Archive for the ‘mashup’ Category

Body/Language: Barthes-Foucault vs. Gater’s Taboo

April 16, 2007

Body/Language

Remixed by Methods & Black Squares 

 

Click to play:

[Barthes]
Parler, et à plus forte raison discourir, ce n’est pas communiquer, comme on le répète trop souvent, c’est assujettir.

[Foucault]
À ce lieu là, dès que j’ai les yeux ouverts, je ne peux plus échapper.

[Barthes]
La langue, comme performance de tous langages, n’est ni réactionnaire ni progressiste, elle est tout simplement fasciste.

[Gater]
We do it every weekend,
I like to do it with my friends
Sometimes we videotape it,
Then we watch it and do it again.

[Barthes]
Fasciste

Fasciste

Les signes n’existent que pour autant qu’ils sont reconnus, c’est-à-dire pour autant qu’ils se répètent.

Qu’ils se répètent.

[Foucault]
Mon corps topie impitoyable.

[Barthes]
Malheureusement le langage humain est sans extérieur, c’est un huis clos.

Répète!

[Gater]
Some people don’t understand what we do,
They say its Saturday they go to the club,
They say it’s no fun, but we don’t care,
We sit here and we do it.

We do it every weekend,
I like to do it with my friends,
Sometimes we videotape it,
Then we watch it and do it again.

[Barthes]
Répète!

En chaque signe dort ce monstre, un stéréotype. Je ne puis jamais parler qu’en ramassant, en quelque sorte, ce qui traîne dans la langue.

En chaque signe dort ce monstre, un stéréotype.

En chaque signe dort ce monstre, un stéréotype.

[Foucault]
Tous les matins, même présence, même blessure. Sous mes yeux se dessine une inévitable image qu’impose le miroir, visage maigre, épaules voûtées, regard myope, plus de cheveux, vraiment pas beau.

[Gater]
Some people don’t understand what we do…

[Barthes]
Répète!

[Foucault]
Mon corps c’est le lieu sans recours auquel je suis condamné.

[Barthes]
C’est un huis clos.

Fasciste.

[And see The Gaze of the Sign – a follow up on Gater’s role in this remix]

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Blond: Yves Klein Blue vs. James 007 Bond

February 22, 2007

A mashup between Yves Klein, the Blue painter, and Sean Connery, the one and only James Bond, 007, yielded Blond – a series of ten juxtapositions of faces, women, guns, jumps, colors – briefly – a whole life, side by side. I have already published this annotated visual mashup in my alter-blog, but I think that Blond would have felt at home with you readers. So if you’d like to visit the exposition, it would be my pleasure to host you there.

Blond - Blue vs. Bond

Blond

The DJ of the Self; The Genealogy of the Mashup

February 21, 2007

Michel Foucault sees all humans as a mashup of what has always existed, and the great human endeavor being the rediscovery, then the analysis of those tracks from which we have become the remix that we are. It’s only when one is in front of and confronted with those rediscovered tracks, that s/he can start being the DJ of his/her own Self. The praxis herewith described is called the Genealogy of the Mashup.

Mashed

Mashed is a mis en abîme, a recursion of mashups, an explicit work of Genealogy, presenting fourteen Vs. kind of tracks (The Doors vs. Blondie; Iggy Pop vs. Peggy Lee..).

The first layer in our genealogical process is that which we see first: “Mashed” the CD, and the assertion “This is a collection” which is an overt awareness to the impossibility of being original – content-wise; “these 14 tracks of which I am made of are not mine”, thus spoke the 1st layer.

The 2nd layer, any of the fourteen tracks, is again a special kind of a remix, i.e a remix with a sense of History, each track bearing a Vs. kind of title, explicitly stating its genealogy – “I consist of these two voices in the minute of their meeting”. And you can experience the magic of the remix, the phantasmagoric world of the unoriginal for yourself: you can hear The Doors – they are there, fully present, and you can hear Blondie, and you can hear a third voice, that omnipresent voice which reappears only in the minute of their meeting: the voice of the dead author.

Of course, nothing is sacred; from those rediscovered voices, only the poetic moments have been remixed into the 2nd layer, the meeting layer. And that’s the work each DJ should be doing on his/her self.

On the 3rd layer there’s this rediscovered, separated track, or the leftovers of what used to be a glamorous song by The Doors: Riders on the Storm. We know today that the genealogy goes further into the past, till the dawn of mankind. Riders on the Storm belongs to the history of implicit mashups. There’s a work of genealogy to do here too.

Mashups are poetics. If you need another proof, please help yourself with Cathrine Vs. ?.

deneuve70.jpg

Catherine Deneuve (Photograph by Douglas Kirkland)