Tag Archives: remix

Doc Next Network develops method for involving immigrant media-makers.

Doc Next Network initiated a training course “Working with Immigrant Media-makers” in London, taking place on September 12, 13 and 14. The goal of this cross-sectorial training is to develop shared methodologies to involve young D-I-Y creative media-makers with (im)migrant backgrounds in the creation of new remixed media works. The training is part of the ‘Remapping Europe – A Remix’ project.

‘Remapping Europe – a Remix’ is an investigative artistic project that aims to contribute to an inclusive cultural practice and public imagery in and of Europe by connecting young creative media-makers who have (im)migrant perspectives from Spain, Poland, Turkey, and the UK to wider European intergenerational audiences.

The project’s activities stem from one underlying principle: re-mixing of media as a method to re- view, re-investigate and re-consider prevailing imagery of (im)migrants in European societies and to ultimately, ‘re-map’ Europe visually, geographically and mentally.

The activities include transnational, cross-sectorial learning platforms, investigating the immigrant’s perspective in the public debate and imagery; creative remix ateliers in Spain, Poland, Turkey, and the UK, involving 48 young digital storytellers with (im)migrant backgrounds and perspectives; international showcases of their remix works at significant cultural festivals in each of these countries and in an on- line media collection; major remix-performance and installation in Amsterdam and Seville, with a wider participatory, digital component involving European citizens across the continent and a research publication and catalogue documenting the processes and outcomes of the project.

The Goal of this cross-sectorial training is to develop shared methodologies to involve young DIY creative media-makers with (im)migrant backgrounds in the creation of new remixed media works. Cultural experts of the partner organisations (The Doc Next Network ‘hubs’) will bring a community worker of a local immigrant organisation from their country to present and discuss practices on how to reach and include young immigrants in their creative media making ateliers.

What are the challenges and opportunities that can be used for a shared methodology to reach ‘hard-to- get’ target groups? The training is a stepping stone for the inclusion of young immigrants in the remix ateliers.

  • To develop a ‘target group’ to understand who it is we aim to work with;
  • To develop a recruitment methodology for finding participants;
  • To understand existing methods of practice when working with young (im)migrants;
  • To gain an understanding of the tools at our disposal for the Remix Ateliers;
  • To develop local and joint Remix Atelier methodologies;
  • To create a common language with mutual understandings and agreements;
  • To understand how we can avoid stereotyping and pre-assumptions that may hinder the project.

Keep posted about this project , the outcomes of the London training and more Remapping Europe: Like us on Facebook or become a member of our Linkedin group.

Beyond remixing the contraries

As a result of the Political Remix Video call that both EMBED and Doc Next Network started last December, the following selection of remixing works will be screened during the next ZEMOS98 Festival (14th April):

- “Glued” by Benoit Detalle (Belgium) – 5’42″
- “Rock the Caucuses” by Smearballs (Canada) – 3’22″
- “Now, Listen!” by Dominik Dušek (Czech Republic) – 3’
- “Subasta II” by Smalouli (Marrocco) – 2’51″
- “The Manufacture Of Consent” by Enrico Argento (Portugal) – 2’22″
- “WakeUpArtists! (Dedicated to Malish)” by SpriteHat (Italy) – 4’
- “Mutantes” by Duplex Corporeition (Spain) – 4’24″
- “A mi tío” by Lacasinegra (Spain) – 1’33″
- “Our Dangerous Demands” by Malaventura (Spain) – 2’
- “Live Free or Die Hard (Project 12, 8/12)” by Diran Lyons (USA) – 1’12″
- “Abra la boca (Open Your Mouth)” by Montserrat Santalla Gasco (Spain) – 3’31″
- “Rap News X: #Occupy2012 (feat. Noam Chomsky & Anonymous)” by Hugo Farrant and Giordano Nanni (Australia) – 7’48″

Apart from this programme, two works produced by ZEMOS98 in the framework of Doc Next Network remix workshops will be premiered the same day:

- “Cuentos ilustrados” by Pablo Domínguez (Spain) – 12’07″

- “Esperanza Umbridge y la Marea Verde” by El Ejército de Dumbledore (Spain)- 2’48″

This Political Remix Video international call has received 124 audiovisual works in a month time. The selection committee has been formed by Felipe G. Gil and Pedro Jiménez de ZEMOS98, Joan Carles Martorell (Yerblues.net) y Alberto Tognazzi (Movil Film Fest).

This committee highlights the fact that all these works go beyond the simple technique of «remixing the contraries». They (together with Jonathan McIntosh at PoliticalRemixVideo.com) understand political remix videos as an audiovisual genre which puts into practice the «situationist detournement», using the media to criticize power structures, to deconstruct social myths and defy the mass-media via «re-cutting» and «re-framing». This remix is done from media fragments mixed with pop culture. Could this way of understanding audiovisual remix be a new kind of documentary? How are we going to access the collective memory if it’s already remixed? Aren’t the media using remix techniques as a sort of aesthetic of social reality? Let’s carry on researching into this path and learn from our community.

Everything is a remix: the Matrix

Everything Is A Remix: THE MATRIX from robgwilson.com on Vimeo.

Que Neo siga al conejo blanco; o que sea el elegido; que descubra que está viviendo en la caverna de Platón; o que las máquinas terminen dominando al hombre en el desierto de lo real; todas estas han sido razones para ligar The Matrix con referencias culturales conocidas por todos como Alicia en el país de las maravillas, la Biblia, la filosofía platónica o la inteligencia artificial. Razones para entender la cinta de los hermanos Wachowski como un palimpsesto cultural.

A pesar de no proponer nada nuevo (ni siquiera el efecto «bullet time» era la primera vez que se utilizaba y sus autores reconocieron la fuerte influencia que para ellos había tenido Ghost in the Shell), The Matrix se convirtió a finales de la década de los noventa en toda una referencia para la cultura audiovisual.

Ahora Rob Wilson, como ya hizo con Kill Bill (Quentin Tarantino), explora el código fuente audiovisual de The Matrix para descubrir por qué es una referencia de referencias: everything is a remix.