Index

Contents
Preface ix
Acknowledgments  xiii
Introduction  xvii
I Premix 1
1 Terminological Mix-Up 000
1.1 Sampling Terminology 3
1.1.1 Collage 4
1.1.2 Sample 7
1.1.3 Bootleg 9
1.1.4 Mashup 11
1.1.5 Remix 19
1.2 Mixed Messages 18
1.2.1 Irreducible Plurality 19
1.2.2 Polyonyms, Hyponyms, and Quasi Synonyms 20
1.2.3 Master Signifiers 22
1.3 Remixology 26
1.3.1 Remixing Epistemology 26
1.3.2 Remixing Truth 28
1.3.3 Remixing Rhetoric 31
2 For the Record 33
2.1 Technology 36
2.1.1 Writing as Technology 37
2.1.2 Technology as Writing 39
2.2 Recording 41
2.2.1 Preservation Medium 41
2.2.2 Technological Axiology 44
2.3 Writing Problems 46
2.3.1 Representation 46
2.3.2 Repetition 49
2.3.3 Vulnerabilities 51
2.4 Remixing Platonism 54
II Remix 59
3 Simulation 61
3.1 Blind Faith 64
3.1.1 Listening to Baudrillard 64
3.1.2 Fidelity 67
3.2 Critical Infidelities 71
3.2.1 Rethinking Recording 71
3.2.2 Simulation 74
3.2.3 The Order of Simulacra 76
3.3 Remixing Baudrillard 79
3.3.1 Outside the Box 80
3.3.2 Critical Blasphemy 82
4 Repetition 85
4.1 Repetition 1.0 87
4.1.1 Remix History 88
4.1.2 Remix Theory 98
4.2 Repetition 2.0 103
4.2.1 Simulation Again 104
4.2.2 Rethinking Axiology 106
4.2.3 Reversing Platonism 108
4.3 The End of Platonism 111
5 Promiscuous Bastards 115
5.1 What Is an Author? 116
5.1.1 The Invention of the Author 117
5.1.2 Authorship and Music 120
5.2 Death of the Author 126
5.2.1 Ghost in the Machine 126
5.2.2 Remixing Authority 129
5.3 Afterlife 130
5.3.1 Reanimation 131
5.3.2 Giving Up the Ghost 135
III Postmix 139
6 Rethinking Remix 141
6.1 Responding to Remix 143
6.1.1 Ptolemization 144
6.1.2 Revolution 146
6.2 Remixing Theory 150
6.2.1 Derrida vs. Tecnobrega 150
6.2.2 Žižekian Mashup 156
6.3 Concluding Reflections 166
7 Remix(ing) Axiology 169
7.1 Elements of Remixology 169
7.1.1 Simulation 170
7.1.2 Repetition 171
7.1.3 Unauthorized 172
7.2 Applied Remixology 174
7.2.1 Competition 175
7.2.2 Decision 175
7.2.3 Finitude 176
7.3 Conclusions 000
Notes  179
References  183
Index  201