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Eduardo Navas is the author of Remix Theory: The Aesthetics of Sampling, and co-editor of The Routledge Companion to Remix Studies. He implements cultural analytics and digital humanities methodologies in order to research the creative and political role of recyclability and remix in art, media, and culture. His production includes art & media projects, critical texts, and curatorial projects. He has presented and lectured about his work and research internationally.

He has lectured on art & media theory, art history as well as studio practice at various colleges and universities in the United States, including Otis College of Art & Design, San Diego State University, the program of Culture and Media at Eugene Lang College as well as the MA Media Studies Program at The New School for Public Engagement, NY. Navas currently researches and teaches principles of cultural analytics and digital humanities in The School of Visual Arts at The Pennsylvania State University, PA.

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7 responses to “Regenerative Culture (Pt. 1/5)”

  1. […] This is the second chapter of a five part essay. You can read the first part here. […]

  2. […] is the third chapter of a five part essay. You can read the first part here and the second part […]

  3. […] is the fourth chapter of a five part essay. You can read the first part here, the second part here. and the third part […]

  4. […] I go over the implications of the ever-increasing speed of production in “Regenerative Culture,” […]

  5. […] is the fifth chapter of a five part essay. You can read the first part here, the second part here, the third part here and the fourth part […]

  6. […] 5 of 5 – Part 1 / Part 2 / Part 3 / Part 4 / Part […]

  7. […] To research these settings systematically — and not only partial aspects of it (i.e. history of remix, copyright, practice in rap) — would offer a fascinating field of research. Probably it was Peter J. Burkholder (1994) who undertook the most extensive research attempt in that matter so far, when he analyzed «types of musical borrowing» in euro-american art music. Overwhelmed by the complexity of the task and sheer number of examples, he concluded that «the history of borrowing in Western music has yet to written» (2001: 5). Today this seems possible, with software able to keep track of great numbers, and with new possibilities to connect and publish large amounts of data in readable ways. Such an analysis would be fruitful on various levels: it would offer a path towards an analysis of music that is close to contemporary practice; it would highlight the complexities at play in each track; and it would open options to compare remix strategies over time, for example finding similarities and differences with musique concrète, soundscape composition, Plunderphonics or what Eduardo Navas calls «regenerative remixes». […]