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At the heart of culture lies creative recursion: re-applying creative practices to artifacts resulting from previous creative practices. Remix culture could then be defined as processes of creative recursion that make this recursion as such recognizably visible. This is what makes a remix reflexive, as is explained by Eduardo Navas over at remixtheory.net:

[remix] allegorizes and extends the aesthetic of sampling, where the remixed version challenges the aura of the original and claims autonomy even when it carries the name of the original; material is added or deleted, but the original tracks are largely left intact to be recognizable.

As a result, works of remix communicate always and simultaneously on at least two levels: the asthetics of the remix as a new work and its status as a remix, referencing the remixed works. A nice example of the communicative power of remixing as recognizable creative recursion is provided by the most recent election campaign of the Pirate Party of Lower Saxony in Germany. To communicate ‘piracy’ as a brand, the pirate party creatively ‘pirated’ prominent brands.  Find below several of the respective campaign posters, all of which can be found on the campaign portal ideenkopierer.de (“idea copiers”; some of the translations are taken from Torrentfreak):

The tenderest temptation since parties were invented.

We may not have Alps in Lower Saxony, but we want to ensure that students continue to know that cows are not purple. Read the rest of this entry »

The Book

Governance across borders: transnational fields and transversal themes. Leonhard Dobusch, Philip Mader and Sigrid Quack (eds.), 2013, epubli publishers.
March 2021
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