In this comprehensive and highly interdisciplinary companion, contributors reflect on remix across the broad spectrum of media and culture, with each chapter offering in-depth reflections on the relationship between remix studies and the digital humanities.
The anthology is organized into sections that explore remix studies and digital humanities in relation to topics such as archives, artificial intelligence, cinema, epistemology, gaming, generative art, hacking, pedagogy, sound, and VR, among other subjects of study. Selected chapters focus on practice-based projects produced by artists, designers, remix studies scholars, and digital humanists. With this mix of practical and theoretical chapters, editors Navas, Gallagher, and burrough offer a tapestry of critical reflection on the contemporary cultural and political implications of remix studies and the digital humanities, functioning as an ideal reference manual to these evolving areas of study across the arts, humanities, and social sciences.
This book will be of particular interest to students and scholars of digital humanities, remix studies, media arts, information studies, interactive arts and technology, and digital media studies.
Introduction Part I Epistemology and Theory 1. A Brief History of Remix: From Caves to Networks 2. The More Things Change: Who Gets Left Behind as Remix Goes Mainstream? 3. Experiments in Performance, Identity, and Digital Space: 48 Mystory Remixes, Remixed 4. Production Plus Consumption: Remix and the Digital Humanities 5. Immersive Feminist Remix: An Affect Dissonance Methodology 6. Versioning Buddhism: Remix and Recyclability in the Study of Religion 7. Monster Theory 2.0: Remix, the Digital Humanities, and the Limits of Transgression 8. Samping New Literacies: Remix Studies and Digital Humanities in a Cross-Disciplinary Approach 9. RS (Remix Studies) + DH (Digital Humanities): Critical Reflections on Chance and Strategy for Empathy Part II Accessibility and Pedagogy 10. Designing the Remix Library 11. Interdisciplinary Design and Transcultural Collaboration as Transformative Remix Tools 12. In the Mix, the Collaborative Remix to Repair, Reconnect, Rebuild 13. Remixing Literature in the Classroom: From Canons to Playlists in the Study of Latinx Literature and Beyond 14. Metadata for Digital Teaching: Enabling Remix for Open Educational Resources 15. Hack It! DIY Divine Tools: An Art Hack Implemented as New Media Pedagogy in the Public Liberal Arts 16. On the Capabilities of Hip Hop-Inspired Design Research: An Annotated Syllabus 17. Internet Memes as Remixes: Simpsons Memes and the Swarm Archive 18. Poetically Remixing the Archive Part III Modularity and Ontology 19. Hallucination or Classification: How Computational Literature Interacts with Text Analysis 20. Machine-Driven Text Remixes 21. Talk to Transformer: AI as Meta Remix Engine 22. The Critical Role of New Media in Transforming Gamers into Remixers 23. Vandalize a Webpage: Automation and Agency, Destruction and Repair 24. Allegories of Streaming: Image Synthesis and/as Remix 25. Always Already Just: Combinatorial Inventiveness in New Media Art 26. Computational Creativity: Algorithms, Art, and Artistry 27. Remix Games as Instruments of Digital Humanities Scholarship: Harnessing the Potential of Virtual Worlds Part IV Aurality and Visuality 28. Popular Song Remixed: Mashups, Aesthetic Transformation, and Resistance 29. Remixing the Object of Study: Performing Screen Studies through Videographic Scholarship 30. Cinema Remixed 4.0: The Rescoring, Remixing, and Live Performance of Film Soundtracks 31. The Sound of the Future: A Digital Humanities Remix Essay 32. Hacking the Digital Humanities: Critical Practice and DIY Pedagogy 33. DJing Archival Interruptions: A Remix Praxis and Reflective Guide 34. Exploring Remix Process: The Case of the Spanish Megamix 35. Scratch Video: Analog Herald of Remix Culture 36. Curating, Remixing, and Migrating Archived “Muse Files”
Eduardo Navas is Associate Research Professor of Art at The School of Visual Arts at The Pennsylvania State University, PA. He implements methodologies of cultural analytics and digital humanities to research the crossover of art and media in culture. His production includes art and media projects, critical texts, and curatorial projects. Navas is co-editor of The Routledge Companion to Remix Studies (2015), Keywords in Remix Studies (2018), and has published extensively on remix theory and practice. He is Research Faculty in the College of Arts and Architecture’s Art & Design Research Incubator (ADRI). Owen Gallagher is Programme Manager and Assistant Professor of Web Media at Bahrain Polytechnic, where he lectures in film, sound, animation, and game design. He is the author of Reclaiming Critical Remix Video (2018), and co-editor of Keywords in Remix Studies (2018) and The Routledge Companion to Remix Studies (2015) with Eduardo Navas and xtine burrough. He has published a number of book chapters, journal articles, and conference papers on remix culture, intellectual property, and visual semiotics, and is particularly concerned with the changing role of copyright in the networked era. xtine burrough is Professor and Area Head of Design + Creative Practice in the School of Arts, Technology, and Emerging Communication at UT Dallas, and she is the Director of LabSynthE, a laboratory for creating synthetic, electronic poetry. She uses emerging technologies and remix as a strategy for engaging networked audiences in critical participation. She is the author of Foundations of Digital Art and Design with Adobe Creative Cloud, 2nd Edition, and co-editor of The Routledge Companion to Remix Studies and Keywords in Remix Studies with Eduardo Navas and Owen Gallagher.
