Hybridity Remix

8/2/2019 Hybridity Remix

1/37

Hybridity / Remix

Creating a Hybrid Transdisciplinary Theory Modelfor Todays Post-Everything Culture

Theorizing Hybridity/Hybridizing Theory


2/37

Universe of Discourse:Terms and ConceptsTrying to Name the Idea of

Hybridity in MultipleContexts

Theory and philosophy

are directed by dominantconceptual metaphors.

These metaphors are likemental software: what you

load generates what youcan do.


3/37

How do We Assemble a

Transdisciplinary TheoryModel that Maps onto

Todays AlwaysAlready Hybrid Culture

We Need a A Model that

Works in Two Ways:

1. Interpreting CulturalExpressions (present

and past)

2. Explaining How NewWorks are Produced in

the Culture(s) in whichThey Appear

Image:Ars Electronica conference, 2005


4/37

Remix/Appropriation/Sampling/HybridizingIntertextuality/Intermediality

Dialogism is The Generative Engine of Culture

All living cultures are always already dialogic:

Culture is a multi-dimensional multi-modal cacophonous,

ongoing, unlimited, unfinalizable conversation across timeand place, in which members of cultural communities arealways alreadyassuming, subsuming, responding to,and anticipating additional expressions that are only possibleand intelligible within their culture.

Art making and art-interpreting are fundamentally(constitutively) "appropriative" as acts that require assuming,subsuming, and referencing prior and concurrent expressions.


5/37

Some theses to be explored in this seminar:

Hybridity/remix/appropriation is the default "always-

already" state of culture, not a special case belongingto the postmodern world.

But we've learned not to see, misrecognize, ormisunderstand this default state of culture

by ideologies and beliefs that cut in a differentdirection.

The hybrid, mixed, dialogic aspects of cultural works

are often suppressed or misrecognized because of theforce of dominant or naive ideologies of individuality,

originality, authorship, and the legal regimes ofcopyright and intellectual property law that assume and

encode these ideologies.


6/37

A Copernican Revolution in Cultural Thought

Appropriation, remix, hybridization are names for a constitutivefeature of culture (a necessary ground or precondition), not terms for

special cases, genres, or intentional forms.

A dialogic a priori: new cultural works emerge in a dialogicrelationship to (1) past works and genres known and presupposed by acommunity, (2) contemporaneous works assumed as part ofa contemporary conversation, debate, and argument, and (3) future

works anticipated in ongoing dialog and interpretation.

The dialogic/remix/appropriation/hybridization principle of culture is not(often) visible or apparent in cultural works because it is not a propertyof cultural works themselves, but aprecondition for the possibility ofnew cultural works at all.

Working with this new realignment of cultural forces is a revolution,because once you think through the problem in new terms, you can'tgo back again.


7/37

Statements by writers and artists:William Gibson, On Recombinant Culture

On Sampling:But I already knew [when writing my early novels] that ... the scissors and paste pot were always there for me, on thedesktop of my Apple IIc. Burroughs' methods, which had also worked for Picasso, Duchamp, and Godard, were built

into the technology through which I now composed my own narratives. Everything I wrote, I believed instinctively, wasto some extent collage. Meaning, ultimately, seemed a matter of adjacent data...Meanwhile, in the early '70s in Jamaica, King Tubby and Lee "Scratch" Perry, great visionaries, were deconstructingrecorded music. Using astonishingly primitive predigital hardware, they created what they called versions. Therecombinant nature of their means of production quickly spread to DJs in New York and London.

Our culture no longer bothers to use words like appropriation or borrowing to describe those very activities. Today'saudience isn't listening at all - it's participating. Indeed, audience is as antique a term as record, the one archaically

passive, the other archaically physical. The record, not the remix, is the anomaly today. The remix is the very nature ofthe digital.

Today, an endless, recombinant, and fundamentally social process generates countless hours of creative product(another antique term?). To say that this poses a threat to the record industry is simply comic. The record industry,though it may not know it yet, has gone the way of the record. Instead, the recombinant (the bootleg, the remix, themash-up) has become the characteristic pivot at the turn of our two centuries.

We live at a peculiar juncture, one in which the record (an object) and the recombinant (a process) still, however

briefly, coexist. But there seems little doubt as to the direction things are going....We seldom legislate new technologies into being. They emerge, and we plunge with them into whatever vortices ofchange they generate. We legislate after the fact, in a perpetual game of catch-up..."Who owns the words?" asked a disembodied but very persistent voice throughout much of Burroughs' work. Whodoes own them now? Who owns the music and the rest of our culture? We do. All of us.

Wired, 13.07/July 2005
http://www.wired.com/wired/archive/13.07/gibson.htmlhttp://www.wired.com/wired/archive/13.07/gibson.html


8/37

Jonathan Lethem, The Ecstasy of Influence (Harpers, 2007)(excerpt)Essay quotes and samples from many other writers (including Gibson)

Blues and jazz musicians have long been enabled by a kind of open source culture, in which pre-existing melodic fragments and larger musical frameworks are freely reworked. Technology has onlymultiplied the possibilities; musicians have gained the power to duplicate sounds literally rather than

simply approximate them through allusion. In Seventies Jamaica, King Tubby and Lee Scratch Perrydeconstructed recorded music, using astonishingly primitive pre-digital hardware, creating what theycalled versions. The recombinant nature of their means of production quickly spread to DJs in NewYork and London. Today an endless, gloriously impure, and fundamentally social process generatescountless hours of music.

Visual, sound, and text collagewhich for many centuries were relatively fugitive traditions (a centohere, a folk pastiche there)became explosively central to a series of movements in the twentiethcentury: futurism, cubism, Dada, musique concrte, situationism, pop art, and appropriationism. In fact,collage, the common denominator in that list, might be called the art form of the twentieth century, nevermind the twenty-first. But forget, for the moment, chronologies, schools, or even centuries. As examplesaccumulateIgor Stravinsky's music and Daniel Johnston's, Francis Bacon's paintings and HenryDarger's ... as well as cherished texts that become troubling to their admirers after the discovery of theirplagiarized elements, like Richard Condon's novels or Martin Luther King Jr.'s sermonsit becomesapparent that appropriation, mimicry, quotation, allusion, and sublimated collaboration consist of a kind

of sine qua non of the creative act, cutting across all forms and genres in the realm of culturalproduction..The world of art and culture is a vast commons, one that is salted through with zones of utter commerceyet remains gloriously immune to any overall commodification. The closest resemblance is to thecommons of a language: altered by every contributor, expanded by even the most passive user. That alanguage is a commons doesn't mean that the community owns it; rather it belongs between people,possessed by no one, not even by society as a whole.


9/37

But this philosophy of culture is fundamentally different fromthe underlying philosophy in copyright and intellectualproperty law.

What we have here is a fundamental clash of ontologies (the real thingsassumed to exist in an argument):

Atoms vs. Network NodesAre these concepts reconcilable?

Copyright developed in print culture, and evolved to cover all media withthe assumption that the irreducible minimal legal units or entities areexpressions in "tangible form."

This assumes the ability to reduce copyrightable property to atomic units

(units of text, music, images, designs, TV programs, film, etc.), and anearly endless recursive strategy of copyright on all constituent parts offixed expression (a section of text, a measure of music, a part of aphotograph, a few seconds of a movie or TV program, etc.). "Fair Use"was supposed to allow for referencing and transformative uses, but the IPregime is working hard to eliminate this.


10/37

But cultural production andreception do not work this way

On the side of cultural production, writers, artists, musicians,photographers, computer programmers all work within anetwork of assumed rules, knowledge of multiple past andcurrent work, within which the new work is received andunderstood.

Cultural producers work like they inhabit a node ofrelationships into which the new expression is received. Thecommunity of reception (which can be all kinds ofsubcultures) shares the codes for configuring the relationship

nodes for the work, and responding in a dialogic way.

Everything is always already hybrid, remixed, appropriative,and there no "there" there outside the cultural nodes thatmake any new expression possible.


11/37

Paul D. Miller (DJ Spooky)on working in the remix environment

Paul D. Miller discusses his new hybrid music and mixed media work, "The Secret Song."
https://www.youtube.com/watch?v=mX1BTDRjpawhttps://www.youtube.com/watch?v=mX1BTDRjpaw


12/37

Like I've been saying, Everything is (always already) a Remix

Alas, the full versions are not availableon YouTube.

The documentaries are available onthe Vimeo site and on KirbyFerguson's (the producer's), website.

See also, Rip: A Remix Manifesto byBrett Gaylor (aka Girl Talk)
https://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttp://films.onf.ca/rip-a-remix-manifesto/http://www.everythingisaremix.info/http://vimeo.com/14912890https://www.youtube.com/watch?v=wq5D43qAsVghttps://www.youtube.com/watch?v=Z-HuenDPZw0https://www.youtube.com/watch?v=NmwwjikTHxw


13/37

Hybridity/Remix Dilemmas

Understanding and interpreting todays cultural and mediacomplexity: ongoing mixing, appropriating, cultural

interdependence without (allowing) a fixed or privilegedposition.

How can this be done?

Lessons of cultural studies, post-colonial theory, but newlessons of practice: media, art, music, photography, film,

computer technology, digital information, software.

Recognizing our own cultural and social embeddedness,

positioned points of view, identities, assumptions,presuppositions.

Moving toward self-reflexive and heuristic theoretical waysof thinking (see presentation)
https://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://docs.google.com/present/view?id=dgh978d9_279fw2bdgck&revision=_latest&start=0&theme=blank&cwj=true


14/37

Hybridity Theory Nodes: The High Theory Traditions

An Interdisciplinary,Heuristic Modelfor Interpreting

Cultural Hybridity

Globalization theories:transnational border crossings,urban concentrations & flows

Network theory:nodal theory,

urban agglomeration

Post-Colonial &Social Diaspora Theories:

appropriation andhybridization

Cultural theory: deconstructinghigh/low culture,identities,theories of subcultures

Semiotics:codes, code-mixing,

intertextuality,cultural encyclopedia

Postmodernism: core theoriesBenjamin, Debord, Lyotard, Foucault,Baudrillard, Lacan, Deleuze andGuattari, Jameson, Butler, Haraway

Global political economy:international markets

Queer Theory,po-mo sexuality

Mediology:

mediation technologies &institutions,cultural trans-mission, mediasphere assystem

Linguistics:structuralism,

sociolinguistics,

discourse/dialogue

Dialogism:Intertextualityheteroglossia,

polyphony,(Bakhtin, semiotics)

Post-structuralist core theories:textuality, discourse, semiotics,

ideology

Barthes, Foucault, Derrida

Post-Digital Media Theory:hypermedia, Web2.0
https://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxw


15/37

Some forms of hybridity and remix are explicit,recognizable on the surface (surface forms of a

deep structure).

But since all cultural expression is alwaysalready a remix, the principle of hybridity, remix,

or appropriation is "in" everything we state,create, or express in our communities ofexpression, reception, and interpretation.

Some examples:
https://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxw


16/37

In music, it all started with dub: studio sampling, looping sounds withtape, analog echo, reverb, and signal delay effects to create multipleversions of a "song" with no necessary fixed form...

A Dub reference album by Augustus Pablo and King Tubby, Kingston, Jamaica, 1975-76:beginnings of studio-produced drum 'n' bass and a major stream of electronic music

King Tubby Meets Rockers Uptown is a dub album byAugustus Pablo and King Tubby, released in1976. It features Carlton Barrett on drums, Robbie ShakespeareandAston Barrett on bass guitar, andEarl "Chinna" Smith on guitar. Pablo produced the album and played melodica, piano, organ andclavinet. The album was recorded at Randy's in Kingston, Jamaica.

The title track is a studio remix of an already remixed vocal and dub song, Baby I Love You So, whichwas released on the Jacob MillerandAugustus Pablo 1975 album, Who Say Jah No Dread.Dub is based on versioning (remixing tracks with studio techniques) and a music aesthetic in which asong is never really finished or fixed in a final form.One musician's version or tracks can be reworkedwith the assumption that everyone in the music community knows and acknowledges the sources andremix. Dub techniques were appropriated by hip hop and studio producers in the US.

"Baby I love You So," one version AndAugustus Pablo's famous dub remix.
https://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=NmwwjikTHxwhttps://www.youtube.com/watch?v=JBYa6fm-Q8Ihttps://www.youtube.com/watch?v=JBYa6fm-Q8Ihttps://www.youtube.com/watch?v=ujZBY9-IN4Ahttps://www.youtube.com/watch?v=ujZBY9-IN4Ahttps://www.youtube.com/watch?v=ujZBY9-IN4Ahttps://www.youtube.com/watch?v=ujZBY9-IN4Ahttps://www.youtube.com/watch?v=qX5io6f9Ih0https://www.youtube.com/watch?v=qX5io6f9Ih0https://www.youtube.com/watch?v=qX5io6f9Ih0https://www.youtube.com/watch?v=qX5io6f9Ih0https://www.youtube.com/watch?v=JBYa6fm-Q8Ihttps://www.youtube.com/watch?v=JBYa6fm-Q8Ihttps://www.youtube.com/watch?v=ujZBY9-IN4Ahttps://www.youtube.com/watch?v=qX5io6f9Ih0https://www.youtube.com/watch?v=qX5io6f9Ih0https://www.youtube.com/watch?v=qX5io6f9Ih0https://www.youtube.com/watch?v=qX5io6f9Ih0https://www.youtube.com/watch?v=qX5io6f9Ih0https://www.youtube.com/watch?v=qX5io6f9Ih0https://www.youtube.com/watch?v=JBYa6fm-Q8Ihttps://www.youtube.com/watch?v=JBYa6fm-Q8Ihttps://www.youtube.com/watch?v=ujZBY9-IN4Ahttps://www.youtube.com/watch?v=JBYa6fm-Q8Ihttps://www.youtube.com/watch?v=ujZBY9-IN4Ahttps://www.youtube.com/watch?v=qX5io6f9Ih0https://www.youtube.com/watch?v=JBYa6fm-Q8Ihttps://www.youtube.com/watch?v=JBYa6fm-Q8Ihttps://www.youtube.com/watch?v=ujZBY9-IN4Ahttps://www.youtube.com/watch?v=ujZBY9-IN4Ahttps://www.youtube.com/watch?v=ujZBY9-IN4Ahttps://www.youtube.com/watch?v=qX5io6f9Ih0https://www.youtube.com/watch?v=qX5io6f9Ih0https://www.youtube.com/watch?v=JBYa6fm-Q8Ihttps://www.youtube.com/watch?v=JBYa6fm-Q8Ihttps://www.youtube.com/watch?v=ujZBY9-IN4Ahttps://www.youtube.com/watch?v=qX5io6f9Ih0http://en.wikipedia.org/wiki/Dub_musichttp://en.wikipedia.org/wiki/Augustus_Pablohttp://en.wikipedia.org/wiki/King_Tubbyhttp://en.wikipedia.org/wiki/Augustus_Pablohttp://en.wikipedia.org/wiki/Jacob_Millerhttp://en.wikipedia.org/wiki/Clavinethttp://en.wikipedia.org/wiki/Organ_%28music%29http://en.wikipedia.org/wiki/Pianohttp://en.wikipedia.org/wiki/Melodicahttp://en.wikipedia.org/wiki/Earl_Smith_%28musician%29http://en.wikipedia.org/wiki/Bass_guitarhttp://en.wikipedia.org/wiki/Aston_Barretthttp://en.wikipedia.org/wiki/Robbie_Shakespearehttp://en.wikipedia.org/wiki/Drum_kithttp://en.wikipedia.org/wiki/Carlton_Barretthttp://en.wikipedia.org/wiki/King_Tubbyhttp://en.wikipedia.org/wiki/Augustus_Pablohttp://en.wikipedia.org/wiki/Dub_musichttps://www.youtube.com/watch?v=qX5io6f9Ih0https://www.youtube.com/watch?v=JBYa6fm-Q8Ihttps://www.youtube.com/watch?v=ujZBY9-IN4A


17/37

High Tone, Lyon, France

High Tone Playlist (YouTube)

International dub diaspora:dub merges with hip hop, drum-n-bass, house, techno-electronica, dub step, and more. Some examples.

Dub techniques spread to the US, picked up by hip hopproducers, rap, drum and bass, house music, electronicmusic-- now it's a common language of music production.
https://www.youtube.com/watch?v=x329wzzW1Jchttps://www.youtube.com/watch?v=Xa5WHPWZ3aUhttps://www.youtube.com/watch?v=x329wzzW1Jchttps://www.youtube.com/watch?v=Xa5WHPWZ3aUhttp://www.youtube.com/watch?v=8K-9-JtYKXk&feature=list_related&playnext=1&list=MLGxdCwVVULXfH2N4sGshmmuDAAFC6XhWZhttps://www.youtube.com/watch?v=Xa5WHPWZ3aUhttps://www.youtube.com/watch?v=x329wzzW1Jc


18/37

Girl Talk,All DaySamples ListIllegal Art Website

Annals of Remix and

Sampling Collidingwith the Copyright Regime
https://www.youtube.com/watch?v=lzf8NNF1Af4https://www.youtube.com/watch?v=lzf8NNF1Af4https://www.youtube.com/watch?v=lzf8NNF1Af4https://www.youtube.com/watch?v=lzf8NNF1Af4https://www.youtube.com/watch?v=lzf8NNF1Af4https://www.youtube.com/watch?v=lzf8NNF1Af4https://www.youtube.com/watch?v=lzf8NNF1Af4https://www.youtube.com/watch?v=lzf8NNF1Af4https://www.youtube.com/watch?v=DZu_lLGFDtMhttps://www.youtube.com/watch?v=4bMM7tGV9MIhttp://illegal-art.net/allday/http://illegal-art.net/allday/samples.htmlhttp://illegal-art.net/allday/samples.html


19/37

Danger Mouse (Brian Joseph Burton)

YouTube Playlist

Danger Mouse (Brian Joseph Burton, born July 29,1977) is an American musician, songwriter andproducer. In 2004 he produced The Grey Album, whichcombined acapellas from Jay-Z's The Black Album withinstrumentals from The Beatles' White Album.He formed Gnarls Barkley with Cee-Lo Green andproduced their albums St. Elsewhere and The OddCouple. He produced the second Gorillaz album, 2005's

Demon Days, as well as Beck's 2008 record, ModernGuilt. He has been nominated for a Grammy Award inthe Producer of the Yearcategory 4 Times (2005, 2006,2008, 2010). He is currently producing U2's next album.
https://www.youtube.com/watch?v=3OYuFcKIKkMhttps://www.youtube.com/watch?v=wCyCc9U97NUhttps://www.youtube.com/watch?v=wCyCc9U97NUhttps://www.youtube.com/watch?v=wCyCc9U97NUhttp://en.wikipedia.org/wiki/Jay-Zhttp://en.wikipedia.org/wiki/The_Black_Album_%28Jay-Z%29http://en.wikipedia.org/wiki/The_Grey_Albumhttps://www.youtube.com/watch?v=wCyCc9U97NUhttps://www.youtube.com/watch?v=wCyCc9U97NUhttps://www.youtube.com/watch?v=wCyCc9U97NUhttps://www.youtube.com/watch?v=wCyCc9U97NUhttps://www.youtube.com/watch?v=wCyCc9U97NUhttps://www.youtube.com/watch?v=wCyCc9U97NUhttps://www.youtube.com/watch?v=wCyCc9U97NUhttps://www.youtube.com/watch?v=wCyCc9U97NUhttps://www.youtube.com/watch?v=wCyCc9U97NUhttps://www.youtube.com/watch?v=wCyCc9U97NUhttps://www.youtube.com/watch?v=wCyCc9U97NUhttps://www.youtube.com/watch?v=wCyCc9U97NUhttps://www.youtube.com/watch?v=wCyCc9U97NUhttps://www.youtube.com/watch?v=wCyCc9U97NUhttps://www.youtube.com/watch?v=wCyCc9U97NUhttps://www.youtube.com/watch?v=wCyCc9U97NUhttps://www.youtube.com/watch?v=wCyCc9U97NUhttps://www.youtube.com/watch?v=wCyCc9U97NUhttps://www.youtube.com/watch?v=wCyCc9U97NUhttps://www.youtube.com/watch?v=wCyCc9U97NUhttps://www.youtube.com/watch?v=wCyCc9U97NUhttp://en.wikipedia.org/wiki/Grammy_Award_for_Producer_of_the_Year,_Non-Classicalhttp://en.wikipedia.org/wiki/Modern_Guilthttp://en.wikipedia.org/wiki/Demon_Dayshttp://en.wikipedia.org/wiki/Modern_Guilthttp://en.wikipedia.org/wiki/Beckhttp://en.wikipedia.org/wiki/Demon_Dayshttp://en.wikipedia.org/wiki/Gorillazhttp://en.wikipedia.org/wiki/The_Odd_Couple_%28album%29http://en.wikipedia.org/wiki/The_Odd_Couple_%28album%29http://en.wikipedia.org/wiki/St._Elsewhere_%28album%29http://en.wikipedia.org/wiki/Cee-Lo_Greenhttp://en.wikipedia.org/wiki/Gnarls_Barkleyhttp://en.wikipedia.org/wiki/The_Beatles_%28album%29http://en.wikipedia.org/wiki/The_Black_Album_%28Jay-Z%29http://en.wikipedia.org/wiki/Jay-Zhttp://en.wikipedia.org/wiki/The_Grey_Albumhttps://www.youtube.com/watch?v=JbXLp2z6xL4https://www.youtube.com/watch?v=3OYuFcKIKkMhttps://www.youtube.com/watch?v=wCyCc9U97NUhttp://www.youtube.com/watch?v=DtfEYuZhDjo&feature=list_related&playnext=1&list=MLGxdCwVVULXcToK2Ddoy-aandrcbLXM0N


20/37

John Zorn: master hybrid jazz composerWhat is a "song" if it's an encyclopedia of many musical styles and genres?

YouTube Playlist
https://www.youtube.com/watch?v=w8Dt5OEe6p8https://www.youtube.com/watch?v=IsJXhNDW3r8https://www.youtube.com/watch?v=w8Dt5OEe6p8https://www.youtube.com/watch?v=IsJXhNDW3r8https://www.youtube.com/watch?v=w8Dt5OEe6p8https://www.youtube.com/watch?v=IsJXhNDW3r8https://www.youtube.com/watch?v=wlZTjsPx87ghttps://www.youtube.com/watch?v=MXkAr4w4cjYhttps://www.youtube.com/watch?v=w8Dt5OEe6p8https://www.youtube.com/watch?v=IsJXhNDW3r8http://www.youtube.com/watch?v=3DHQX7SwF1w&feature=BF&list=MLGxdCwVVULXeJfx9E7PpTLPTHgyiwvKOJ&index=4


21/37

Thievery Corporation, Eighteenth-Street Lounge, and ESLMusic (Washington, DC)

(website)

Interview with Eric Hiltonand Rob Garza

H b id M i M i P t P t d M i
https://www.youtube.com/watch?v=wX_pEHLhSG0https://www.youtube.com/watch?v=QjRvAq6K654https://www.youtube.com/watch?v=wX_pEHLhSG0https://www.youtube.com/watch?v=QjRvAq6K654https://www.youtube.com/watch?v=ZMQiK3MNlMchttps://www.youtube.com/watch?v=ZMQiK3MNlMchttps://www.youtube.com/watch?v=ZMQiK3MNlMchttps://www.youtube.com/watch?v=GmGyTw4pNr0https://www.youtube.com/watch?v=QjRvAq6K654https://www.youtube.com/watch?v=wX_pEHLhSG0http://www.eslmusic.com/https://www.youtube.com/watch?v=ZMQiK3MNlMc


22/37

Common encyclopedia: blues,pop, rock, jazz, soul, R&B, funk:acoustic and electric instruments1950s-1980s

Western music theory and history:classical to modern

Development of electronic music andprogrammable instruments: drummachines, synthesizers, tapelooping, sequencers: 1950s-80s

Reggae and Dubstudio techniques,late 1970s-90s European techno and

electronica styles,techniques, 1980s-2000s

Disco and popdance music:1970s-90s

US urban and clubstyles: R&B, funk,house, hip-hop,rap, 1980s-2000s

Punk, post-punkalternative rock

ESL and other studio productions, 2000-present

Experimental electronic &digital composition, Eno,art rock, sampling, hip-hop,1970s-90s

African and Africandiasporic music,Americas & Caribbean

The digital studio platform: fusion of acousticand electric instruments, digital recording,

software and digital production. It's all in there!

Hybrid Music Mapping: Post-Postmodern MusicESL Studios Production: A Case Study

Jazz fusion: jazz,rock, world music,electric instruments

DJ performance styles:turntables, sampling,beats, live & studiomash ups and mixes,1980s-2000s

Brazilian rhythms,samba, jazz Indian music:

tabla drums, sitar,other instruments

Middle Eastern musicstyles, instruments

Trip-hop,down tempo,techno,ambientelectronica

International post-hip-hop hybrid genreencyclopedia, globally distributed, post-2000
https://www.youtube.com/watch?v=ZMQiK3MNlMchttps://www.youtube.com/watch?v=ZMQiK3MNlMchttps://www.youtube.com/watch?v=ZMQiK3MNlMchttps://www.youtube.com/watch?v=ZMQiK3MNlMchttps://www.youtube.com/watch?v=ZMQiK3MNlMchttps://www.youtube.com/watch?v=ZMQiK3MNlMchttps://www.youtube.com/watch?v=ZMQiK3MNlMchttps://www.youtube.com/watch?v=ZMQiK3MNlMchttps://www.youtube.com/watch?v=ZMQiK3MNlMchttps://www.youtube.com/watch?v=ZMQiK3MNlMchttps://www.youtube.com/watch?v=ZMQiK3MNlMchttps://www.youtube.com/watch?v=ZMQiK3MNlMchttps://www.youtube.com/watch?v=ZMQiK3MNlMchttps://www.youtube.com/watch?v=ZMQiK3MNlMchttps://www.youtube.com/watch?v=ZMQiK3MNlMchttps://www.youtube.com/watch?v=ZMQiK3MNlMchttps://www.youtube.com/watch?v=ZMQiK3MNlMchttps://www.youtube.com/watch?v=ZMQiK3MNlMchttps://www.youtube.com/watch?v=ZMQiK3MNlMchttps://www.youtube.com/watch?v=ZMQiK3MNlMchttps://www.youtube.com/watch?v=ZMQiK3MNlMchttps://www.youtube.com/watch?v=ZMQiK3MNlMchttps://www.youtube.com/watch?v=ZMQiK3MNlMchttps://www.youtube.com/watch?v=ZMQiK3MNlMchttps://www.youtube.com/watch?v=ZMQiK3MNlMchttps://www.youtube.com/watch?v=ZMQiK3MNlMchttps://www.youtube.com/watch?v=ZMQiK3MNlMchttps://www.youtube.com/watch?v=ZMQiK3MNlMchttps://www.youtube.com/watch?v=ZMQiK3MNlMchttps://www.youtube.com/watch?v=ZMQiK3MNlMchttps://www.youtube.com/watch?v=ZMQiK3MNlMchttps://www.youtube.com/watch?v=ZMQiK3MNlMchttps://www.youtube.com/watch?v=ZMQiK3MNlMchttps://www.youtube.com/watch?v=ZMQiK3MNlMchttps://www.youtube.com/watch?v=ZMQiK3MNlMchttps://www.youtube.com/watch?v=ZMQiK3MNlMchttps://www.youtube.com/watch?v=ZMQiK3MNlMchttps://www.youtube.com/watch?v=ZMQiK3MNlMchttps://www.youtube.com/watch?v=ZMQiK3MNlMchttps://www.youtube.com/watch?v=ZMQiK3MNlMchttps://www.youtube.com/watch?v=ZMQiK3MNlMchttps://www.youtube.com/watch?v=ZMQiK3MNlMchttps://www.youtube.com/watch?v=ZMQiK3MNlMchttps://www.youtube.com/watch?v=ZMQiK3MNlMchttps://www.youtube.com/watch?v=ZMQiK3MNlMchttps://www.youtube.com/watch?v=ZMQiK3MNlMchttps://www.youtube.com/watch?v=ZMQiK3MNlMchttps://www.youtube.com/watch?v=ZMQiK3MNlMchttps://www.youtube.com/watch?v=ZMQiK3MNlMchttps://www.youtube.com/watch?v=ZMQiK3MNlMchttps://www.youtube.com/watch?v=ZMQiK3MNlMchttps://www.youtube.com/watch?v=ZMQiK3MNlMchttps://www.youtube.com/watch?v=ZMQiK3MNlMchttps://www.youtube.com/watch?v=ZMQiK3MNlMchttps://www.youtube.com/watch?v=ZMQiK3MNlMchttps://www.youtube.com/watch?v=ZMQiK3MNlMchttps://www.youtube.com/watch?v=ZMQiK3MNlMchttps://www.youtube.com/watch?v=ZMQiK3MNlMchttps://www.youtube.com/watch?v=ZMQiK3MNlMchttps://www.youtube.com/watch?v=ZMQiK3MNlMchttps://www.youtube.com/watch?v=ZMQiK3MNlMc


23/37

The artist as creative remixer, hybridizer of of art history and urban cultureJean-Michel Basquiat

The Radiant Child, Basquiat Documentary
https://www.youtube.com/watch?v=ZMQiK3MNlMchttps://www.youtube.com/watch?v=eXjR-y0WH-Ihttps://www.youtube.com/watch?v=eXjR-y0WH-Ihttps://www.youtube.com/watch?v=eXjR-y0WH-Ihttps://www.youtube.com/watch?v=eXjR-y0WH-Ihttps://www.youtube.com/watch?v=eXjR-y0WH-I


24/37

Fritz Lang's Metropolis (1927)http://www.kino.com/metropolis/

Human Hybrids, Body and Machine:

Beginnings of the idea of the cyborg, human-machine,human-computer hybrid, now a common element in the

cybercultural imaginary
https://www.youtube.com/watch?v=eXjR-y0WH-Ihttps://www.youtube.com/watch?v=eXjR-y0WH-Ihttps://www.youtube.com/watch?v=eXjR-y0WH-Ihttps://www.youtube.com/watch?v=eXjR-y0WH-Ihttps://www.youtube.com/watch?v=eXjR-y0WH-Ihttp://www.kino.com/metropolis/https://www.youtube.com/watch?v=ZSExdX0tds4https://www.youtube.com/watch?v=ZSExdX0tds4https://www.youtube.com/watch?v=ZSExdX0tds4http://www.kino.com/metropolis/


25/37

Cyborgs, androids, human-machine fusions:A long tradition of movies, imagery, fiction, theory, fashion.

True to postmodern moves, in popular culture, a style becomesstylization, detached from sources and encoded for marketing.
https://www.youtube.com/watch?v=KPcZHjKJBnEhttps://www.youtube.com/watch?v=c4Jo8QoOTQ4https://www.youtube.com/watch?v=LIdXmC9a3oUhttps://www.youtube.com/watch?v=KPcZHjKJBnEhttps://www.youtube.com/watch?v=c4Jo8QoOTQ4https://www.youtube.com/watch?v=LIdXmC9a3oUhttps://www.youtube.com/watch?v=KPcZHjKJBnEhttps://www.youtube.com/watch?v=c4Jo8QoOTQ4https://www.youtube.com/watch?v=LIdXmC9a3oUhttps://www.youtube.com/watch?v=KPcZHjKJBnEhttps://www.youtube.com/watch?v=KPcZHjKJBnEhttps://www.youtube.com/watch?v=c4Jo8QoOTQ4https://www.youtube.com/watch?v=LIdXmC9a3oUhttps://www.youtube.com/watch?v=GtqU57sR0B8https://www.youtube.com/watch?v=LIdXmC9a3oUhttps://www.youtube.com/watch?v=c4Jo8QoOTQ4https://www.youtube.com/watch?v=KPcZHjKJBnE


26/37

Christina Aguilera, Bionic

A Desperation Hybrid as RehashMarketing site: song tracks, videos

Christina Aguilera,Bionic, album collageby D*face

Now the cyborg lookis fetishized:it's sexy to bea machine

(but remix as rehashgets boring)
https://www.youtube.com/watch?v=LIdXmC9a3oUhttps://www.youtube.com/watch?v=LIdXmC9a3oUhttps://www.youtube.com/watch?v=LIdXmC9a3oUhttps://www.youtube.com/watch?v=LIdXmC9a3oUhttps://www.youtube.com/watch?v=LIdXmC9a3oUhttps://www.youtube.com/watch?v=LIdXmC9a3oUhttps://www.youtube.com/watch?v=LIdXmC9a3oUhttps://www.youtube.com/watch?v=LIdXmC9a3oUhttps://www.youtube.com/watch?v=LIdXmC9a3oUhttps://www.youtube.com/watch?v=LIdXmC9a3oUhttps://www.youtube.com/watch?v=LIdXmC9a3oUhttps://www.youtube.com/watch?v=LIdXmC9a3oUhttps://www.youtube.com/watch?v=LIdXmC9a3oUhttps://www.youtube.com/watch?v=cwprftNVZVIhttps://www.youtube.com/watch?v=cwprftNVZVIhttp://www.christinaaguilera.com/us/music/bionic-deluxe-edition


27/37

Album design/collage,D*face (larger image)


28/37

Janelle Mone, TheArchAndroid(2010)
https://www.youtube.com/watch?v=_lHHXeCm2ew


29/37

Lady Gaga as tech promoter

Lady Gaga's role as Polaroid'screative director by unveiling hernew "Gray Label" line ofphotographic gadgetry at the CESelectronics trade show short-

circuiting legions of pale techfanatics when she strutted her stuffin a black bride-of-Frankensteingetup while wearing Polaroid's newcamera sunglasses.

The glasses, dubbed the GL20,take photos and video and candisplay both on the exterior of theirlenses, which feature 1.5-inch LEDscreens, and a USB earpieceallows still images to be sent to aprinter via Bluetooth.


30/37

Michael Jackson posthumous remix(NYT article:After Death, The Remix)

St t t j h b id f f t t
https://www.youtube.com/watch?v=-oCCnxBos10https://www.youtube.com/watch?v=-oCCnxBos10https://www.youtube.com/watch?v=-oCCnxBos10https://www.youtube.com/watch?v=-oCCnxBos10https://www.youtube.com/watch?v=-oCCnxBos10http://www.nytimes.com/2010/12/12/arts/music/12jackson.htmlhttps://www.youtube.com/watch?v=-oCCnxBos10


31/37

JR: Multimodal artist:media, medium, location, imagery, city sites,

street and material locations

Artist's siteNew film: Women Are Heroes (site)Video site

Street art as a major hybrid form of contemporary art:JR
https://www.youtube.com/watch?v=-oCCnxBos10https://www.youtube.com/watch?v=-oCCnxBos10https://www.youtube.com/watch?v=-oCCnxBos10https://www.youtube.com/watch?v=-oCCnxBos10https://www.youtube.com/watch?v=-oCCnxBos10https://www.youtube.com/watch?v=-oCCnxBos10https://www.youtube.com/watch?v=-oCCnxBos10https://www.youtube.com/watch?v=-oCCnxBos10https://www.youtube.com/watch?v=-oCCnxBos10https://www.youtube.com/watch?v=-oCCnxBos10https://www.youtube.com/watch?v=-oCCnxBos10https://www.youtube.com/watch?v=-oCCnxBos10https://www.youtube.com/watch?v=-oCCnxBos10http://www.dailymotion.com/jrhttp://womenareheroes-lefilm.com/site_womenareheroes/http://jr-art.net/


32/37
https://www.youtube.com/watch?v=olb7znn4bn8https://www.youtube.com/watch?v=M5MEC5MPjvghttps://www.youtube.com/watch?v=DwTbTs59oNohttps://www.youtube.com/watch?v=yjqKS6Ajv9A


33/37

Hasan Elahi, Tracking Transience

Nine months after 9/11, Hasan Elahi, then an art

professor at Rutgers University and a US citizen,was detained at the Detroit airport after the F.B.I.received a bogus tip that he had stockpiledexplosives in a storage locker. Six months ofinterrogations and nine polygraph tests later, theF.B.I. let him go. But Elahi wasn't ready to let goof the F.B.I. In a sly swipe at the surveillancesystem that botched his case, Elahi has self-

consciously surrendered his privacy via apersonal self-surveillance Web site.

His conceptual art project, Tracking Transience,is a new hybrid combination of 24/7 diary, imageblog, and self-portrait, using GPS tracking andcell phone camera image uploads to his server.He is now a professor at the University ofMaryland.Colbert Report Interview videoPresentation at UMD

Hasan Elahi

"I feel quite comfortable havingthousands and thousands ofpeople watching me. In fact, if Iwere to disappear, people wouldnotice. So, while on one side it isa hassle, I'm not terribly worried

as what I get in exchangeoutweigh it."

If the government wants tomonitor me, thats fine. But Icould do a much better jobmonitoring myself.
https://www.youtube.com/watch?v=-oCCnxBos10https://www.youtube.com/watch?v=-oCCnxBos10https://www.youtube.com/watch?v=-oCCnxBos10http://www.colbertnation.com/the-colbert-report-videos/167606/may-07-2008/hasan-elahihttp://mith.umd.edu/1026-mith-digital-dialogue-hasan-elahi-tracking-transience-the-orwell-project/http://www.colbertnation.com/the-colbert-report-videos/167606/may-07-2008/hasan-elahihttp://trackingtransience.net/


34/37

Hybrid Culture/Hybrid MediumHybrid Genre

The photography of

Wang Qingsong

http://www.wangqingsong.com/index.php
http://www.wangqingsong.com/index.php


35/37

Wang Qingsong, Dormitory,2005


36/37

Wang Qingsong, Propaganda,artist at work.
https://www.youtube.com/watch?v=qLlCftCahtQhttps://www.youtube.com/watch?v=qLlCftCahtQhttps://www.youtube.com/watch?v=qLlCftCahtQhttps://www.youtube.com/watch?v=qLlCftCahtQhttps://www.youtube.com/watch?v=qLlCftCahtQ


37/37

Part 2: Music Examples

Jazz is always ahybrid music form

Fred Caplan on Kind of Blue in Slate
https://www.youtube.com/watch?v=qLlCftCahtQhttps://www.youtube.com/watch?v=qLlCftCahtQhttps://www.youtube.com/watch?v=qLlCftCahtQhttps://www.youtube.com/watch?v=qLlCftCahtQhttps://www.youtube.com/watch?v=qLlCftCahtQhttps://www.youtube.com/watch?v=qLlCftCahtQhttps://www.youtube.com/watch?v=qLlCftCahtQhttps://www.youtube.com/watch?v=qlIU-2N7WY4http://www.slate.com/id/2225336/

Documents

Hybridity Remix