Index

Contents

Acknowledgments [vii]

Preface [xi]

Introduction: Remix and Noise [1]

Chapter One: Remix[ing]
Sampling [9]
Sampling Defined (11) 
— The Three Chronological Stages of Mechanical Reproduction (17) 
— The Four Stages of Remix (20) 
— Analytics: From Photography to Remix Culture (22) 
— The Regressive Ideology of Remix (27)

Chapter Two: Remix[ing] Music [33]
A Night at Kadan, San Diego, CA (35) 
— Dub, B Sides and Their [re]versions in the Threshold of Remix (36) 
— The Threshold in Dub (37) 
— Dub: From Acetate to Digital (39) 
— Subversion and the Threshold (42) 
— Analytics: From Reggae to Electronic Dub (44) 
— Dub in Hip Hop, Down Tempo and Drum ‘n’ Bass (47) 
— Dub ‘n’ Theory (50) 
— Dub-b-[ing] the Threshold (53) 
— Dub ‘n’ Remix (58) 
— Bonus Beats: Remix as Composing (60)

Chapter Three: Remix[ing] Theory [63]
Remix Defined (65) 
—Allegory in Remix (66) 
— Analytics: Variations of the Re- flexive Remix in Music (68) 
— The Regenerative Remix (73) 
— Remix in Art (76) 
— The Waning of Affect in Remix (86) 
— Remix in the Culture Industry (89) 
— Mashups Defined (93) 
— From Music to Culture to Web 2.0 (100) 
— Web Application Mashups (101) 
— The Ideology Behind the Reflexive Mashup (103) Analytics: From Music Video to Software Mashups (105) 
— Sampling and the Reflexive Mashup (108) 
— Resistance in Remix (109) 
— Remix in History (111) 
— Remix in Blogging (120) 
— Bonus Beats: Remix in Culture (124)

Chapter Four: Remix[ing] Art [129]
A Late Night in Berlin (131) 
— Remix is Meta (133) 
— The Role of the Author and the Viewer in Remix (134) 
— The Role of the Author and the Viewer in Performance and Minimalism (137) 
— New Media’s Dependence on Collaboration (141) 
— The Curator as Remixer (146) 
— Online Practice and Conceptualism (150) 
— The Regressive Ideology of Remix Part 2 (155) 
— Bonus Beats: The transparency of Remix (157)