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Remix Theory: The Aesthetics of Sampling is an analysis of Remix in art, music, and new media. Navas argues that Remix, as a form of discourse, affects culture in ways that go beyond the basic recombination of material. His investigation locates the roots of Remix in early forms of mechanical reproduction, in seven stages, beginning in the nineteenth century with the development of the photo camera and the phonograph, leading to contemporary remix culture. This book places particular emphasis on the rise of Remix in music during the 1970s and '80s in relation to art and media at the beginning of the twenty-first Century. Navas argues that Remix is a type of binder, a cultural glue-a virus-that informs and supports contemporary culture. Sampling and remixing are now common in art, music and new media. Assessing their aesthetic qualities by focusing on technical advances in 1970s and 80s music, and later in art and media, the author argues that 'Remix' punches above its deemed cultural weight.
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Ce quatrième numéro consacre un dossier thématique au concept d’appropriation, champs d’investigation de la pratique architecturale, urbaine, paysagère et artistique. Au fil des articles, on constate combien le terme d’appropriation suppose diverses significations et interprétations dont les références suggérées illustrent la richesse de l’ensemble des propos.
Architecture --- Urbanisme --- Appropriation (art) --- Enseignement --- Théorie de l'architecture
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"This book examines the career of the New York-based artist Sherrie Levine, whose 1981 series of photographs "after Walker Evans"--Taken not from life but from Evans's famous Depression-era documents of rural Alabama -- became central examples in the 1980s theorizing of postmodernism in the visual arts."--Book cover.
Kunstkritik. --- Levine, Sherrie. --- Ästhetik. --- Levine, Sherrie --- Levine, Sherrie, --- Criticism and interpretation. --- kunst --- Verenigde Staten --- fotografie --- appropriation art --- 7.071 LEVINE --- concept art --- conceptuele kunst
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Remix Theory: The Aesthetics of Sampling is an analysis of Remix in art, music, and new media. Navas argues that Remix, as a form of discourse, affects culture in ways that go beyond the basic recombination of material. His investigation locates the roots of Remix in early forms of mechanical reproduction, in seven stages, beginning in the nineteenth century with the development of the photo camera and the phonograph, leading to contemporary remix culture. This book places particular emphasis on the rise of Remix in music during the 1970s and '80s in relation to art and media at the beginning
Music and technology. --- Music --Instruction and study --Technological innovations. --- Rock music -- History and criticism. --- Art, Architecture & Applied Arts --- Fine Arts - General --- Appropriation (Art) --- Sampling (Sound) --- Remixes. --- Mashups (World Wide Web) --- Aesthetics, Modern --- Aesthetics --- World Wide Web --- Club mixes --- Dance mixes --- Mixes (Music) --- Electronic music --- Electronic dance music --- Sound recordings --- Digital sound sampling --- Sound sampling --- Computer sound processing --- Appropriated imagery --- Appropriated images --- Appropriationism (Art) --- Postmodernism --- Imitation in art --- History --- Remixing
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