archive - issue 14

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  • /

    By Ruth Barker
    On the QWERTY layout of my computer keyboard, the symbol / appears beside the questioning symbol ?. They are represented together on the same key, and
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  • Apartment / Containers

    By Vincent Bezuidenhout
    These diptychs are the start of a series of images I have been working on regarding the visual landscape we choose to surround ourselves
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  • I returned home after my first year in college to discover my younger sister had turned gorgeous. This was a disappointment, but not an
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  • Butterfly

    By Adriana de Barros
    The pupa, a silk wrap of emotionsIsolated, within breathing, wanting to bethe intense pronoun of selfIt is silly to be one's own pronounShe giggles
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  • Collage

    By Claudio Parentela
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  • Drag and Snap

    By Leigh-Anne Niehaus
    This series is inspired by the childhood game of "snapdragon", which allows for simplistic and delightful decision-making through random selections of colour and number.
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  • Evidence of Life

    By Tamlyn Martin
    Below is an extract from a series of 11 poems created in parallel with visual artworks. 5. Memories laced with visceral realityFlooding herThe gentle
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  • Forward! Slash!

    By Travis Lyle
    You think you're a forward-thinking kinda person, do you? Lemme be the one to break it to you, sunshine – you're as lame as the
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  • Human/Nature

    By Lydia Anne McCarthy
    This series explores moments between nature and human beings that are at once idealistic and unsettling. Each picture is an independent narrative, but placed
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  • Immigrants

    By Stanley Onjezani Kenani
    you want to livenothing leaveto liveyou swimor like fresh sardinesyou are packedin boatsyou leaveto live.  you leavegold in the belly of Africaoil in
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  • In Between

    By Tania van Schalkwyk
    Raised in an Arabian land of heat, fire and temper,sometimes the calm of England clamps downlike damp in a bathroom with no windowand a
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  • Letter to the Editor

    By Elan Gamaker
    Dear Sir/Madam I should like strenuously to object to the subject matter ("/") of your current issue. It must first be mentioned, however, that it
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  • Or: a line drawing

    By Gabeba Baderoon
    Pencil and nothing. Her face turned almost entirely away. Forehead, cheekbone,jaw,the bun low in her neck,shoulderand down,the long linejust enoughthen left alone.
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  • p u n c t u a t i o n

    By Ula Einstein
    Einstein works with a diverse range of media, including drawings and installation with fire, thread, and blades. The series of drawings and installations with
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    By Sean Hampton-Cole
    Keys. John speaking. 'Lo?Good morning. May I speak to Bob Mitchell please?Bob in Bonds?I'm not really sure. I'm trying to...You want extension 125. This
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  • Pretty Babies

    By Peregrine Honig
    With the premise that "/ " presents what is IN and what is OUT, the "Pretty Babies" series explores the fashion industry's well-published and syndicated DOs
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  • River Bank

    By Mario Sughi
    The symbol / is intended initially as a symbol of division. A real or unreal line divides the girl from the water, the girl from
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  • Scissor

    By Charlotte Gait
    There was a time when you and I were connected by iron, acid, vitamin and blood. Where every mouthful I took was with the
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  • Seasaw

    By Sol Kjøk
    Here, the motif is conceived of as a seesaw (the typo in the title is intended, as this drawing is part of a series
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  • Series Seven Up

    By Noel Fignier
    Text by João Branco Kyron, HipnóticaThe collision is imminent and in the fraction of time left, the eyes shut and the vision is superbly
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  • A battle over samoosas between the snobbish Cinderella and a homeless electrician is mediated by Cinderella's boyfriend JJ. The samoosa battle is conflated with
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  • Wayne Porter, freelance journalist, donned his anthropologist's birthday suit and hit the bowling alley. Bar the bowlers hat tipped gently off centre, the man
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  • The Incised Wound

    By Joanne Hichens
    "Please, for me, Dave," I placed my hand on his, and really, no begging, just asked him nicely, "Lay off the booze tonight." Whether
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  • He had been driving for hours through that unstable, somnambulist night when he fell asleep at the wheel. He awoke with a start and
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  • The space between.

    By Mehita Iqani
    It's a handy little line, the one that we use to make our options known. Either/Or. Paper and ink or binary code? Its clichéd,
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  • Un Hombre Fuerte

    By Tamo Vonarim Written these words are, at times of a subconscious flow – whether they are mine, I don't know. All I know is that I
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  • Unbroken Awareness

    My life is now a floating shellI am a vessel on that river.The storm, the ship, the sea,Whose shores we lost in crossing.  I
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  • Untitled

    By Wilhelm Saayman
    This series of images, made using pen and ink, photographs and Photoshop, explore alternate/dream realities.
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  • Untitled

    By Aryan Kaganof
    /At R550 rand I thought I'd rather die/ My mother: can I trust this woman?/ I thought the Romans were coming, dinkum/ …and always
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Wednesday, 28 November 2012 15:56

Nostalgia For The Future - a Re:Mix Manifesto

“My own thinking about art and values is far more disillusioned than would have been possible for someone 100 years ago. That doesn’t mean, though, that it’s more correct on that account. It only means that I have examples of degeneration on the forefront of my mind which were not in the forefront of men’s minds then.”
– Ludwig Wittgenstein, 1946

When we think of the cinema’s future, we always mean the destination it will reach if it keeps going in the direction we can see it going now; it does not occur to us that its path is not a straight line but a series of curves and tangents, constantly changing direction.

The RE:MIX is one of those tangents. It is a possibility of cinema.

The RE:MIXER creates an emptiness of cinema. But this emptiness was already there, potentially. It merely needed to be filled, to be actualised.

I still find my way of RE:MIXING new, and it keeps striking me afresh. That is why I need to repeat myself so often. It will have become second nature to a new generation, to whom the repetitions will be boring. I find them necessary.

The RE:MIX is a practice of diluting, or haemorrhaging the subject in a fragmented, particled sound/vision language diffracted to emptiness.

The atomic unit of the RE:MIX is not the shot, but the fragment, which is a clump, a volatile conglomerate. Granular, dense and stuck together. Division of this fragment occurs only to produce still another irreducible cohesion.

RE:MIXING is precisely the act which unites in the same labour what could not be apprehended together in the mere flat space of representation.

The RE:MIX reminds us that the rational is merely one possible system among others: it suffices that there be a system, even if this system is apparently illogical, uselessly complicated and curiously disparate.

Each of the RE:MIXES I make is trying to say the whole thing, ie. the same thing over and over again. It is as though they were all simply views of one object seen from different angles. This is the metaphysical aspect of RE:MIXING.

A RE:MIXER is very much like a metaphysician whose aim it is to represent all the inter-relations between things.

The RE:MIX has the fundamental characteristic of a denial of development. All one can do with it is to scrutinise it, not to solve it as if it had a meaning, nor even to perceive its absurdity (which is still a meaning).

The RE:MIX’s accuracy obviously has something musical about it (but not necessarily a music of sounds).

The RE:MIX never describes: its art is counter-descriptive. A collection of literally “untenable moments” that constitute themselves as nostalgia for the future.

Working on RE:MIXING – like work in philosophy in many respects – is really more a working on oneself. On one’s own interpretation. On one’s way of seeing things.

I really do think in the medium, because my head often knows nothing about what the editor is doing.

The space of the RE:MIX is one of pure fragments, a dust of events; this is because the RE:MIX’s time is without subject.

One might say that the collective body of all RE:MIXES is a network of mirrors in which each mirror reflects all the others and so on to infinity, without there ever being a centre to grasp.

In the RE:MIX, what is abolished is not meaning, but any notion of finality.

RE:MIXING is by nature intransigently unfinishable: the process could, in theory, go on and on.

RE:MIXING sets everyone the same traps. It is an immense network of easily accessible wrong turnings. And so we watch one man after another walking down the same paths and we know in advance where he will branch off, where walk straight on without noticing the turning to the side, etc.

I don’t believe I have ever invented a line of editing. I have always taken over one from someone else. That is how Standish Lawder, Kenneth Anger, Marguerite Duras, Sergei Paradjanov, Richard Kern and Franz Zwartjes have influenced me.

In RE:MIXES, density of texture frequently obliterates the contours of the original sound/vision line.

RE:MIXING ought really to be performed only as a poetic composition.

Joyce’s technique of verbal fragmentation provides the essential background to any understanding of the art of the RE:MIX.

As in Joyce, fragments, often chosen to represent salient features of the source material develop a strikingly individual resonance in isolation and combine to generate new and unexpected meanings.

In RE:MIXES, isolated phrases can give rise to new semantic affinities.

You must say something new and yet it must all be old. In fact you must confine yourself to saying old things – and all the same it must be something new! A RE:MIXER has constantly to ask himself: “but is what I am RE:MIXING really true?” – and this does not necessarily mean “is this how it happens in reality?” Yes, you have got to assemble bits of old material. But into a building. In this sense, Schwitters's Dada masterpiece, the merzbau, is the first RE:MIX.

The RE:MIXER poeticises the image by emphasising its musical values (chromatic oppositions, dissonance and compositional rhyme).

Semantic stutterings (loops) galvanise the source material into nervous life.

The RE:MIXER compounds his audience’s estrangement from the structural relations of the source material by presenting different fragments simultaneously, forcing them to grasp at momentarily comprehensible gestures within the general sound/vision overload.

The RE:MIXER is fascinated with working at the very limits of coherence.

Massive clusters, dynamic contrasts, aggregate rhythms, layered imagery, chromatic quagmires, major audio-visual dislocations: these are the characteristics of the RE:MIX.

One’s style of RE:MIXING may be unoriginal in form and yet one’s images and sounds may be well chosen; or, on the other hand, one may have a style that’s original in form, one that is freshly grown from deep within oneself. (Or again it may, of course, just be blotched together out of old bits and pieces – like mine.)

Sometimes a RE:MIX can be understood only if it is experienced at the right tempo. My RE:MIXES are all meant to be viewed slowly.

The RE:MIXER is a man condemned in advance. He must have neither romantic relationships nor object to engage his feelings. He should even cast off his own name. Every part of him should be concentrated in one single passion: the RE:MIX!

I didn't want a manifesto about RE:MIXING. I wanted a manifesto that was itself RE:MIXED. Burroughs's cut-ups provided an historical precedent, although it was probably Kathy Acker's work on Dickens that gave me the confidence to plunder at will. Cage's absurd vertical texts "lifted" out of Wittgenstein were also of use. Finally I always remembered Gertrude Stein. Barthes, Camus, Wittgenstein, Fritjof Capra and Gary Zukav were my plunder sources. (Remember, this has been happening in music for a long time now, ie. John Wall's groundbreaking Plunderphonics.) RE:MIXING can be poetry but in the wrong hands it runs the danger of becoming propaganda. SAMPLE AT WILL THERE IS NO COPYRIGHT!
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