Upload
alistair-stewart
View
216
Download
0
Embed Size (px)
Citation preview
7/28/2019 The Mash-up As an Approach to Understanding Modern Audiovisual Culture
1/27
The Mash-up
As an Approach to Understanding Modern Audiovisual Culture
Alistair Stewart
7/28/2019 The Mash-up As an Approach to Understanding Modern Audiovisual Culture
2/27
2
Abstract
Drawing on a wide variety of artistic disciplines, this essay develops a critique of the Mash-up by
examining its transformative power within contemporary audiovisual culture and its interaction with art
and technology. Existing Mash-ups and digital artworks are considered in reference to a futuristic
singularity of culture and the homogenisation of our audiovisual landscape. As the subject matter deals
with the alternative configurations and possibilities of recorded material, this reflects in the way the
research paper is constructed.
7/28/2019 The Mash-up As an Approach to Understanding Modern Audiovisual Culture
3/27
3
Contents
Abstract 2
Introduction 4
Chapter 1: The Source
Towards a Definition of The Mash-up 6
Authenticity and Originality 8
The Essence of The Digital 11
Expanded Listening 13
Chapter 2: Audio Culture and Technology
Live in the Age of Technological Presentation 15
Reactivating Nostalgia 17
Homogenisation of Genre 19
The Cultural Singularity: In Lieu of a Conclusion 21
List of Works 24
Bibliography 25
7/28/2019 The Mash-up As an Approach to Understanding Modern Audiovisual Culture
4/27
4
Introduction
This research paper focuses on the cultural practice and wider implications of audiovisual Mash-ups, both
destructive and progressive within modern audiovisual culture. Modern in this case refers both to artistic
modernism associated with the avant-garde movements of the 1920s and modern music in the last fifty
years. In addition, the phrase audiovisual culture describes our current mediated experience of
television, film, video games and media art, which can be divided into two distinct life worlds [1].
Salom Voegelin defines these life worlds in relation to sonic art and a sounds ability to shape the reality
of the physical world by involving or distancing a listener in what they perceive. In this case, I have
adapted this definition to include the visual. The first life world can be thought of as the everyday
environment where we experience audiovisual interruptions from advertisements, ephemeral visual
media, mobile phones and machine noise. The second world can be thought of as the online digital space,where we can be connected to each other at all times due to the proliferation and accessibility of
technology. In addition, we have instant access to an ever-expanding archive of audiovisual material.
Consequently, we are now part of a culture where heavy sampling is the dominant form in artistic
production.
Therefore, it becomes critical to assess the role of this immersion within contemporary culture, as the
Mash-up in our modern understanding has acquired several different meanings. The term is most often
used to describe songs that interlace multiple distinct styles of music into one audio track. An example
could be a rock song synced to a well-known hip-hop beat. In this case, the song functions both as a
Mash-up and a remix. However, the remix differs from the Mash-up as the former tends to re-version
existing musical tracks by changing an aspect of its production, often altering the song to fit a particular
genre, such as adding an emphasised drum beat to create a club mix. Each artist I will discuss reflects a
different aspect of the Mash-up. In particular, I examine the work of Nick Bertke, also known as Pogo,
whose body of work can be considered as a new method of remixing consumer culture. Whereas most
existing Mash-ups focus on transgressing genre designations by combining dissimilar musical styles,
Bertkes audiovisual Mash-ups are distinctive because they focus on small elements of the score or vocal
track from a film, which are re-combined to produce new relations. It is the particularity of this
experimentation that I am addressing. Its consideration as an artistic cultural practice encompasses the
extreme attention to each sonic detail and his devotion to an overall technique or aesthetic choice in the
films he uses.The complexity of his videos comes from the arrangement of audiovisual elements and the
pure experience of this combination, forming new relations with recognisable material.
[1]Salom Voegelin.Listening to Noise and Silence: Towards a Philosophy of Sound Art, Continuum, 2010, p.11.
7/28/2019 The Mash-up As an Approach to Understanding Modern Audiovisual Culture
5/27
5
The first chapter of this essay entitled The Source establishes an aesthetic foundation, origin and criticism
of the Mash-up. The second chapter, Audio Culture and Technology, responds by dealing with this
emerging work confronted with the idea of a Cultural Singularity and the possible homogenisation of
culture. In this case, the term singularity is derived from physics to talk metaphorically about an event
horizon, or point in space and time that is difficult to see beyond. Science fiction writer Vernor Vinge
builds on this foundation by considering the possibility of a Technological Singularity, whereby
technology becomes conscious within a relatively short time and comes to possess superhuman intellect
[2]. Consequently, by using the Technological Singularity as a model, the Cultural Singularity would be a
theoretical point in which culture is able to create more, better culture automatically. For instance, in a
post-cultural singularity world, culture would become increasingly self-referential and more complex in
both its construction and execution. It would essentially show up and improve at a constantly increasingrate. Therefore, how will current the methods of instant communication influence an ever-expanding
network of Mash-up artists and their imitators? In this case, the imitators refer to individuals who copy a
particular style of remixing commonly attributed to one person. The singularity can be connected to what
William Gibson describes as a type of consensual hallucination, a term he left undefined. Nevertheless,
the phrase relates to his notion of Cyberspace as The point at which media (flows) together and
surrounds us you can literally wrap yourself in media and not have to see whats really going on around
you [3 ]. Yet, as this technologically suffused cultural layer that surrounds us is represented as a
constantly evolving process, generating unpredictable combinations of audiovisual information in the
form of Mash-ups, the interactions that occur become increasingly more complex and difficult to predict
or control.
[2]Vernor Vinge. The Coming Technological Singularity, Whole Earth Review, 1993, p. 90.
[3]William Gibson.Neuromancer, Voyager, 1995, p. 69.
7/28/2019 The Mash-up As an Approach to Understanding Modern Audiovisual Culture
6/27
6
Chapter 1: The Source
Towards a Definition of The Mash-up
Artists have long recognised the centrality of appropriation, fusion and recapitulation within their creative
practice. Naturally, it becomes difficult to establish the point at which remix culture began. As an
audiovisual language build upon fragmentation and juxtaposition, the collage, established by Picasso and
Georges Braque, could be considered to be one of the first methods of systematic engagement that
express what Budd Hopkins in his essay describes as the collage aesthetic. According to Hopkins, the
collage is a type of non-linear elliptical narrative[4]
that assembles information from a multiplicity of
sources across time and place to intervene within popular culture, mass media and copyright law so as to
symbolically recreate the complex reality that we live in. Thus, the collage has the power to be
both deconstructive and reconstructive. It replaces the idea of the modernist term montage, which for
filmmaker Sergej Eisenstein, consists of a reconstruction of the event in fragments, each of which will
summon a certain association the sum of which will be an all-embracing complex of emotional feeling
[5]. The montage, as opposed to the collage, deals with the juxtaposition of individual cells of film and the
sequential, more formal arrangement of this material within the setting of an entire film. This process is
used in order to achieve an emotional response, which persuades or attracts the audience towards a
realisation gathered from a particular combination of images. Salom Voegelin talks about experiencing a
visual gap, noting that seeing always happens in a meta-position, away from the seen and this
distance enables a detachment and objectivity that presents itself as truth[6]
. The truth of the images
becomes apparent through the perceived certainty of the image. An example could include a gunshot,
blood dripping on a pair of shoes, a train speeding past then a woman screaming. These particular
sequences of clips clearly illustrate significant moments in time that whether we choose to or not, are
observed the same way in each case. Hearing the sounds of a gunshot, a train and then screaming in the
context of a filmic montage occurs simultaneously with the visual. Many avant-garde film theorists such
as Eisenstein see montage as emphasising the fragmentary, allegorical, and, indeed, technological status
of its own construction[7]
. His techniques are continued within a contemporary form of montage named
the supercut, an emerging format in the genre of Mash-ups that obsessively isolates a single element
[4]
Budd Hopkins.Modernism and the Collage Aesthetic , New England Review, Vol. 18, 1997, p. 6.[5] Sergej Eisenstein.A Dialectic Approach to Film Form,Essays in Film Theory, London, 1949, p. 15.[6]
Voegelin. Introduction:Listening to Noise and Silence,p. xii.[7]
R.L. Rutsky.High Techn, University of Minnesota Press, p. 91.
7/28/2019 The Mash-up As an Approach to Understanding Modern Audiovisual Culture
7/27
7
from its source, usually a word, phrase, or clich [8]. Drawing inspiration from traditional montage
techniques, the Mash-up aims to expose overused themes and conventions by providing an entertaining
critique that in many ways, represents a thematisation of popular culture by encouraging interaction,
feedback and production.
Whereas montage is a process of editing that uses linked fragments, collage differentiates itself through
an involved participation in interpreting the sonic or the visual elements at their source. Rather than an
objective or a fixed interpretation, the emphasis is given to the simultaneous unity and heterogeneity of
the source material. It often implies a shared meaning or the possibility of different interpretations. This
understanding of collage, taken from the visual arts and literature, spread to avant-garde experiments with
tape loops in the 1970s and continued with the sampling of existing recordings in 1980s rap music and
wider popular music. This fabrication of recorded material, ubiquitous in modern audiovisual culture of
the last half of the twentieth century, embraces fragmentation and shared meaning and challenges the
totalising dynamic of the montage. Therefore, the Mash-up in the broadest sense can be described as the
appropriation, sampling and mixing together of different sources in the process of authoring a new
composition. Yet, William Gibson, in reaction to the literary cut-up methods of William S. Burroughs,
suggests:
Our culture no longer bothers to use words like appropriation or borrowing to describe those very
activities. Todays audience isnt listening at all its participating. Indeed, audience is as antique a termas record, the one archaically passive, the other archaically physical. The record, not the remix, is the
anomaly today. The remix is the very nature of the digital[9].
Gibson seems to acknowledge the individual as a mediator of culture and not just a spectator. His analysis
possibly represents a more imaginative science-fictional engagement with audiovisual culture. Therefore,
what becomes evident is that contemporary Mash-ups are inseparable from the technology used to create
them. The consequence of this technological and sometimes autonomous process characterises the
problem of originality and authenticity within a universally accessible digital space where nothing is
constant and audiovisual material is imagined and brought into being continually.
[8]Definition taken from http://supercut.org/about, an online hub for obsessive video montage.
[9]William Gibson. Gods Little Toys: Confessions of a Cut and Paste Artist, Wired Magazine, 2005.
7/28/2019 The Mash-up As an Approach to Understanding Modern Audiovisual Culture
8/27
8
Authenticity and Originality
The idea of authenticity or authentic experience is an important consideration when examining the
function of Mash-ups within a complex technological culture. Authenticity within art expresses the
degree to which an artist's work is a committed, subjective manifestation of their personal identity, rather
than a derivative, inauthentic copy. Historically, an artists personality would have been of little
importance. However, as the ease of technological reproduction increases, our culture demands that an
artists uniqueness or style is somehow imbued into their work, suggesting that artists are viewed as
irreplaceable systems of creative production both during their lifetime and after they are gone. In Martin
Heideggers Being and Time, his representation of an authentic being-in-the-world is one focused
towards a form of being that has an awareness of its own mortality, and is defined by its temporality, or
being-in-time. Heidegger reinterprets the temporality of existence not as linear, but as negotiating the
space between past facts and future possibilities, something changing in me (the past) and something
permanent outside of me [10] (the future). He also addresses the primordiality of existence; that as
humans, we posses the knowledge of when we came into being, and experience the paradox of living with
other individuals, whilst ultimately being alone. Furthermore, Heideggers characterisation of authentic
being (dasein) is described as an impassioned freedom towards death freedom which has been
released from the illusions of the "they", and which is factical, certain of itself, and anxious [11]. This
impassioned freedom towards death individualises dasein, and the resulting individualisation is what he
calls authenticity. Heidegger takes dasein to symbolise more than a single characteristic of Being and thus
he redefines it as something distinctive about human existence, what John Haugeland describes as
neither people nor being, but rather a way of life[12]
. However, establishing the boundaries of this
difference becomes very problematic throughoutBeing and Time.
Heideggers view of existence applies to art in so such as it requires the artist to prove their individuality
through this negotiation of past and future, largely achieved through placing a unique creative will into
their work. For the Mash-up, this manifests itself through a particular remix technique that functions as a
type of cultural signifier. Therefore, the rarity of an individual Mash-up artists technique becomes an
essential quality, and by extension, the way in which they negotiate and respond to a world of complexity,
shaped by the historical past and the possible future. Yet, Mash-ups often blur the boundaries between
creator and consumer and low and high culture, i.e. between the talented artists and the hopeless
amateurs[13]
. For instance, inPostproduction,Nicolas Bourriaud writes about high culture as enshrined
[10]Martin Heidegger.Being and Time, trans. J Macquarrie, E. Robinson, Oxford: Basil Blackwell, 1962, p. 248.
[11]
Heidegger. Being and Time, p. 311.[12] John Haugeland.Reading Brandom Reading Heidegger, European Journal of Philosophy, Vol.13, Issue 3. Blackwell
Publishing, 2005, p. 423.[13]
David M. Barry et al.New Aesthetic, New Anxieties. Amsterdam: V2, 2012, p.32.
7/28/2019 The Mash-up As an Approach to Understanding Modern Audiovisual Culture
9/27
7/28/2019 The Mash-up As an Approach to Understanding Modern Audiovisual Culture
10/27
10
Consequently, the established view of originality functions as a transformative element within the Mash-
up. The ability to form new associations with source material intervenes with conventional ideas
surrounding originality and the originator. However, does this mean the originator becomes a novelty?
Art critic Rosalind E. Krauss describes originality as a working assumption that itself emerges from a
ground of repetition and recurrence [19]. Indeed, this definition applies to the essence of popular music,
which becomes a singularity of sound, with each detail becoming substitutable. This idea is explored
online at soundsjustlike.com [20]. The site exposes many commonalities between distinctive popular songs
of varying genres. Interestingly, even though the possible number of melodies is gigantic, our culture
tends to gravitate towards certain patterns we like more than others and we are clearly influenced by what
came before, though we do not seem to be neurologically wired to care. In fact, the connectedness and
similarities are more enjoyable. Frederic Jameson talks about the increasing predominance of pastiche,
incorporation and plagiarism as an overriding feature of postmodernism and the culture of late capitalism,
supplanting the notion of the original author and expressing the erosion of the older distinction between
high culture and so called mass or popular culture [21]. Unlike Krauss, Jameson argues for an approach
that maintains the boundaries of culture, suggesting that the human subject has not evolved
contemporarily with the external world and this gap has become the source of our fragmentation as
individuals. Nevertheless, the Mash-up becomes a way of managing the boundaries between the human
subject and autonomous technology, while remaining sceptical of unpredictable new patterns whose
results we cannot yet foresee.In other words, we need to hear the mash-up as a critical intervention in and
fundamental reconfiguration of the primary concept of originality and authenticity.
[19]Rosalind E. Krauss. The Originality of the Avant-Garde and Other Modernist Myths, MIT Press, 1986, p. 7.
[20]Adam Wagner. Sounds Just Like: An index of songs that sound like other songs: http://soundsjustlike.com/.
[21]Frederic Jameson,Postmodernism and Consumer Society. London: Pluto Press, 1985, p. 112.
7/28/2019 The Mash-up As an Approach to Understanding Modern Audiovisual Culture
11/27
11
The Essence of The Digital
We are living in an era of incredibly large amounts of digital information. Anything from a gigabyte
(billion), terabyte (trillion) or a petabyte (quadrillion) of data is created by a combination of sophisticated
Global Positioning Systems and human generated text-based interactions. The phone calls, faxes, email
messages and satellite transmissions - are typically illegible streams of data. Incredibly transient: it is
created, used, and discarded in a few seconds without ever being seen" [22]. Scientists at the University of
California in San Diego estimated that based on data from 2008, global information consumption
exceeds 9,570,000,000,000,000,000,000 bytes (or 9.57 zettabytes) per year [23]. We are effectively
making more information about ourselves than we can actually consume. Thus, as computing power
increases in its complexity, we can expect information output to increase relative to technological
progress.
In the context of contemporary production, the role of the VJ can be seen as a type of information filter,
or a search engine for sound. VJs look for beats and pieces of audiovisual material and try to construct
an abstract, dematerialised sculpture from it. The change is one from seeing audiovisual material as fixed
in space and time into one that acknowledges the fluidity and unpredictable mutations of the techno-
cultural world. By playing with music and visuals as information, the VJ becomes a composer of
recordings. Bourriaud describes such artists as semionauts who produce original pathways throughsigns
[24]. His notion of the semionaut or semiotic explorer features widely throughout Postproduction.
When artists are free to explore all dimensions of the past and present, the amount of information visible
to them grows exponentially. However, the majority of popular culture does not exist in the public
domain and is protected by copyright law and as a result, frequently becomes the main focus for DJs and
VJs. This archive of audiovisual material forms part of their artistic palette and the recorded medium
itself becomes what they use for creative expression.
The acquisition of new media by artists has also accelerated as a result of the digital. This is evident in the
concept of a New Aesthetic, or the manifestation of the digital in the physical world, which is described
as a particular sensibility arising out of a disruptive network culture [25]. This acquisition has increased
so much that we now live in a culture of the copy. These ephemeral, dematerialised recordings become
usable software, overturning the established notion of scarcity in art, from a type of market driven
material based on a shortage, to one of dispersion. However, not only does the Mash-up and the process
[22]
Caroline Smith. This is How Much Information The World Consumes Each Year, Huffington Post, July 2011.[23] Smith. Huffington Post, July 2011.[24]
Bourriaud.Postproduction, p. 9.[25]
David M. Barry et al. New Aesthetic, New Anxieties, p. 11.
7/28/2019 The Mash-up As an Approach to Understanding Modern Audiovisual Culture
12/27
12
of sampling filter information, it also democratises taste and allows an artist to have infinite perspectives
of the same material. A democratisation of taste can be found in DJ Foods 2004 project The History of
the Cut-up: Raiding the 20th Century[iv]
feat. Strictly Kev and Paul Morley. The document is a 40-minute
attempt to catalogue Mash-up culture and contains a mix of tape manipulation, turntable mega mixes and
introductory theme music. The mix was only released on the Internet; it has no physical release and so
becomes a dematerialised sculpture where separate audio tracks disappear through the technological
processes of montage and become one massive sonic object. The result is a fragmented experience similar
to rapid channel switching.
Conversely, the digital becomes exposed and reconfigured in Takeshi Muratas Untitled (Pink dot)[vi]
,
which samples from the 1982 film Rambo: First Blood. Through a process known as data moshing,
Murata intentionally corrupts the digital file by removing certain sections of data, creating a seething
mass of digital sludge and unpredictable cascading visuals. The sound, a series of low tones, pulsates
hypnotically in time with a pink dot in the centre. Essentially, Bourriaud could classify Murata in terms of
a postproduction artist [26]. However, Murata arguably transcends the DJs production method of cut-up,
assemblage and looping by scrambling the source material, intervening in the original digital file by
allowing the viewer to perceive it beyond a fixed interpretation. Bourriauds analysis of artists as
semionauts also holds little value for Murata, who seems to reject the signs or cultural associations of
Rambo. He could have essentially used any film that, when subjected to his reductive digital post-
processing, would have given a similarly unpredictable result. His practice embodies Gibsons fictional
digital worlds based on interactivity with a technological other, where humans become subsumed in a
network of information or participants in a chaotic mix of techno-culture: We can hope to learn, not how
to control it, but how to hack its codes, to reroute the subroutines of its logic in order to create new
patterns of interaction [27]. The fluidity of information creates a techno-culture too complex to be
predicted or controlled. Still, the Mash-up becomes part of this complex information archive, exemplified
by DJ Food in his mega mix, which negotiates information excess by introducing derivative works based
on a personal classification instead of popular taste.
[26]Bourriaud.Postproduction, p. 19.
[27]Rutsky.High Techn,p. 127.
7/28/2019 The Mash-up As an Approach to Understanding Modern Audiovisual Culture
13/27
13
Expanded Listening
Over the last century, artists and theorists were trying to figure out the role of the found object within art.
Within contemporary artistic production, we are now considering the role of the found sonic object within
our listening experience. In the early 1940s, Pierre Schaffer pioneered musique concrte; a compositional
technique using recorded everyday sounds as raw material, creating an assemblage of various natural
sounds to produce an aural montage. These sounds are translated into virtual instruments that can be used
kinaesthetically through direct experimentation with technology. This experimentation leads to the
concept of expanded listening, or a broadening of sounds that are considered musical. However, it was
arguably the Futurists who first explored the idea we now refer to as expended listening. The Futurists
were part of a short-lived art movement at the start of the 20 th century that embraced technology, violence
and speed. Their most prominent practitioner, Luigi Russolo thought that all sounds are musical and that
noise is just a meaningless categorisation. He wrote in his Futurist manifesto The Art of Noise that music
must break out of the restricted circle of pure sounds and conquer the infinite variety of noise
sounds{28]. Furthermore, he imagined a futurist orchestra of noise sounds, all of which feature
prominently in Dubstep, a contemporary avant-garde form of the Mash-up that has crossed over into
popular music and achieved mainstream success.
The Futurist concept of noise is most evident in Dubstep for a variety of reasons. Firstly, it is composed
of inharmonic sounds, containing a mixture of complex, shifting tempos, sine waves, square waves,massive kick drums and sampled vocals. Changes in technology and music genres have prepared
mainstream listeners as we now have a context for all the sounds we hear, drawn from the last 30 years of
popular culture. In Listening to Noise and Silence, Salom Voegelin writes, noises expands listening to
an extreme and exaggerates the issue of communication demanding through its uncompromising nature
a direct confrontation [29]. Dubstep is confrontational and polarises the listener with digital noise, chaotic
samples and frenzied production techniques. However, similar to other popular forms of music, it follows
a certain recognisable pattern. Science writer Phillip Ball investigates the biological basis of harmonic
predictability and surprise, writing that the effectiveness of a section of music rests on our ability to
discern patterns in the notes and rhythms and use them to make predictions about what will come next.
When our anticipations are violated, we experience tension; when the expectation is met, we have a
pleasurable sense of release [30]. The musical drop within Dubstep characterises this sense of release
and usually involves the introduction of a strong bass line, a heavy shuffling beat, additional percussive
{28]Luigi Russolo. The Art of Noise, 1913. Trans. Robert Filliou, New York: Something Else Press, 1967, p. 6.
[29] Voegelin,Listening to Noise and Silence, p. 44.[30]
Phillip Ball,Harmonious minds: the hunt for universal music, New Scientist, 2010.
7/28/2019 The Mash-up As an Approach to Understanding Modern Audiovisual Culture
14/27
14
sounds and cut-up vocals. Thus, with a sonic landscape so huge, popular music has become more
expansive and inclusive of conventionally non-musical sound. The genre of Dubstep raises questions as to
whether Mash-ups represent the end of innovative artistic production, or simply express the continuous
expansion of what we experience as ordinary. In the next chapter, I address how the Mash-up has been
altered by technology and wider culture, focusing on how artists are separated from performing their own
work through technology.
7/28/2019 The Mash-up As an Approach to Understanding Modern Audiovisual Culture
15/27
15
Chapter 2: Audiovisual Culture and Technology
Live in the Age of Technological Presentation
As the Mash-up has expanded our listening experience, its popularity in contemporary artistic production
has contributed to the rise in both compositional based presentation and performer-based interaction. A
performance can be understood as a spatiotemporally delineated event that refers to the physical activity
of playing material live whilst engaged with an audience in a ritual setting. There is within this setting an
expectation that the performer satisfies and this satisfaction generates a fanbase surrounding the
performer. In contrast, the standard method of compositional presentation now takes the form of
immaterial music files on a computer, deconstructed and manipulated in a live situation. Essentially,
contemporary audiovisual presentation becomes a performance of compositions that are based on an
expectation of the recording, suggesting the live experience profoundly mediates the recording. Writer
Stan Godlovitch considers how the traditional view of musical performance no longer faithfully
represents the general enterprise of communication. A musical work only fully emerges through its
instances [31], meaning that until something is heard live, it is impossible to know. Though what if these
instances are not sufficiently diverse? It must then be based on something other and maybe that
otherness is the constructed realism of the recording.
Our listening experience of Mash-ups is fragmented and generally an experience of information we
already know from a recording. It has advanced to such an extent that it is almost impossible to have an
unmediated listening experience. Sound engineers intentionally design the live performance to sound like
a recording, because that is what we are expecting. Consequently, the Mash-up has become more of a
media type than a performing art. We consume it almost entirely as a disembodied stream of audiovisual
information, not as a performance of live material. In Scripts Grooves and Writing Machines, Lisa
Gitelman talks about the difference between reality and the constructed realism of the recording,
describing the technology of the Phonograph and Motion Pictures as realist vehicles and fantasy
machines that continue to personify mediations between machine and human experience [32]. For
Mash-ups, the reality is the real performance, expressed in DJs remixing the recorded medium or the
video artist creating audiovisual glitches in digital files. However, the recording, especially regarding
popular music, has a constructed realism that has been edited to sound real.
[31]Stan Godlovitch.Musical Performance: A Philosophical Study, Psychology Press, 1998, p. 90.
[32]Lisa Gitelman. Scripts Grooves and Writing Machines: Representing Technology in the Edison Era, Stanford University
Press, 1999, p. 154
7/28/2019 The Mash-up As an Approach to Understanding Modern Audiovisual Culture
16/27
16
Though, what if the live performance itself becomes sufficiently diverse? In the case of comedic
performer Reggie Watts, the diversity originates from improvised Mash-ups created using his own voice
and controlled through a combination of loop pedals and a compact audio mixer. Watts concurrent
audiovisual spectacle relates to Godlovitchs idea of music emerging through instances. For example,
Watts constantly shifts musical genre, perception and an audiences expectations, totally exploiting the
live element of performance by changing voices and adapting material live to fit into a particular context.
His performances become mediated experiences through a different process than a prefabricated
composition. In essence, he could be observed as a type of DJ. However, more interestingly, he uses
himself as a filter to bring forth material that is impossible to categorise. Therefore, each improvised
moment becomes a remix of all genres in constant variation: A constructed realism of the real substance
of recording medium.
In contrast to Watts, Nick Bertkeslive performances become a collective dream or a type of consensual
hallucination. In place of the traditional Mandelbrot fractals and formulaic time-lapse sunrises present in
the majority of DJ sets, Bertke creates an environment where an audience enthusiastically watches an
hour-long video comprised from a collection of films that has been edited together with meticulous care
and attention. Its effectiveness lies in his ability to condense a two-hour movie into a rich and resonant,
euphoria-drenched video piece. Maurice Merleau-Ponty wrote that in perception, we do not think the
object and we do not think ourselves thinking it, we are given over to the object and we merge into this
body that is more informed than we are about the world [33]. When we experience an almost immaterial
performance of audiovisual samples, we are not thinking about transverse pressure waves or light
emanating from a screen, although thats exactly what is being perceived. The moment we experience
these phenomena, during a live performance surrounded by others or in a quite gallery, they assemble
along with everything else and we become aware. Heidegger describes this awareness as poesies or a
bringing forth; the moment where the stuff that makes up the artwork becomes more than the sum of its
parts and you have a sort of realisation. The combination of these particular qualities and the effect on
you specifically and the creation of a relationship between you and the culture or community through this
shared experience create something vastly more than the sum of its parts.
{33]Maurice, Merleau-Ponty.Phenomenology of Perception, trans: Colin Smith, London: Routledge, 2005, p. 277.
7/28/2019 The Mash-up As an Approach to Understanding Modern Audiovisual Culture
17/27
17
Reactivating Nostalgia
The idea sampled previously about a historical past, symbolises the effort of archiving what we, as a
contemporary culture want to remember. This primarily involves treating recent history as alive and
tangible. Accordingly, the main reason why artists decide to produce Mash-ups at all can be attributed to
this dynamic audiovisual archive, or perhaps a sense of classical nostalgia. Typically, classical nostalgia
manifests itself as a painful ache in longing for something that cannot be recreated. So, at the same time
as remembering something, you are confronted with the realisation that it is gone or unattainable. This is
distinct from a post-ironic nostalgia, where an individuals ironic appreciation of something becomes
inauthentic, deriving not from a sincere wish to recreate a memory, but from how much better the object
that came before it was. For instance, a preference towards out-dated design, the dislike of the mp3 file
type in favour of 7-inch vinyl or a longing for retro video game culture to rematerialise. Due to adichotomy of intense happiness in the recollection of a particular memory and the sadness that the
memory has ultimately passed, it can be described as a response to the experience of loss endemic in
modernity and late modernity[34]
, an idea similar to Frederic Jamesons understanding of fragmentation
within postmodernism and late capitalism. Jameson suggests the postmodern work is characterised by a
lack of depth, what he refers to as a historicism [35], defined as a cultural recycling of past audiovisual
information whose meaning has become free-floating and impersonal. Though what happens when the
collective nostalgia that saturates our recent recorded history becomes an archival game within the Mash-
up?
Cassette Boy takes ordinary television footage and edit, cut-up then loop sections of visuals or dialogue
creating numerous juxtapositions of meaning. In Cassette Boy vs Nick Griffin vs Question Time [iii],their
editing process becomes the medium in which they extract humour whilst ridiculing the shows guest and
its content. Though not directly expressing the sensations of nostalgia, they are still effectively playing
with fragments of collective memory: playing with the familiar, a process comparable to exposing the
magical realism in everyday life. Jean Baudrillard in Simulacrum and Simulations imagines that when
the real is no longer what it used to be, nostalgia assumes its full meaning. There is a proliferation of
myths and signs of reality; of second hand truth, objectivity and authenticity and there is a panic
stricken production of the real and the referential[36]
. Cassette Boy represents a rejection of the reality of
television, a type of second hand truth and re-appropriates the real media to create an illogical
reconfiguration of the event that in its edited form, did not take place.
[34]Michael Pickering, Emily Keightley. The Modalities of Nostalgia, Current Sociology, Nov 2006, Vol. 54(6): 919-941.
[35]Frederic Jameson,Postmodernism, or, The Cultural Logic of Late Capitalism, Durham: Duke University Press, 1991.
[36]Jean Baudrillard, Simulacrum and Simulations, in Mark Poster (ed.), Cambridge: Polity Press, 1989, p.171.
7/28/2019 The Mash-up As an Approach to Understanding Modern Audiovisual Culture
18/27
18
However, central to post-ironic nostalgia is the notion of ambivalence, the simultaneity of two usually
conflicting emotions. Within this observation, the concept transforms into a poetic or romantic nostalgia,
where the historical past has become a utopia where time has stopped and we have substituted in its place
an idealised reference point to constantly refer back to. This idea is demonstrated in the posthumous use
of the analogue record in existing remixing and turntablism, even though digital files are equally
malleable, though largely in an unphysical way. Thus, perhaps due to the physicality of the record and DJ
acting physically on the object being used [37], the record has endured in contemporary production.
Composer and writer Daniel Warner reflects on the record as a cultural device, expressing that sampling
has recreated the gramophone record as a craft instrument, an analogue, expressive voice, made
authentic by nostalgia [38]. Now within the digital world, it could be argued that Nick Bertke makes
audiovisual Mash-ups that relate to young adults of his own generation through focusing primarily on
childhood films. In Bangarang
[ii]
a Mash-up of sounds from the Steven Spielberg film Hook, thecomplexity of his remix aesthetic comes from the sonic arrangement and the almost pure experience of
nostalgia through recognizable sounds from the film, forming new associations with recognisable
material. Fundamentally, Bertke allows us to be kids again. In mining some of the richest of our
childhood recollections in such a powerful way by combining visuals and music, he re-activates residual
childhood memories that may have been almost forgotten. When spliced with visuals which most of us
have burned into memory, his Mash-ups slice strait through the billions of mundane moments recorded by
our brains over the years. In exploiting residual memory as an expressive power, we experience a
complex swell of emotional feeling that is analogous to euphoria and nostalgia assumes its full meaning.
[37]Bourriaud.Postproduction, p. 19.
[38]Christoph Cox, Daniel Warner.Audio Culture: Readings in Modern Music, Continuum London, 2004, p.151.
7/28/2019 The Mash-up As an Approach to Understanding Modern Audiovisual Culture
19/27
19
Homogenisation of Genre
We now exist in a time when the prevailing cultural forms in artistic production are focused around
standardisation. Arguably, we are at a point of so much cross-cultural pollination that we are essentially
permuting combinations of every genre in each art form. For example, music production has always been
about networks or certain methods of exchange. Communities still enjoy different styles of music, but if
there is one thing that technology has done, it is to destabilize these categories even further. Very few
people listen to an album all the way through, maybe selecting a few tracks as their favourite. What then
happens as a result is that people trade. Consequently, through these networks of exchange, music has
become a de-materialised currency, a quality essential to contemporary Mash-ups.
The process of homogenisation has equally created a surge of derivative work that references its own
construction. Oliver Larics 2010 video installation Versions [V], narrated by a synthetic female voice,
plays with this notion and journeys from ancient sculpture to Internet memes via Walt Disney cartoons.
Laric does this in order to plot an idiosyncratic timeline of image appropriation, clashes and
multiplications. The simultaneous presentation of the homogeneity of two different scenes from separate
Disney films is particularly interesting. The animators reuse the same basic frames in both The Jungle
Bookand Winnie The Pooh. This practice of constructing a new form over an existing one, or versioning,
is similar to the remixing of audiovisual material that occurs in the Mash-up. In this way, Laric can beviewed as a facilitator, as his practice represents no single truth, no original; no derivative; just
versions amongst other possible versions [39]. Therefore, in Larics work, he rejects the derivative and
allows the material to function as a collective meme base or an archive of cultural signifiers.
The difficultly in outlining a unique origin for the practice across each artistic medium and technology
has lead to interpretations that remain unresolved.Jordan Roseman (DJ Earworm) in his United States of
Pop Mash-up from 2009 merges the 25 most popular songs of the year into one extended mix.
Unconsciously or possibly with intention, Roseman explores the overriding themes existing in each music
video and the commonalities, interminable recombinations and substitutions which can be made from
juxtaposing what should be distinct music tracks. Interestingly, in this juxtaposition, the end result is
perceived as a cohesive whole, where a vocal line can be substituted with another backing track and vice
versa. Theodore Adorno criticises the structural standardisation and homogenisation of popular music,
writing that it divests the listener of his spontaneity and promotes conditioned reflexes and models
[39]Oliver Laric, Seventeen. Versions, Press Release, Seventeen Gallery, London, 2010.
7/28/2019 The Mash-up As an Approach to Understanding Modern Audiovisual Culture
20/27
20
under which anything concrete still remaining may be subsumed [40]. This conditioned reflex signifies
the homogenisation of genre into a singularity of sound. This distinguishes the Mash-up from other
cultural forms of production and is in part drawn from the homogenous technology used to create it.
Creating a Mash-up becomes a kind of technological determinism, where anyone can produce any genre
of music in their bedroom with a laptop and some software. So the Mash-up is almost post classification
or pan-genre. Though Nick Bertke in talking about his mix of Alice and Wonderland, says I still get
people asking me what Alice is, and I dont know how you could simplify a movie remix any further
than that. But everyone understands sex and attitude. Remix culture would have to change a lot for
mainstream producers to even take notice[41]
. However, a criticism of Bertke could be that in
homogenising the material he remixes down to a type of electronic dance music, he is effectively
becoming a clich through only focusing on childhood films and representing them through his own style
of production. Crucially, perhaps there will be a phase when artists can transgress not only genre-baseddesignations, but also the cultural associations in each genre.
[40]Theodor W. Adorno. On Popular Music, Studies in Philosophy and Social Science, New York: Institute of Social Research,
1941, IX, 17-48.[41]
Martin.Pogo: Harnessing The Innate Rhythm of Pop Culture . NPR Music, April 2012.
7/28/2019 The Mash-up As an Approach to Understanding Modern Audiovisual Culture
21/27
21
The Cultural Singularity: In Lieu of a Conclusion
As we have observed, the world is increasingly preoccupied with technological progress, gradually
becoming more digitised and seen purely as a stream of cultural data. R. L. Rutsky describes this cultural
data as having a technological life of its own, propagating itself through reproduction and dissemination,
and undergoing mutation in the process [42]. Hence, the vast amounts of derivative work generated by
Mash-up artists create a type of homogenized culture of the copy, destroying the live in performance
and influencing artistic production by filtering it through a nostalgic historical interpretation. Writing in
the 1950s, Guy Debord argues for the emergence of productive forces that necessitate other production
relations and a new practice of life [43]. Consequently, the massive amounts of information exchanged
through remixing provide infinite perspectives or versions of the same material, arguably leading to the
emergence of a Cultural Singularity.
In The Coming Technological Singularity, Vernor Vinge argues for a theoretical future where
technological progress will begin to occur at a near vertical rate. Vinge predicts the developments that
before were thought might only happen in a million years (if ever), will likely happen in the next century
[44]. Therefore, based on an awareness of the Technological Singularity with requires no human
intervention, the Cultural Singularity would be a point where individuals become part of an automated
process for generating self-referential culture. In this instance, the Mash-up artist could essentially be
thought of as an automated process. Sometimes in response to events and sometimes not, this group of
artists create audiovisual Mash-ups that just appear online. The situation is remarkable, as never before
have so many individuals made so much superfluous culture this rapidly across so many mediums for
almost no recognition. And never before have so many people consumed that culture without much
concern for the person who made it or how it came to appear online. Whereas antiquated cultural systems
existed for profit, Internet mash-ups exist to possibly explore illegitimate combinations of recorded
material. Arguably, the whole process is rooted in an obsession with turning everything digital, even the
past. For example, Mash-ups are created regularly by virtually anyone at any time, so as we move
forward into a progressively diverse and arguably more spontaneous cultural consumption (i.e. where
audiovisual material is interacted with largely on a casual basis), the constructed realism of the source
material leads to a misrepresentation of reality. Particularly, how will this impact and fundamentally
modify our conception of reality through a lens of derivative work?
[42]Rutsky.High Techn,p. 152.
[43] Guy Debord,Methods of Dtournement, Les Lvres Nues #8, trans. Ken Knabb, 1956.[44]
Vinge. The Coming Technological Singularity, p. 90.
7/28/2019 The Mash-up As an Approach to Understanding Modern Audiovisual Culture
22/27
22
Frederic Jameson discusses the disconnect between production and work, describing that as a service
economy we are henceforth so far removed from the realities of production and work on the world that
we inhabit a dream world of artificial stimuli and televised experience[45]
. Similarly, Jean Baudrillard in
Simulacrum and Simulations extends the critique to include the virtual when he talks about Jorge Luis
Borges extremely short one paragraph narrative On Exactitude In Science. Borges describes an empire,
which has made a map whose size was that of the empire, and which coincided point for point, with it
[46]. All the time, the impossibly large map becomes part of the landscape. This means that representation
and thing being represented become confusingly one in the same. For Baudrillard, this is an imperfect but
beautiful allegory for the simulation and what he labels Hyperreality; a reality constructed of images,
which represents but also masks true reality. The many quests for sameness and facsimile represented
with new technological advancements dually reflect in our media consumption, which, according to
Baudrillard, is a symptom of our inability to accept diversity. He proposes the murder of the real by thevirtual, by an endless stream of flashing images [47]. Simulation is the process that creates Hyperreality,
the new real. Baudrillard writes, the real is produced from miniaturised cells, matrices and memory
banks, models of control - and can be reproduced in indefinite number of times[48]
. When experiencing a
performance based on a recording or perhaps listening to DJ Earthworms United States of Pop [vii] mixes,
are we sharing in an experience, or an idealised reference taken from it? Is culture, or more specifically,
the audiovisual aspects of it, still valid when it is currently expressed through notifications and updates
and becomes a type of mediated digital experience?
Screens and digital representations are everywhere, if we did not want to experience the world through
these devices, we would undoubtedly choose not to. The point may not be that this arrangement is bad,
but that it is just radically different. The recording, the archiving and the remixing of our experiences all
happen constantly alongside one another. It could be said that it has become more seductive to see life
as images on a screen. It appears convenient; it is safer and as Baudrillard might argue, functions more
like an advertisement. However, by focusing primarily on the visual, Baudrillard almost excludes sound.
David J. Gunkel considers how Baudrillard says little or nothing about sound and sound recording. Even
a cursory reading of his texts, demonstrates an overwhelming interest in visual artefacts and techniques, a
rhetorical style that is dependent on metaphors and tropes derived from optics, and the use of examples
that involve vision and aim to make theory visible[49]
. Certainly, Baudrillard recognises the immediacy
of visuals as opposed to sound. Though crucially, what does this immediacy of audiovisual material mean
[45]Jameson,Postmodernism, or, The Cultural Logic of Late Capitalism, New Left Review I/146, 1984, p 550-587.
[46]Jorge Luis Borges, On Exactitude in Science, Collected Fictions, translated by Andrew Hurley in Los Anales de Buenos
Aires, 1946.[47] Jean Baudrillard, The Violence of the Image, essay in The European Graduate School, 2004, p. 1.[48]
Baudrillard, Simulacrum and Simulations, p. 2.[49]
D. J. Gunkel,Blind Faith: Baudrillard, Fidelity, and Recorded Sound, International Journal of Baudrillard Studies, 2007
7/28/2019 The Mash-up As an Approach to Understanding Modern Audiovisual Culture
23/27
23
for the alternative and the unconventional? Can there still be an avant-garde space, whilst our ideas
themselves spread ever faster, and even the most radical ideas quickly become commonplace [50]. The
avant-garde is built upon scarcity, on restricted availability, distributed via small magazines and small
press books. This type of artistic production will still continue, however, the avant-garde may have lost its
intrinsic value as a disruptive medium within the digital space. If we think of the Mash-up as a cultural
meme, perhaps the avant-garde has been subsumed by it. Consequently, the act of remixing itself has
produced a Singularity within our culture.
8122 words
[50]Vinge. The Coming Technological Singularity, p. 91.
7/28/2019 The Mash-up As an Approach to Understanding Modern Audiovisual Culture
24/27
24
List of Works
[i]Bertke, Nick (Pogo).Bloom (Disney Remix), 2011. 2:51 min, colour. Video and sound copyright
Disney. Uploaded June 2007. Available at: http://www.youtube.com/watch?v=t_htoSaQFf4
[ii] Bertke, Nick (Pogo).Bangarang (Hook Remix), 3:26 min, colour. Video and sound copyright Amblin
Entertainment, TriStar Pictures. Uploaded August 2009. Available at:http://www.youtube.com/watch?v=65PiKsNhCsc
[iii] Bolton, Mark, Warlin Steve. Cassette Boy vs Nick Griffin vs Question Time, 1:01 mins, colour.
Uploaded October 2009. Available at:
https://www.youtube.com/watch?v=_QAvkFS_cgk&bpctr=1359156225
[iv]Foakes, Kevin, Morley, Paul (DJ Food). The History of the Cut-up: Raiding the 20th Century (Words
& Music Expansion). 40 mins, sound. Internet Only Release, January 2004. Available at:
http://www.ubu.com/sound/dj_food.html
[v] Laric, Oliver. Versions. Four channel video. Exhibited at Seventeen Gallery, London, 2010. Available
at:http://oliverlaric.com/vvversions.htm
[vi] Marata, Takeshi. Untitled (Pink dot), 2007. Video, 5 min, colour. Sound by Robert Beatty.
[vii] Roseman, Jordan. United States of Pop 2009, Video, 4:46 mins, colour. Available at:
http://www.youtube.com/watch?v=iNzrwh2Z2hQ&list=PL44149805F8950F77&index=6
7/28/2019 The Mash-up As an Approach to Understanding Modern Audiovisual Culture
25/27
25
Bibliography
Adorno, Theodor W. On Popular Music, Studies in Philosophy and Social Science, New York: Institute
of Social Research, 1941, IX, 17-48.
Adorno Theodor W. Horkheimer, Max. The Culture Industry: Enlightenment as Mass Deception in
Simon During ed. The Cultural Studies Reader, London: Routledge, 1993.
Amerika, Mark.Remix The Book, Minneapolis: University of Minnesota Press, 2011.
http://www.remixthebook.com/
Baio, Andy, Bell-Smith, Michael. http://supercut.org, created May 2011, redesigned Nov 2011.
Ball, Phillip.Harmonious minds: the hunt for universal music. New Scientist, 2010.
Baudrillard Jean, Simulacrum and Simulations, in Mark Poster (ed.), Cambridge: Polity Press, 1989.
Baudrillard, Jean. The Violence of the Image, essay in The European Graduate School, 2004. Available at:http://www.egs.edu/faculty/jean-baudrillard/articles/the-violence-of-the-image/
Benjamin, Walter. The Work of Art in the Age of Mechanical Reproduction in Illuminations: Essays and
Reflections. Ed. Hannah Arendt. Trans. Harry Zohn. New York: Schocken Books, 1968.
Berry, D. M., Dartel, M. v., Dieter, M., Kasprzak, M. Muller, N., O'Reilly, R., and Vicente, J. L. NewAesthetic, New Anxieties, Amsterdam: V2, 2012.
Borges, Jorge Luis. On Exactitude in Science, Collected Fictions, Trans. Andrew Hurley in Los Anales de
Buenos Aires, 1946.
Bourriaud, Nicolas, Schneider Caroline, Herman Jeanine.Postproduction: Culture as Screenplay: HowArt Reprograms the World, Lukas & Sternberg; 2nd Ed edition, 2000.
Cox, Christoph. Warner, Daniel.Audio Culture: Readings in Modern Music, Continuum London, 2004.
Debord, Guy.Methods of Dtournement, Les Lvres Nues #8, trans. Ken Knabb, 1956.
Eisenstein, Sergej.A Dialectic Approach to Film Form inFilm Form Essays in Film Theory, trans. and
edited by Jay Leyda, London, 1949.
Gibson, William. Gods Little Toys: Confessions of a Cut and Paste Artist, Wired Magazine, July 2005.
Gibson, William.Neuromancer, Voyager, 1995.
Gitelman, Lisa. Scripts Grooves and Writing Machines: Representing Technology in the Edison Era,
Stanford University Press, 1999.
Godlovitch, Stanley.Musical Performance: A Philosophical Study, Psychology Press, 1998.
Gunkel, D. J.Blind Faith: Baudrillard, Fidelity, and Recorded Sound,International
Journal of Baudrillard Studies, 2007. Unpaginated. Available at http://www.ubishops.ca/baudrillardstudies/vol4_2/v4-2-dgunkel.html
7/28/2019 The Mash-up As an Approach to Understanding Modern Audiovisual Culture
26/27
26
Hardesty, Larry. The Bootleg Battle Lines: Rival aesthetics in the mashup community,MIT Technology
Review, 2008. Available at: http://www.technologyreview.com/review/411445/bootleg-battle-lines/
Haugeland, John.Reading Brandom Reading Heidegger. European Journal of Philosophy, Vol.13, Issue3, Blackwell Publishing, 2005.
Heidegger, Martin.Being and Time, trans. J Macquarrie and E. Robinson, Oxford: Basil Blackwell, 1962.(First published 1927).
Hopkins, Budd.Modernism and the Collage Aesthetic, New England Review,Vol. 18, 1997.
Hudson, Nicolas J.Musical beauty and information compression: Complex to the ear but simple to the
mind? BMC Research Notes 2011 4:9.
Jameson, Frederic.Postmodernism or, the Cultural Logic of Late Capitalism, New Left Review I/146,
1984.
Krauss, Rosalind E. The Originality of the Avant-Garde and Other Modernist Myths, MIT Press, 1986.
Laric, Oliver, Seventeen. Versions, Press Release, Seventeen Gallery, London, 2010. Avalaible at:
http://www.seventeengallery.com/index.php?p=3&id=52
Losada, Catherine. The Process of Modulation in Musical Collage, Blackwell Publishing, 2009.
Martin, Rachel.Pogo: Harnessing The Innate Rhythm of Pop Culture. NPR Music, April 2012.
Available at: http://www.npr.org/2012/05/06/150981484/pogo-harnessing-the-innate-rhythm-of-pop-
culture
Merleau-Ponty, Maurice.Phenomenology of Perception, trans: Colin Smith, London: Routledge, 2005.
Nyman,Michael.Experimental music: Cage and Beyond,second edition, Cambridge University Press,
1999.
Russolo, Luigi. The Art of Noise. Futurist manifesto, 1913, trans. Robert Filliou, New York: SomethingElse Press, 1967.
Rutsky, R.L.High Techn: Art and Technology from the Machine Aesthetic to the Posthuman, University
of Minnesota Press, 1999.
Smith, Caroline. This is How Much Information The World Consumes Each Year, Huffington Post, July2011.
Vinge, Vernor. The Coming Technological Singularity: How to Survive in the Post-Human Era, WholeEarth Review, 1993.
Voegelin, Salom.Listening to Noise and Silence: Towards a Philosophy of Sound Art, Continuum
London, 2010.
Wagner, Adam. Sounds Just Like:An index of songs that sound like other songs.http://soundsjustlike.com/ Designed and developed by Adam Wagner.
7/28/2019 The Mash-up As an Approach to Understanding Modern Audiovisual Culture
27/27
Weil, Benjamin.Art in Digital Times: From Technology to Instrument, Leonardo Music Journal, Vol. 35,
No. 5, Tenth Anniversary New York Digital Salon, MIT Press, 2002.
Woolley, Benjamin. Virtual Worlds: A Journey in Hype and Hyperreality, Penguin Books, 1993.