keyed” to the verb, “mix.” Bottom left: A frame from A Kitchen of One’s Own as the automated media wall displays a randomized grid design, including video and text combinations associated with the keyframe verb “wash” (assigned by Epic Kitchens) and a quote from our dataset of journalistic writings that is also “keyed” to the verb, “wash.” Bottom right: A frame from A Kitchen of One’s Own as the automated media wall displays a randomized grid design, including video and text combinations associated with the keyframe verb “turn-on” (assigned by Epic Kitchens) and a quote from our dataset of social media text that is also “keyed” to the verb, “turn-on” 282 Biblical cut-up Haiku verses from the book Code 292 A screen capture from Word2Dream, running on parts of Martin Luther King JR’s “I Have a Dream” speech 296 Automatically generated images for I Love the Look of Words 297 Reading Half Reading using both a physical book and a mobile phone 299 Emiliano Russo, Gabriele Zaverio, Vittorio Bellanich, TAPE MARK 1 at ZKM Center for Art and Media, Karlsruhe. Photo by Gabriele Zaverio 305 Constant, cover design for The Death of The Authors, 1941: The Novel. 2013. Image courtesy of the artists 306 FATAL ERROR: Artificial creative intelligence (ACI) live performance 318 Image from FATAL ERROR: Artificial creative intelligence (ACI) live performance 321 Twitter feed screenshot: Morgan Luthi, Nott a Locksmith, digital art, July 28, 2018. (Posted by the artist to https://twitter.com/morganluthi/ status/1023338326764400640?s=11) 335 Screenshot of Joel Kahn’s Frankentoons: Snooh P. Coyote and Ziggy the Pinhead 355 Top: Image morph sequence from Michael Jackson, “Black or White” music video (1991); bottom: GAN image sequence from NVIDIA, “CelebA-HQ 1024×1024: Latent Space Interpolations” (2017) 358 NVIDIA research, “Progressive growing of GANs for improved quality, stability, and variation” or “Two imaginary celebrities that were dreamed up by a random number generator” (2017); designer Karen Zack (@ teenybiscuit) created a series of images that were widely (and speciously) xiii

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24.4 25.1 25.2 25.3 25.4 27.1 27.2 27.3 27.4 27.5 27.6 28.1 28.2 28.3 30.1

30.2

30.3

circulated as evidence of the inability of machine vision systems to distinguish between dogs and baked goods (2017) Left: Memo Akten, “Gloomy Sunday” from the series learning to see (2017) (image courtesy of the artist); Right: Refik Anadol, Latent History (2019) Julian Palacz, Play it, Sam (2012). Installation view (image courtesy of the artist) Branger_Briz (Ramon Branger, Paul Briz, Nick Briz, Brannon Dorsey and Pedro Nel Ovalles), Muse AI Supercut (2017). Project case study screenshot (image courtesy of Branger_Briz) Ben Bogart, Watching (2001: A Space Odyssey) (2019). Screenshot (image courtesy of the artist) Paolo Cirio and Alessandro Ludovico, Face to Facebook (2010). Artists as catalysts exhibition in Alhóndiga, Bilbao, Spain (photo: Paolo Cirio) Screenshots of Dear Esther, Gone Home, Firewatch, Assassin’s Creed: Odyssey walkthrough videos Screenshot of the Discovery Programme’s Irish heritage 3D models, sketchfab.com Screenshots of Mortal Kombat 11 and Terminator vs Robocop Screenshots of fan mods in Skyrim, Half-Life 2, GTA V, and Sekiro, YouTube Screenshots of educational games: Logo and The Oregon Trail; walkthrough videos of Assassin’s Creed: Origins and Civilization VI, YouTube.com and InternetArchive.org Screenshots showing a sample of my students’ game projects 2018–19: The Achaemenid Empire, Hawra Alekri; City of Athens, Manar Aljaleef; PokiSaw, Eyad Abdulaziz; The Shinning, Nusaibah Alkooheji Vocal line and chord progression from “Tik Tok and California Gurls are the same song?” Transcription by the author. Ke$ha’s vocal parts are italicized; Katy Perry’s are in bold Top: Original vocal rhythm from “Milkshake” by Kelis. Transcription by the author. Bottom: Kelis’s vocal rhythm as it appears in the mashup “YYMilk” by DJ Cummerbund (transcription by the author) Iron Horse, (2018) by Tim Klein (image used with permission of the artist) Live orchestral performance of Alfred Hitchcock’s The Lodger (1927), composed by Neil Brand, performed by the Orchestra San Marco, conducted by Ben Palmer at the 38th Pordenone Silent Film Festival, October 2019 (photo by Valerio Greco) Asian Dub Foundation have rescored, remixed, and performed a number of soundtracks for live screenings of films. Pictured here, a performance of the live scoring of The Battle of Algiers—Photo: Babak Zand Goodarzi Rebirth of a Nation, Paul D. Miller AKA DJ Spooky, photo courtesy of Subliminal Kid Inc

360 362 369 370 372 373 398 401 402 403 405 407 419 420 425

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30.4 Imitating the Dog’s theatrical creation—Night of the Living Dead REMIX—Leeds Playhouse, January 2020, photograph: Ed Waring 452 31.1 Bell and Blake’s ear phonautograph. Source: Library of Congress, manuscript division, Alexander Graham Bell family papers at the Library of Congress 459 31.2 3D-printed turntable (image courtesy of the author) 466 32.1 Access the projects via their QR codes, or see the endnotes for links to videos, sites, or other materials 474 32.2 Screenshot of EKO studio’s nodular editing interface 475 32.3 A photo of one of the facets of the physical scrapbook in Cristina Cajulis’ project 477 32.4 The split screen aesthetics of Da Ye Kim’s Going Home (03:35) 478 33.1 The author during a video mix keynote lecture at the University of Western Ontario, London Ontario, Canada (photo credit: Datejie Green) 494 33.2 Flyer for Remixing the Digital Archive 494 34.1 Draft of the “Bendie” segue 506 34.2 The final version of the segue signals an approaching change 507 36.1 Paul Dougherty conducting “man on the street” interviews with portable video equipment at Syracuse University 1976. Inset image: Brochure from Synapse Visiting Artist Program at the Newhouse School studios, Syracuse University 1976 (image courtesy of Randy Wishman, Synapse member) 531 36.2 Left: Four samples of remix superimpositions in White Collar Funk 1976. Right: Gregory Battock in the Soho Weekly News 532 36.3 Composition in Public Image Ltd.’s Careering 535 36.4 Top left: Dougherty’s 1980s U-matic home recording set up. Top right: U-matic label of international clips gathered for InterProbe 1982. Bottom left: Dougherty’s 1980s off-air collection used in making remix work. Bottom right: Soundwave software used in making Cold War Shortwave 1987 537

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TABLES 6.1 6.2 6.3 11.1 34.1

Dharmic Source Code 97 The Four Noble Truths 97 Buddhist Operating Systems 99 The dérive as sound-walking process 184 List of stutter edits in the first two minutes of Supermax megamix (1990) 503

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CONTRIBUTORS Mark Amerika is Professor of Distinction at University of Colorado, where he is the Founding Director of the Doctoral Program in Intermedia Art, Writing, and Performance in the College of Media, Communication and Information and a Professor of Art and Art History. His artwork has been exhibited internationally at venues such as the Whitney Biennial of American Art, the Denver Art Museum, the Institute of Contemporary Arts in London, and the Walker Art Center. In 2010, The National Museum of Contemporary Art in Athens, Greece, hosted Amerika’s comprehensive retrospective exhibition entitled UNREALTIME. In 2009, Amerika released Immobilité, generally considered the first feature-length art film ever shot on a mobile phone. He is the author of many books including remixthebook (University of Minnesota Press—remixthebook.com), Remixing Persona: An Imaginary Digital Media Object from the Onto-tales of the Digital Afterlife (with Laura Hyunjhee Kim) (Open Humanities Press), remixthecontext (Routledge), and META/DATA: A Digital Poetics (The MIT Press). His transmedia art work, Museum of Glitch Aesthetics [glitchmuseum.com], was commissioned by the Abandon Normal Devices Festival in conjunction with the London 2012 Olympics. The project has been remixed for many solo exhibitions including “Glitch. Click. Thunk” at the University of Hawaii Art Galleries and “GlitchMix: not an error” at Estudio Figueroa-Vives and the Norwegian Embassy in Havana, Cuba. Steve F. Anderson is Professor and Chair of the Department of Film, Television, and Digital Media at the UCLA School of Theater, Film and Television. He is the founder of the public media archive Critical Commons and cocreator of the electronic authoring platform Scalar. He is the author of Technologies of History: Visual Media and the Eccentricity of the Past (Dartmouth, 2011) and Technologies of Vision: The War Between Data and Images (MIT Press, 2017), and coeditor (with Christie Milliken) of the anthology, Reclaiming Popular Documentary (Indiana University Press, 2021). Sarah Atkinson is Professor of Screen Media at King’s College London and coeditor of Convergence: The International Journal of Research into New Media Technologies. Sarah has published widely on the impacts of digital technologies on film, cinema and media audiences, and screen production practices and industries. She has addressed her ­subject through analyses of narrative, text, process, industry, apparatus, and audience. Sarah also adopts practice-based methodologies through the creation of her own ­original works which include video essays, short films (including Live Cinema—­walking the tightrope between stage and screen which was nominated for the Learning on Screen “Best Educational Film” Award 2020), an interactive cinema installation Crossed Lines which has been exhibited internationally and an interactive documentary xvii

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featurette—The Anatomy of a Film—included on both the Artificial Eye UK Blu-ray release and Lionsgate’s USA DVD release of Ginger & Rosa (Sally Potter, 2012). Sarah coproduced Hangmen Rehanged in 2016—a showcase collaboration between the National Theatre, Omnibus Theatre Company, and Edible Cinema which staged the first-ever immersive cinema event to unite the forms and aesthetics of “event” cinema, “live” cinema, “sensory” cinema, and promenade theatre. Sarah has undertaken extensive work into the Live Cinema economy and has worked on numerous funded immersive media projects and mixed reality/virtual reality research initiatives. She has received funding from the Arts and Humanities Research Council and the Engineering and Physical Sciences Research Council in the United Kingdom, the Social Science and Humanities Research Council of Canada and Innovate UK. David Beard is Professor of Rhetoric in the Department of English, Linguistics, and Writing Studies at the University of Minnesota Duluth. He has published in journals like the International Journal of Listening, Archival Science, Philosophy and Rhetoric, Southern Journal of Communication, and Enculturation, among other venues. With Heather Graves, he coedited The Rhetoric of Oil (Routledge). With John Heppen, he has published several articles and book chapters about professional wrestling. With Lisa Horton, he coedited an issue of the Journal of Contemporary Rhetoric on remix theory. Christine Boone is Associate Professor of Music at the University of North Carolina Asheville. She received her B.M. in Vocal Performance at Indiana University and both her M.M. and Ph.D. in Music Theory at the University of Texas. Christine’s research interests are centered around popular music. She has presented papers on the Beatles in both the United States and the United Kingdom. Her current research focuses on mashups, and her work on the subject has been published in several forums, including Music Theory Online. Christine, a soprano, is also an active performer in both choral ensembles and solo work. In addition, she has put her musical knowledge to work on National Public Radio’s classical music game show, “Piano Puzzler.” Victoria Bradbury is an artist and researcher working with virtual reality, code, and physical computing. She is the coeditor of Art Hack Practice: Critical Intersections of Art, Innovation and the Maker Movement (Routledge, 2019) and co-taught “The Glass Electric: Glassblowing, Electroforming, Interactive Electronics” at Pilchuck Glass School, 2019. Victoria was a member of the British Council team for Hack the Space, Tate Modern (London, UK, 2014) and participated in the IMMERSION: Art and Technology workshops (Shanghai, China, 2012) and Digital Media Labs (Barrow, UK, 2014). Her artwork has been showcased on the Radiance Blog and at IEEE-GEM, xCoAx, Black Mountain College Museum + Arts Center Re-Happening, Harvestworks, Revolve Gallery, Albright Knox, and The New Britain Museum of American Art. She has published writing in Neural Magazine and the CITAR and Media-N journals. Victoria holds a Ph.D. with CRUMB at the University of Sunderland, UK and an MFA from Alfred University. She has been a member of the New Media Caucus Board since 2012 and is Assistant Professor of New Media at UNC Asheville. www.victoriabradbury.com. Megen de Bruin-Molé ( @MegenJM) is Lecturer in Digital Media Practice at Winchester School of Art, University of Southampton. She writes on historical fiction and the xviii

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heritage industry, popular monstrosity and adaptation, and remix culture. Her book Gothic Remixed (Bloomsbury, 2020) explores the boundaries and connections between contemporary remix and its related modes through the lens of monster studies. Megen is also an editor of the Genealogy of the Posthuman, an open-access initiative curated by the Critical Posthumanism Network (http://criticalposthumanism.net/genealogy/). Read more about Megen’s work on her blog: frankenfiction.com. Anne Burdick divides her time between Los Angeles and Sydney where she is a Research Professor and Founding Director of the Knowledge Design Lab at University of Technology Sydney (UTS). Her practice-based research mixes writing and design in diverse media through collaborations with authors and texts. Her most recent project, Trina, is a multimedia speculative design fiction created with author Janet Sarbanes. Anne was coauthor and designer of Digital_Humanities (MIT Press, 2013), together with Johanna Drucker, Peter Lunenfeld, Todd Presner, and Jeffrey Schnapp. Other award-winning collaborations include the Writing Machines book and web supplement (MIT Press, 2002) with N. Katherine Hayles and phon:e:me, a net.art work by Mark Amerika for Walker Art Center’s Gallery 9. With Literary Scientists at the Austrian Academy of Sciences, she designed the experimental Fackel Wörterbuch series and the Austrian Academy Corpus. Fackel Wörterbuch: Redensarten (Austrian Academy of Sciences, 2000) was awarded the prestigious Leipzig Book Fair Prize for the “Most Beautiful Book in the World” in 2000. From 1995 to 2012, she was designer and design editor of electronicbookreview.com. Anne holds a B.F.A and M.F.A in graphic design from California Institute of the Arts and a Ph.D. in Design from Carnegie Mellon University. She maintains an affiliation with Art Center College of Design where she was the Professor and Chair of the award-winning Media Design Practices M.F.A from 2006 to 2018. xtine burrough is an artist who uses emerging technologies and remix as a strategy for engaging networked audiences in critical participation. She is the author of Foundations of Digital Art and Design with Adobe Creative Cloud, 2nd Edition, and coeditor of The Routledge Companion to Remix Studies and Keywords in Remix Studies with Eduardo Navas and Owen Gallagher. burrough values the communicative power of art-making as a vehicle for exploring the boundaries between humans and the technologies they create, embody, and employ. Her projects yield multiple layers of participation and collaborative meaning-making. She archives her work and creative process in articles, chapters, and books. burrough has edited volumes and portfolio sections for other artists to write, reflect on, expose, and archive their practices. Professor and Area Head of Design + Creative Practice in the School of Arts, Technology, and Emerging Communication at UT Dallas, she is the Director of LabSynthE, a laboratory for creating synthetic and electronic poetry. Vicki Callahan is Professor at the University of Southern California’s School of Cinematic Arts in the Media Arts + Practice and Cinema and Media Studies Divisions. She is the author of Zones of Anxiety: Movement, Musidora, and the Crime Serials of Louis Feuillade (WSUP, 2005) and editor for the collection, Reclaiming the Archive: Feminism and Film History (WSUP, 2010). With Virginia Kuhn she coedited, Future Texts: Subversive Performance and Feminist Bodies (2016) and a special issue (11) of The Cine-Files: “The Video Essay: An Emergent Taxonomy of Cinematic Writing,”(2017). She published “Introduction to The Video Essay” (coauthor Virginia xix

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Kuhn) and “Introduction to MEmorial with her video essay, The Just War,” The CinéFiles, 11 (2017). She was an NEH fellow for the inaugural workshop, “Scholarship in Sound and Image,” on Videographic Criticism at Middlebury College, and in 2015, she was in residence at University College Cork, Ireland as a Fulbright Scholar with a focus on digital media praxis. She is working on a monograph of the silent film star, Mabel Normand, and with Sarah Atkinson, she is coauthoring, Mixed Realities (MR): Gender, Precarity, and New Models of Work in the Convergence Economy. Currently, she is working on a documentary film project, The Lowcountry, which has received South Carolina Humanities grants as well as support from the Yip Harburg and Sam and Regina Green Foundations. Mark V. Campbell [aka DJ Grumps], founder at Northside Hip Hop Archive, is a DJ, Curator, and Assistant Professor of Music and Culture at the University of Toronto Scarborough. As a cofounder at the Bigger than Hip Hop Show at CHRY 105.5fm, Mark has DJed on and hosted the show from 1997 to 2015 and founded Northside Hip hop in 2010. As a scholar, Mark has published widely with essays appearing in the Southern Journal of Canadian Studies, Critical Studies in Improvisation, Souls: A Critical Journal of Black Politics, Culture and Society, and the CLR Journal of Caribbean Ideas. He is the coeditor of We Still Here: Hip Hop North of the 49th Parallel (2020) and author of …Everything Remains Raw: Photographing Toronto’s Hip-Hop Culture from Analogue to Digital (2018). Scott Haden Church, Ph.D., (University of Nebraska-Lincoln) is an Assistant Professor in the School of Communications at Brigham Young University in Provo, Utah, United States. His research primarily uses rhetorical, critical, and aesthetic methods for examining online culture and popular culture. His work on remix has been published in The Routledge Companion to Remix Studies (Routledge, 2015), the Journal of Contemporary Rhetoric (2017), and Ancient Rhetorics & Digital Networks (University of Alabama Press, 2018). Daniel Clarkson Fisher is a Toronto-based writer and educator whose most recent work is the Chinese Jamaican Oral History Project (CJOHP.org), a digital storytelling initiative inspired by his partner Stephanie Lyn and her family. He holds a Master of Fine Arts in Documentary Media from Ryerson University and is currently a contract lecturer in that program. His work has appeared in H-Net: Humanities and Social Sciences Online, the Oral History Review Blog, PopMatters, New Politics, Alternet, Bright Lights Film Journal, Nonfics, the Journal of Religion and Film, and many other publications. Maggie Clifford’s research focuses on climate literacy and communication, interdisciplinary collaboration, and the intersections of art and science. She earned a Master’s degree at the University of Florida in Forest Resources and Conservation and is a Ph.D. student in the School of Communication at American University in Washington, DC. Michael Collins i s Assistant Teaching Professor in the Penn State School of Visual Arts where he teaches courses in digital art and design. Collins has been designing and creating online learning technology for over a decade and is an advocate for the use xx

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of open-source technology in online education. His most recent collaboration includes a project called OER Schema—a project that fosters free access to knowledge by helping open educational resources become interoperable. In his words, “this project is an exhilarating ontological romp through pedagogical metadata.” Mr. Collins has produced a wide breadth of creative interests including interactive art exhibitions, web interfaces, concept design, 3D animations, and operates a furniture design studio. His most recent exhibition work centers around digital privacy, identity, and security. He coauthored the book chapter, Artist Research as Praxis and Pedagogy, published in Teaching Artistic Research (De Gruyter, 2020). Mr. Collins is also the lead faculty coordinator for the multi-college World Campus Digital Multimedia Design program and enjoys teaching art and design to students in a variety of subjects. He has been a longtime sub-committee volunteer for ACM SIGGRAPH, an organization whose mission is to nurture, champion, and connect researchers and practitioners of Computer Graphics and Interactive Techniques. Nick Cope i s a British academic and filmmaker who has worked in the higher education sector since 1995, in the United Kingdom and currently as Program Manager Digital Film and Video for RMIT University, Vietnam, following 8 years working in the creative and media industries. He has been a practicing film, video, and digital media artist since 1982 and completed his Ph.D. in October 2012. This locates a contemporary visual music practice within current and emerging critical and theoretical contexts and tracks back the history of this practice to initial screenings of work as part of the 1980s British Scratch Video art movement, and later collaborations with electronic music pioneers Cabaret Voltaire and others. He continues to screen older work and new, and presents papers at conferences, cinemas, concerts, galleries, and festivals; nationally and internationally. A personal website and archive is at www.nickcopefilm.com. Aidan Delaney received his Ph.D. in Digital Arts and Humanities from Trinity College, Dublin, in 2017. His research interests are in sound studies, film studies, and the philosophy of technology. His most recent project to promote listening and acoustic ecology can be found at www.audiophilia.org. Aidan has lectured on film sound, sound design, radio production, European cinema, film history, sound art, video art, and research methods in film practice. He has also led workshops, seminars, and master classes in sound editing, production sound recording, audio postproduction, MIDI composition, and multimedia programming. Aidan is an Avid Certified Instructor in Pro Tools and has worked in the entertainment industry since the 1990s as a live sound engineer. He is currently based in London and works in the Faculty of Arts and Creative Industries at Middlesex University. Paul Dougherty is an EMMY winning editor with four works in the Permanent Collection of The Museum of Modern Art (MoMA). He holds a Master of Library Science and Certificate in Archives and Preservation of Cultural Material from Queens College, with electives from NYU’s Moving Image Archiving and Preservation program. He is currently the Video Archivist for the International Rescue Committee. Dougherty’s video work and work with artists started at Syracuse University’s Synapse Visiting Artists Program, first as an undergraduate and then on staff. While working at Manhattan Cable’s Public Access Department in the summer xxi

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in 1975, he became a founding member of Metropolis Video, who