Tag Archives: Borges

Prelim rationale v 1.1

I’m working on a v 2.0 of my rationale, but thought I’d post this second version for the sake of posterity/transparency.

I’ve opted with the 1.1, as though it dose contain some substantial changes, I don’t feel as though it is necessarily more than a small departure from the first draft. Mostly, I’ve added some explication and connections.

In the upcoming (in a few days) v 2.0, I’ll largely try to do the opposite: discretize these blended areas in order to more clearly define them. I’ll also be following up with a reorganization of my booklist, which is currently on Evernote. I’ve been reluctant to match the list to my areas, as I personally cannot not see many texts applying to more than a single area. Alas, it is time to try!

Rationale after the break… And, as always, comments welcome!

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What Comes After Remix?

I’ve been wanting to read Lev Manovich since I had the pleasure of publishing (and interviewing) UWM MFA student A. Bill Miller.  He does some interesting (provoking, pretty) gridworks and 3D video/sculpture that have a lot to do with digitality, language and – ta da! – transcoding.  Check it out (and buy the new cream city review when it comes out in a week…)</endplug>.

Manovich’s Remix, however, turned out to be more of a brief history of the digital remix and its origins in mostly music, with a bit of film/photo thrown in.  If anything, this lineage confirmed my eliding of collage with mash-up video.  

If I were forced to guess – which I’m not, but I will – I’d assume that this was a keynote that he delivered.  There is brief mention of issues of copyright wrt the production of remix from published materials.  The most interesting aspect comes from the contrast between contemporary digital remix and its predecessors.  One of these elements is what Barthes (this time through LM) refers to as “clash” in modernist aesthetic collage, whereas digital music remix has the opportunity for “blend”.  The other is producers of digital remix art now understand that their work is likely to be sampled and remixed itself.  

I’m not sure if I believe in the binaristic “clash” v. “blend” debate.  I think that remix art can work on multiple levels; in my project, I’m looking for clash in delivery method and content (audio/visual, moving/static, fiction/nonfiction), but I’m also looking to blend these elements together, in the sense that I want the contrast to be nuanced and problematize expectations in a subversive, sneaky manner. 

The self-awareness to future remixing seems directed more at music (as much of the article is), but I wonder what the implication might be for writing.  I think looking to this format – the blog – might be germane.  I know that I can easily link and pull quotes form various source and compile them into a post.  (Or write a critical paper. Or review five articles and quote them.) Fiction, though is another story, potentially.  Perhaps the closest analogies I can think of involve appropriating characters from other writers or citing other fictions (fictitious fictions or not) in works of fiction.  I’m thinking of Borges here. 

One thing I was trying to say

On Exactitude in Science . . . In that Empire, the Art of Cartography attained such Perfection that the map of a single Province occupied the entirety of a City, and the map of the Empire, the entirety of a Province. In time, those Unconscionable Maps no longer satisfied, and the Cartographers Guilds struck a Map of the Empire whose size was that of the Empire, and which coincided point for point with it. The following Generations, who were not so fond of the Study of Cartography as their Forebears had been, saw that that vast Map was Useless, and not without some Pitilessness was it, that they delivered it up to the Inclemencies of Sun and Winters. In the Deserts of the West, still today, there are Tattered Ruins of that Map, inhabited by Animals and Beggars; in all the Land there is no other Relic of the Disciplines of Geography.

Suarez Miranda,Viajes de varones prudentes, Libro IV,Cap. XLV, Lerida, 1658From Jorge Luis Borges, Collected Fictions, Translated by Andrew Hurley Copyright Penguin 1999 .


Severe Weather Borges

beware the inclement weather.