VJ Um Amel Remixes A Revolution by Dylan Schenker, posted on March 1, 2011 on the Creators Project (Thanks to Franck Ancel):

What the World Tweeted on #Egypt the day Mubarak Resigned from VJ Um Amel on Vimeo.

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REFF - Remix The World! Reinvent Reality! Art is Open Source :: until March 2011 :: Furtherfield Gallery (formerly HTTP), Unit A2, Arena Business Centre, 71 Ashfield Rd, London N4 1NY.

In a world where individuals and communities are connected via real-time technologies in a state of mutual hyper-presence, what does it mean that our interactions can be traced and viewed by people unknown to us? Can we claim these effects to consciously produce new realities and create new adventures beyond given structures and stories? Can we remix our realities?

REFF - Remix The World! Reinvent Reality! offers tools and strategies to explore different ways of ‘being’ with others physically and virtually to intervene in the world. Let’s see what we can do…” Furtherfield. Continue reading

Remix Cinema Workshop :: March 24-25, 2011 :: Oxford Internet Institute (University of Oxford, UK) :: Call for Presentations & Papers — Abstracts Deadline: January 7, 2011.

In August 2010, the remix movie Star Wars Uncut was the first user-generated production to win an Emmy Award. Other online platforms such as wreckamovie.com enable online communities to form for independent and open source filmmaking, harnessing distributed forms of collaborative co-creation rather than relying on traditional organisational structures. Cloud-based editing suites have begun appearing: Stroome.com was launched in April 2010 by USC
Annenberg with the tag-line “mix it up. mash it out.” Continue reading

The Possibilities and Limitations of Open Content by Wendy Hui Kyong Chun from Videotage Unlimited on Vimeo. Continue reading

Read | Write Remix and the Rouelles of Media Production by Mette Birk, Mark O’ Cúlár, Owen Gallagher, Eli Horwatt, Martin Leduc, Eduardo Navas, Tara Zepel — in Networked: a (networked_book) about (networked_art):

ABSTRACT: Remix and the Rouelles of Media Production explores concepts of remixing not only in content and form, but also in process. The aim of the collaboration is to evaluate how the creative process functions as a type of remix itself in a period when production keeps moving toward a collective approach in all facets of culture. The emphasis on video remixing is the result of a collaborative rewriting activity among the contributors, who each wrote independent paragraphs that went through constant revisions once combined as a single text. Continue reading

Sean Fletcher and Isabel Reichert’s Wikipedia Art Remix + performances & screenings by Ryan V. Brennan, Genevieve White, Adam & Ron :: August 19, 2010′ 6:00 pm (Beginning 6:00 PM (come a little early for a Wikipedia Art Remix treat!) :: Benrimon Contemporary, 514 West 24th Street, 2nd floor, New York.

For Sean Fletcher and Isabel Reichert’s Wikipedia Art Remix, two actors perform a scene appropriated from Edward Albee’s play Who’s Afraid of Virginia Woolf. The dialogue between the iconic characters George and Martha incorporates highlights from the Articles for Deletion page of Wikipedia Art, an intervention by Scott Kildall and Nathaniel Stern on Wikipedia, so the couple’s argument becomes one about whether or not art can exist on Wikipedia. Continue reading

Unleashed Devices :: September 1 - October 22, 2010 :: Watermans, 40 High Street, Brentford TW8 0DS, UK.

Unleashed Devices is an exhibition of DIY, hacking and open source projects by artists who explore technologies critically and creatively. By reconstructing, remixing and reinventing everyday electronic devices, these take on a new life as they shift our vision of the use of data and purpose of technology. Playing with frontiers, such projects not only challenge our conception of technology but also music, art and design. Here, they reveal the power of DIY modes as tools to stimulate social reflection and participation. Continue reading

[Image: 'Nine Steps to Collaborative Composites' qthomasbower @flickr] Mashup Cultures, Sonvilla-Weiss. Stefan (Ed.), Springeren: This volume brings together cutting-edge thinkers and scholars together with young researchers and students, proposing a colourful spectrum of media-theoretical, -practical and -educational approaches to current creative practices and techniques of production and consumption on and off the web. Along with the exploration of some of the emerging social media concepts, the book unveils some of the key drivers leading to participatory engagement of the User.

Mashup Cultures presents a broader view of the effects and consequences of current remix practices and the recombination of existing digital cultural content. Continue reading

Video Vortex Reader II :: Call for Contributions — DEADLINE: May 10, 2010.

In response to the increasing potential for video as a significant form of personal media on the Internet, the Video Vortex program examines key issues that are emerging around the independent production and distribution of online video content. With the rise of YouTube and alternative platforms, the moving image on the Internet has become expansively more prominent and popular. As a wide range of technologies is now broadly available, the potential of video as a personal means of expression has reached a totally new dimension. Continue reading

Fibreculture Journal # 15: What Now? The Imprecise and Disagreeable Aesthetics of Remix :: From the Editorial:

It became a minor phenomenon during 2007. By September 2009 it was a virus out of control. Described in Wired as a “popular internet meme” (Wortham, 2008), the obsessive serial mash-up of a key sequence from Oliver Hirschbiegel’s 2004 film of the last days of Adolf Hitler, Der Untergang (The Downfall), is suggestive of the cultural logic of the contemporary formation known as remix. Remix culture is comprised of what could loosely be termed amateurs and professionals engaged in the practice of creatively re-using found material. The distinction is useful in identifying the aesthetic and material differences between dedicated intermedia remix artists (Negativland, Martin Arnold, Craig Baldwin, Soda_Jerk), artists who incorporate elements of remix into a broader audiovisual practice (Philip Brophy, Candice Breitz, Christian Marclay, John Zorn) and the vernacular audio-visual mash-up/remake/dub/scratch aesthetics associated with a broad range of online practices. Continue reading