Are most forms of contemporary artistic practice rooted in the art of remixing? Where do our ideas come from? Are they really "ours" or are they part of a wider, shared network of variable practices? Where do we find the source material that we turn to when creating new works of art? What role does intuition play in our selection of source material and how do contemporary artists manipulate their source material for aesthetic effect?
The Remix Culture seminar investigates the emergence of interdisciplinary media art practices that experiment with the art of remixing, including but not limited to literary cut-ups and procedural composition, image appropriation, Internet or net.art, sound art, glitch, collage film, installation art, live A/V performance (DJ, VJ, live coding), culture jamming / hactivism, and other art forms that engage with renewable source material. The seminar will study practice-based research methods in contemporary art that integrate radical theories into the mix. We will place particular emphasis on recent inquiries into rhythm science, postproduction art, pla(y)giarsm, (digital) détournement, reality hacking, and remixology.
Students will combine exceptional online research skills with in-depth readings, film/video screenings, audio listening, web surfing, and in-class presentations. We will also conduct individual and collaborative experiments in creating new works of remix art using text, digital imaging, sound, video, and other media.
Many of these subjects will blend into each other as we investigate how developing an interdisciplinary media arts practice is less about the technology one uses or the genres they filter their creativity through, and more about turning the artist into a medium (Duchamp) or instrument (Acconci) that applies their own remix style across a variety of media platforms. We will also look at how artists develop their own theories and parallel poetics as part of their emerging practice and what the future holds for artists who hope to experiment with the transmission of their digital personae into the widening fields of distribution. In this regard, one of our main goals will be to develop a vocabulary and cluster of ideas that will help us articulate what remixology (the practice based study of remix art and culture) is and how it can be used to critically challenge conventional art-making, writing, and curatorial practices.
The course is both practice based and theory driven. This means that you will be required to read articles and books and experiment with your own theoretical expressions via practice based research and creative (post)production methods that you will have to create over the course of the semester.
Available at CU Bookstore:
Rhythm Science, Paul Miller
It is absolutely essential that you attend class. Prior experience teaching this course consistently reveals that those who attend all of the classes and finish all of their work on time perform the best. There will be no unexcused absences (each unexcused absence will result in a half-grade drop). Only one excused absence per semester. After that, each absence will result in a half-grade drop. Also be aware that coming to class late and/or leaving class early will affect your grade as well (two days of leaving early or arriving late counts as an unexcused absence). Being prompt and staying the course are required.
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