DOCSLIB.ORG

REMIX REMASTERED Backbeat / Freestyle Mix Tape / Bass Line

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
REMIX REMASTERED Backbeat / Freestyle Mix Tape / Bass Line REMIX REMASTERED Backbeat / Freestyle Mix Tape / Bass Line Backbeat Freestyle Mix Tape Bass Line Installation: 1m x 1m tiles. Monolithic. PICK YOUR PATTERN CHOOSE YOUR COLOR ADD YOUR VIBE DROPPING A BRAND NEW BEAT Welcome to REMIX REMASTERED, our new collection with a modern spin. Smoothly synthesized with 4 patterns and 24 fresh colors, REMIX REMASTERED makes it easy for you to create your own chart-topping single. But don’t stop there — inject it with one of our 12 exclusive vibes to lay down a track that’s uniquely yours. Electrify yours now. Pattern: Bass Line Color: Vinyl Vibe: Azul (left), no vibe (right) 2 3 Installation: 1m x 1m tiles. Monolithic. BACKBEAT FREESTYLE MIX TAPE BASS LINE Color: Slam Vibe: Doric Color: Slam Vibe: Doric Color: Slam Vibe: Doric Color: Slam Vibe: Doric 4 55 Installation: 50cm x 50cm tiles. Monolithic. BASS LINE Color: Headroom Vibe: Ocean Depth Formwork in Ocean Depth. 50cm x 50cm tiles. 6 7 Installation: 1m x 1m tiles. Monolithic. MIX TAPE Color: Reverb Vibe: No vibe 8 9 Installation: 50cm x 50cm tiles. Monolithic. LVT Old City in Fairmount. Installation: 1m x 1m tiles. Monolithic. MIX TAPE Color: Apple Vibe: No vibe Patterns: Freestyle (left) and Backbeat (right) Color: Cue Up Vibe: No vibe 10 11 Installation: 1m x 1m tiles. Monolithic. BASS LINE Color: Headroom Vibe: Eaves GET INSPIRED Opening a box of REMIX REMASTERED tiles invites inspiration. With a fresh palette of 24 colors and 12 vibe options, designing a floor that feels completely custom is easier than ever. Visit the MillikenFloors.com/Visualizer 12 13 PICK YOUR PATTERN AND CHOOSE YOUR COLOR BACKBEAT FREESTYLE BACKBEAT BKB25 BACKBEAT BKB83 BACKBEAT BKB108 BACKBEAT BKB42 FREESTYLE FRS25 FREESTYLE FRS83 FREESTYLE FRS108 FREESTYLE FRS42 HEADROOM, NO VIBE SLAM, NO VIBE BONUS TRACK, NO VIBE REVERB, NO VIBE HEADROOM, NO VIBE SLAM, NO VIBE BONUS TRACK, NO VIBE REVERB, NO VIBE BACKBEAT BKB107 BACKBEAT BKB67 BACKBEAT BKB120 BACKBEAT BKB93 FREESTYLE FRS107 FREESTYLE FRS67 FREESTYLE FRS120 FREESTYLE FRS93 OVERDUB, NO VIBE SNARE, NO VIBE CUE UP, NO VIBE HUM, NO VIBE OVERDUB, NO VIBE SNARE, NO VIBE CUE UP, NO VIBE HUM, NO VIBE BACKBEAT BKB52 BACKBEAT BKB27 BACKBEAT BKB51-114 BACKBEAT BKB77 FREESTYLE FRS52 FREESTYLE FRS27 FREESTYLE FRS51-114 FREESTYLE FRS77 ROLLOFF, NO VIBE VINYL, NO VIBE DUB, NO VIBE A SIDE, NO VIBE ROLLOFF, NO VIBE VINYL, NO VIBE DUB, NO VIBE A SIDE, NO VIBE BACKBEAT BKB126 BACKBEAT BKB140 BACKBEAT BKB231 BACKBEAT BKB252 FREESTYLE FRS126 FREESTYLE FRS140 FREESTYLE FRS231 FREESTYLE FRS252 FRENCH BLUE, NO VIBE AZUL, NO VIBE DORIC, NO VIBE PAPAYA, NO VIBE FRENCH BLUE, NO VIBE AZUL, NO VIBE DORIC, NO VIBE PAPAYA, NO VIBE BACKBEAT BKB183 BACKBEAT BKB201 BACKBEAT BKB141 BACKBEAT BKB109 FREESTYLE FRS183 FREESTYLE FRS201 FREESTYLE FRS141 FREESTYLE FRS109 SAPPHIRE, NO VIBE AQUAMARINE, NO VIBE APPLE, NO VIBE SCARLET, NO VIBE SAPPHIRE, NO VIBE AQUAMARINE, NO VIBE APPLE, NO VIBE SCARLET, NO VIBE BACKBEAT BKB123 BACKBEAT BKB229 BACKBEAT BKB203 BACKBEAT BKB66 FREESTYLE FRS123 FREESTYLE FRS229 FREESTYLE FRS203 FREESTYLE FRS66 DENIM, NO VIBE OCEAN DEPTH, NO VIBE JUNGLE, NO VIBE EAVES, NO VIBE DENIM, NO VIBE OCEAN DEPTH, NO VIBE JUNGLE, NO VIBE EAVES, NO VIBE 14 PICK YOUR PATTERN AND CHOOSE YOUR COLOR ADD YOUR VIBE DENIM 123 MIX TAPE BASS LINE SAPPHIRE 183 FRENCH BLUE 126 MIX TAPE MXT25 MIX TAPE MXT83 MIX TAPE MXT108 MIX TAPE MXT42 BASS LINE BSL25 BASS LINE BSL83 BASS LINE BSL108 BASS LINE BSL42 AZUL 140 HEADROOM, NO VIBE SLAM, NO VIBE BONUS TRACK, NO VIBE REVERB, NO VIBE HEADROOM, NO VIBE SLAM, NO VIBE BONUS TRACK, NO VIBE REVERB, NO VIBE AQUAMARINE 201 MIX TAPE MXT107 MIX TAPE MXT67 MIX TAPE MXT120 MIX TAPE MXT93 BASS LINE BSL107 BASS LINE BSL67 BASS LINE BSL120 BASS LINE BSL93 OVERDUB, NO VIBE SNARE, NO VIBE CUE UP, NO VIBE HUM, NO VIBE OVERDUB, NO VIBE SNARE, NO VIBE CUE UP, NO VIBE HUM, NO VIBE OCEAN DEPTH 229 JUNGLE 203 MIX TAPE MXT52 MIX TAPE MXT27 MIX TAPE MXT51-114 MIX TAPE MXT77 BASS LINE BSL52 BASS LINE BSL27 BASS LINE BSL51-114 BASS LINE BSL77 ROLLOFF, NO VIBE VINYL, NO VIBE DUB, NO VIBE A SIDE, NO VIBE ROLLOFF, NO VIBE VINYL, NO VIBE DUB, NO VIBE A SIDE, NO VIBE APPLE 141 MIX TAPE MXT126 MIX TAPE MXT140 MIX TAPE MXT231 MIX TAPE MXT252 BASS LINE BSL126 BASS LINE BSL140 BASS LINE BSL231 BASS LINE BSL252 DORIC 231 FRENCH BLUE, NO VIBE AZUL, NO VIBE DORIC, NO VIBE PAPAYA, NO VIBE FRENCH BLUE, NO VIBE AZUL, NO VIBE DORIC, NO VIBE PAPAYA, NO VIBE PAPAYA 252 MIX TAPE MXT183 MIX TAPE MXT201 MIX TAPE MXT141 MIX TAPE MXT109 BASS LINE BSL183 BASS LINE BSL201 BASS LINE BSL141 BASS LINE BSL109 SAPPHIRE, NO VIBE AQUAMARINE, NO VIBE APPLE, NO VIBE SCARLET, NO VIBE SAPPHIRE, NO VIBE AQUAMARINE, NO VIBE APPLE, NO VIBE SCARLET, NO VIBE SCARLET 109 EAVES 66 MIX TAPE MXT123 MIX TAPE MXT229 MIX TAPE MXT203 MIX TAPE MXT66 BASS LINE BSL123 BASS LINE BSL229 BASS LINE BSL203 BASS LINE BSL66 DENIM, NO VIBE OCEAN DEPTH, NO VIBE JUNGLE, NO VIBE EAVES, NO VIBE DENIM, NO VIBE OCEAN DEPTH, NO VIBE JUNGLE, NO VIBE EAVES, NO VIBE 17 Complete Performance and Support ENTRYWAY SYSTEMS The OBEX™ brand of products offers highly effective, comprehensive modular entry solutions designed as a three-zone barrier system to prevent dirt and moisture from entering the building. Available in coordinated colors and patterns, OBEX™ entry products are engineered to increase the functionality of a building’s entrance without forsaking elements of design or aesthetic. Style Backed by Performance MODULAR AND BROADLOOM CARPET Milliken Floor Covering offers products and expertise in all Milliken’s broadloom and carpet tile incorporate the latest innovations in tufting and areas of your commercial spaces, including high-performance dyeing technology, achieving unique looks and excellent performance. All carpet tile entryway systems, modular and broadloom carpet, luxury vinyl products have cushion backing for an extended lifespan, as well as ergonomic and tile and milliCare.® Simplify your flooring projects by working environmental benefits. with a trusted partner that lets you focus on enjoying the process of creating a great space. LUXURY VINYL TILE From natural looks of wood and stone to more modern textures and abstracts, Milliken’s collection of Luxury Vinyl Tile flooring creates new options for a commercial or hospitality interior. Our simple-to-search Color Reference system provides easy coordination of the LVT options to modular and broadloom carpets. MILLICARE® milliCare® takes caring for your flooring and textiles off your to-do list, which means you can skip right to the part where you get to lean back, put your hands behind your head, and be a hero for keeping a beautifully cleaned space. LVT Entryway WARRANTY SUSTAINABILITY STAINSMART® MOISTURE MANAGEMENT CUSHION BACKING SIT TO STAND TRACTIONBACK® Our products are backed by lifetime commercial warranties that Core to our culture, we embrace sustainability with StainSmart, a proprietary treatment Milliken modular carpet is a moisture mitigation Provides superior underfoot Avoid the hassle and Our bio-based, high-friction ensure quality and give peace of mind. Milliken stands behind practices such as third party voluntary product applied to Milliken carpets designed solution all by itself. Unlike with hardback products, comfort while improving expense of using anti-fatigue coating keeps carpet tiles its products in the areas of Face Fiber Wear, Staining/Soiling labeling and certifications, zero waste to landfill since to repel and protect against stains water vapor has a way to escape from beneath the carpet’s durability and mats under sit-to-stand securely in-place without Resistance, Color Pattern Permanency, Delamination of Backing, 1992, use of renewable energy, product lifecycle and enhance soil release. Milliken’s cushion backing. It travels freely through offering ergonomic, acoustic workstations. Milliken cushion additional adhesives, eliminating Edge Ravel, Tuft Bind, Floor Compatibility, Antistatic, Flammability, assessments, ISO 9000 quality standards and all of » millikenfloors.com/stainsmart our open-cell cushion, evaporating naturally through and environmental benefits. backed carpet tiles have the need to prime or seal the Cushion Resiliency, Dimensional Stability, Floor Release, our manufacturing sites are certified to the highest seams at the edges of each carpet tile. All modular » millikenfloors.com/cushion ergonomics built directly into floor thereby reducing TractionBack and Moisture Resistance. global environmental standard - ISO 14001 certified. carpet tiles come with a lifetime warranty against the carpet tiles themselves. installation time and costs. » millikenfloors.com/warranty » millikenfloors.com/sustainability adhesive breakdown due to moisture vapor emissions. » millikenfloors.com/sit2stand » millikenfloors.com/tractionback » millikenfloors.com/moisture 18 LVT Midtown Village in Logan, Remix Remastered in Vinyl, no vibe, Quadrus Altitude Brush in Boundary. 19 REMIX REMASTERED Backbeat / Freestyle / Mix Tape / Bass Line PLAYS WELL WITH OTHERS To further infuse your new REMIX REMASTERED selection, consider a complementing carpet from FORMWORK, our collection of solids consisting of hues that directly inspired REMIX REMASTERED’s vibe assortment. SUSTAINABLE PROPERTIES OF THIS PRODUCT Construction Finished Pile Thickness Tufted, Textured Loop 0.11” (2.79 mm) REMIX REMASTERED is manufactured with Comfort Plus® ES (Environmentally Sustainable) Tile Sizes Average Density cushion backing, and is certified NSF-140 Gold 1 m x 1 m (39.4” x 39.4”) 7,793 50 cm x 50 cm (19.7” x 19.7”) with 35.9% pre-consumer recycled content by Texture Appearance Retention Rating (TARR) total product weight. With our optional Comfort Yarn Type Severe Traffic Milliken-Certified WearOn® Plus® ESP backing, REMIX REMASTERED carries an Standard Backing Nylon Type 6,6 NSF-140 Platinum certification. PVC-Free Comfort Plus® ES Cushion Stain Repel & Resist / Recommended Installation Method All Milliken modular carpet’s carry Environmental Soil Release Product Declarations and Health Product StainSmart® Declarations, which contribute to LEED certification.
Load more

Recommended publications
  • Garage Zine Scionav.Com Vol. 3 Cover Photography: Clayton Hauck
    GARAGE ZINE SCIONAV.COM VOL. 3 COVER PHOTOGRAPHY: CLAYTON HAUCK STAFF Scion Project Manager: Jeri Yoshizu, Sciontist Editor: Eric Ducker Creative Direction: Scion Art Director: malbon Production Director: Anton Schlesinger Contributing Editor: David Bevan Assistant Editor: Maud Deitch Graphic Designers: Nicholas Acemoglu, Cameron Charles, Kate Merritt, Gabriella Spartos Sheriff: Stephen Gisondi CONTRIBUTORS Writer: Jeremy CARGILL Photographers: Derek Beals, William Hacker, Jeremy M. Lang, Bryan Sheffield, REBECCA SMEYNE CONTACT For additional information on Scion, email, write or call. Scion Customer Experience 19001 S. Western Avenue Company references, advertisements and/ Mail Stop WC12 or websites listed in this publication are Torrance, CA 90501 not affiliated with Scion, unless otherwise Phone: 866.70.SCION noted through disclosure. Scion does not Fax: 310.381.5932 warrant these companies and is not liable for Email: Email us through the contact page their performances or the content on their located on scion.com advertisements and/or websites. Hours: M-F, 6am-5pm PST Online Chat: M-F, 6am-6pm PST © 2011 Scion, a marque of Toyota Motor Sales U.S.A., Inc. All rights reserved. Scion GARAGE zine is published by malbon Scion and the Scion logo are trademarks of For more information about MALBON, contact Toyota Motor Corporation. [email protected] 00430-ZIN03-GR SCION A/V SCHEDULE JUNE Scion Garage 7”: Cola Freaks/Digital Leather (June 7) Scion Presents: Black Lips North American Tour The Casbah in San Diego, CA (June 9) Velvet Jones
    [Show full text]
  • Found Footage Experience. Pratictices of Cinematic Re-Use and Forms of Contemporary Film
    Found Footage Experience. Pratictices of cinematic re-use and forms of contemporary film edited by Rossella Catanese (University of Udine) and Giacomo Ravesi (Roma Tre University) In contemporary visual culture, the polysemy of cinematographic language finds its emblematic manifestation in the various paradigms of image re-use, which contextualises and relocates their functions in new interpretative formulas. The practice of found footage consists of the cinematographic, videographic and artistic practice of appropriation, re-elaboration and re- assembly of pre-existing images retrieved from heterogeneous media archives: from photography to stock footage and from home-movies to TV documentation and the web. One of the attractions of postmodern culture as a form of recycling, re-use and combination of different materials recovered from a past interpreted as a vast reservoir of imagery, found footage keeps its interest alive even in the epistemological trajectories of the so-called “new realism,” where a “society of recording” emerges (Ferraris 2011) in which everything must leave a trace and be archived. Moreover, deconstructionist thought has shown how inheritance should be understood not as a datum but always as a task, since archiving also responds to the need for regulation: preserving documents means imposing an order and establishing control through safeguarding and cataloguing devices. At the same time, audiovisual consumption practices have today become complex and composite forms of reception which rewrite the spectatorial experience and the uses and habits of accessibility, availability and relationship with films and audiovisual materials. The history of cinema is configured as a “visual deposit” (Bertozzi 2012) at the origin of the development of new formal writings and metaphorical processes.
    [Show full text]
  • Types of Plagiarism & Unoriginal Work
    TYPES OF PLAGIARISM & UNORIGINAL WORK The following information was taken from The Plagiarism Spectrum found at turnitin.com Click to Begin #1 CLONE Submitting someone else’s work, word-for-word, as your own. Previous Next CLONE From a survey of 900 secondary and higher education instructors, on a scale of 1-10, cloning ranks 9.5 and is both the most common and most severe type of plagiarism. Frequency 0 1 2 3 4 5 6 7 8 9 10 Previous Next Cloning is intentional plagiarism and includes: using a friend’s paper from a previous class, purchasing a paper from a paper-mill, downloading a paper you found online, and other instances in which you turn in someone else’s work, unaltered, and claim it as your own. Previous Next #2 CTRL-C Containing significant portions of text from a single source with alterations. Previous Next CTRL-C From a survey of 900 secondary and higher education instructors, on a scale of 1-10, Ctrl-c ranks 8.9 and is the second most common type of plagiarism. Frequency 0 1 2 3 4 5 6 7 8 9 10 Previous Next Ctrl-c is a common process in which although you have written some of the assignment and included your own thoughts, there are still significant portions that match up word-for-word to another person’s writing, without citation. This occurs often when you cull “research” from various sources, when in fact all you are doing is cutting- and-pasting various sentences from various sources to create paragraphs.
    [Show full text]
  • Parody and Pastiche
    Evaluating the Impact of Parody on the Exploitation of Copyright Works: An Empirical Study of Music Video Content on YouTube Parody and Pastiche. Study I. January 2013 Kris Erickson This is an independent report commissioned by the Intellectual Property Office (IPO) Intellectual Property Office is an operating name of the Patent Office © Crown copyright 2013 2013/22 Dr. Kris Erickson is Senior Lecturer in Media Regulation at the Centre ISBN: 978-1-908908-63-6 for Excellence in Media Practice, Bournemouth University Evaluating the impact of parody on the exploitation of copyright works: An empirical study of music (www.cemp.ac.uk). E-mail: [email protected] video content on YouTube Published by The Intellectual Property Office This is the first in a sequence of three reports on Parody & Pastiche, 8th January 2013 commissioned to evaluate policy options in the implementation of the Hargreaves Review of Intellectual Property & Growth (2011). This study 1 2 3 4 5 6 7 8 9 10 presents new empirical data about music video parodies on the online © Crown Copyright 2013 platform YouTube; Study II offers a comparative legal review of the law of parody in seven jurisdictions; Study III provides a summary of the You may re-use this information (excluding logos) free of charge in any format or medium, under the findings of Studies I & II, and analyses their relevance for copyright terms of the Open Government Licence. To view policy. this licence, visit http://www.nationalarchives.gov. uk/doc/open-government-licence/ or email: [email protected] The author is grateful for input from Dr.
    [Show full text]
  • Andrea Lunsford Videos Plagiarism in the Remix Culture Lunsford Handbooks (Boston: Bedford/St. Martin's). 1/2 00:05
    Andrea Lunsford Videos Plagiarism in the Remix Culture 00:05 ["Mark Herrera, Sustainability Major" onscreen] HERRERAR: You've got to give credit where it's due, and I think that you can't just steal people's ideas. 00:13 [ONSCREEN] Plagiarism in the Remix Culture 00:15 LUNSFORD: We do live in a remix culture. 00:17 ["Andrea A. Lunsford, Stanford University" onscreen] LUNSFORD: There's a war going on out there about who's going to have control over this cultural material. Do you want to be a victim of this war, or do you want to get in there and be one of the protagonists or antagonists in this? So I want you to think really carefully about how you are using the work of others. And if you want to pull a clip from a song and you want to mix it in with something you are writing, I want you to think about all of the ethical implications, and I want you to be ready to stand up and say "I'm taking responsibility for this, and I think I should be allowed to do this and here's why." If you can't do that, you'd better not. 01:02 ["Eder Diego, Communication Design Major" onscreen] DIEGO: In the future, I think I could see the paper as being a multimedia thing. When you turn in something, if the professor asks you to do something more than just the paper, you can have your paper and then have some kind of link to a video you might do on that topic.
    [Show full text]
  • Fixing the Sample Music Industry: a Proposal for a Sample Compulsory License
    FIXING THE SAMPLE MUSIC INDUSTRY: A PROPOSAL FOR A SAMPLE COMPULSORY LICENSE Maxwell Christiansen* INTRODUCTION ...................................................................................... 25 I. WHAT IS SAMPLING? .................................................................... 26 II. HISTORY OF AMERICAN MUSIC COPYRIGHT LAW ......................... 29 A. American Copyright Legislation ............................................ 29 B. Substantive Case Law ............................................................ 31 III. HOW CURRENT MUSIC COPYRIGHT LAW STIFLES CREATIVITY ..................................................................... 39 IV. PROPOSAL FOR A CONGRESSIONAL AMENDMENT TO THE COPYRIGHT ACT ........................................................................... 40 A. The Sample Compulsory License and the Emergence of a Sample License Organization ...................... 40 B. Justifications and a Balance of the Interests ......................... 42 C. Another Proposed Solution .................................................... 47 CONCLUSION .......................................................................................... 48 INTRODUCTION “Once music is recorded on tape, it’s just pieces of ferrous oxide on plastic, and can therefore be chopped about, switched around, put together in different orders, stretched, compressed, whatever,” explained Brian Eno, famous composer credited as the pioneer of ambient music,1 in a 1977 interview as he discussed the revolutionary benefits of magnetic tape
    [Show full text]
  • Terror Nullius (2018) and the Politics of Sample Filmmaking
    REVENGE REMIX: TERROR NULLIUS (2018) AND THE POLITICS OF SAMPLE FILMMAKING by Caitlin Lynch A Thesis SubmittEd for the DEgreE of MastEr of Arts to the Film StudiEs ProgrammE at ViCtoria University of WEllington – TE HErenga Waka April 2020 Lynch 2 ACKNOWLEDGEMENTS Thank you to my supervisors, Dr. Missy Molloy and Dr. Alfio LEotta for their generous guidancE, fEEdbaCk and encouragemEnt. Thank you also to Soda_JErk for their communiCation and support throughout my resEarch. Lynch 3 ABSTRACT TERROR NULLIUS (Soda_JErk, 2018) is an experimEntal samplE film that remixes Australian cinema, tElEvision and news mEdia into a “politiCal revenge fablE” (soda_jerk.co.au). WhilE TERROR NULLIUS is overtly politiCal in tone, understanding its speCifiC mEssages requires unpaCking its form, contEnt and cultural referencEs. This thesis investigatEs the multiplE layers of TERROR NULLIUS’ politiCs, thereby highlighting the politiCal stratEgiEs and capaCitiEs of samplE filmmaking. Employing a historiCal mEthodology, this resEarch contExtualisEs TERROR NULLIUS within a tradition of sampling and other subversive modes of filmmaking, including SoviEt cinema, Surrealism, avant-garde found-footage films, fan remix videos, and Australian archival art films. This comparative analysis highlights how Soda_JErk utilisE and advancE formal stratEgiEs of subversive appropriation, fair usE, dialECtiCal editing and digital compositing to intErrogatE the relationship betwEEn mEdia and culture. It also argues that TERROR NULLIUS Employs postmodern and postColonial approaChes
    [Show full text]
  • Eduardo De Moura Almeida
    UNIVERSIDADE ESTADUAL DE CAMPINAS INSTITUTO DE ESTUDOS DA LINGUAGEM EDUARDO DE MOURA ALMEIDA ANIME MUSIC VIDEO (AMV), MULTI E NOVOS LETRAMENTOS: O REMIX NA CULTURA OTAKU CAMPINAS, 2018 EDUARDO DE MOURA ALMEIDA ANIME MUSIC VIDEO (AMV), MULTI E NOVOS LETRAMENTOS: O REMIX NA CULTURA OTAKU Tese de doutorado apresentada ao Instituto de Estudos da Linguagem da Universidade Estadual de Campinas para obtenção do título de Doutor em Linguística Aplicada na área de Linguagem e Educação Orientadora: Profa. Dra. Roxane Helena Rodrigues Rojo Este exemplar corresponde à versão final da Tese defendida pelo aluno Eduardo de Moura Almeida e orientada pela Profa. Dra. Roxane Helena Rodrigues Rojo CAMPINAS, 2018 Agência(s) de fomento e nº(s) de processo(s): FAPESP, 2015/22567-8; FAPESP, 2017/08441-7 Ficha catalográfica Universidade Estadual de Campinas Biblioteca do Instituto de Estudos da Linguagem Dionary Crispim de Araújo - CRB 8/7171 Almeida, Eduardo de Moura, 1981- AL64a AlmAnime Music Video (AMV), multi e novos letramentos : o remix na cultura otaku / Eduardo de Moura Almeida. – Campinas, SP : [s.n.], 2018. AlmOrientador: Roxane Helena Rodrigues Rojo. AlmTese (doutorado) – Universidade Estadual de Campinas, Instituto de Estudos da Linguagem. Alm1. Remixes. 2. Animação (Cinematografia). 3. Multiletramentos. 4. Cultura popular - Japão. I. Rojo, Roxane Helena Rodrigues. II. Universidade Estadual de Campinas. Instituto de Estudos da Linguagem. III. Título. Informações para Biblioteca Digital Título em outro idioma: Anime Music Video (AMV), multi and new
    [Show full text]
  • Remix Theory
    ~ SpringerWienNewYork Eduardo Navas .000• 00.00 .000. 00000 .000.••••• •••••• 0000 ••0 •• 00.00 0.0.0 00000 .0.0 • 00.00 00.00 00.00 .00.0••••• •••••• 0000 .000• 00.00 0.0.0 00000 • 000. ••••• .000• 00.00 .000. 00000 • 000• .000• •••••00.00 .000. •••••• 0000 •••••• 000• .000•••••• 0.0.0 00.00 • 000• 00.00 00.00 .000.••••• •••••• 0000 .000• .00.0••••• 00.00 00.00 • 000. ••••• ••••• .000• 00.00 THE AESTHETICS OF SAMPLING SpringerWienNewYork Eduardo Navas, Ph.D. Post-Doctoral Research Fellow Information Science and Media Studies University of Bergen, Norway With financial support of The Department of Information Science and Me- dia Studies at The University of Bergen, Norway. This work is subject to copyright. All rights are reserved, whether the whole or part of the material is con- cerned, specifically those of translation, reprinting, re-use of illustrations, broadcasting, reproduction by photocopying machines or similar means, and storage in data banks. Product Liability: The publisher can give no guarantee for all the informa- tion contained in this book. The use of registered names, trademarks, etc. in this publication does not imply, even in the absence of a specific state- ment, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. © 2012 Springer-Verlag/Wien SpringerWienNewYork is part of Springer Science+Business Media springer.at Cover Image: Eduardo Navas Cover Design: Ludmil Trenkov Printing: Strauss GmbH, D-69509 Mörlenbach Printed on acid-free and chlorine-free bleached
    [Show full text]
  • YA Meets the Real: Fiction and Nonfiction That Take on the World
    YA Meets the Real: Fiction and Nonfiction That Take On the World www.hbook.com /2015/09/creating-books/ya-meets-the-real-fiction-and-nonfiction-that-take-on-the-world/ Marina Budhos It began with hot summer nights. It was on hot summer nights — when it was far too hot to go outside, when all I wanted to do was sit under the throttle of a noisy air conditioner — that I got my best reading done as a teenager. There were two kinds of books I was most addicted to: young adult novels such as Paul Zindel’s My Darling, My Hamburger, and those slightly racy, edgy dog-eared adult paperbacks that sat on the shelf in the dining room: Up the Down Staircase, Down These Mean Streets, Black Boy, anything by James Baldwin. I was looking for books that felt urgent, because I was growing up in urgent times — the Vietnam War, school integration battles, assassinations. These conflicts did not feel far away. They felt as if they were right in my home. And they were. Not just through the TV and Life magazine but through books and the nighttime conversations in our living rooms, out on the concrete porches in our garden apartment complex in Queens. The war, for me, was my older brother’s friends marching or getting arrested at a protest or getting in trouble at school for being too radical. Assassination threats breathed right through our nylon curtains, where I could see the windows of my neighbor, Roy Wilkins, the head of the NAACP, whose own life was threatened by radical black separatists.
    [Show full text]
  • Appropriation Film”
    An unauthorized partial recording of Christian Marclay’s The Clock as accessed on Vimeo, May 21, 2015 . Trespassing Hollywood: Property, Space, and the “Appropriation Film” RICHARD MISEk In the two decades since the first exhibition of Douglas Gordon’s 24 Hour Psycho (1993), “appropriation”—a mainstay of visual art since the mid-twentieth century—has become a common feature of experimental filmmaking and artists’ film and video. Many of the most prominent contemporary practitioners in these fields (including Cory Arcangel, Mark Leckey, Christian Marclay, and Nicolas Provost) have made their names by creating montages, collages, mash-ups, and other transformative works from preexisting moving images. Perhaps the clearest evidence so far of appropriation’s prominence within moving-image arts was the 2012 Turner Prize, in which the works of two of the four finalists (Luke Fowler and Elizabeth Price, who won) were videos constructed mainly from archival televi - sion footage. Of course, this artistic turn is symptomatic of a broader cultural turn that has seen media reuse spread to everyday practice. However artists’ audiovisual appropriations may differ from fan-made YouTube supercuts, the two share a cru - cial technological precondition: the ability to copy and transform source files with - out a significant reduction in quality. 1 Applied to video, Nicolas Bourriaud’s char - acterization of contemporary artistic practice as “postproduction” loops back to its original meaning. It describes not only the creative process of “selecting cultural objects and inserting them into new contexts” but also the technologies through which this process takes place: video-editing, sound-mixing, and visual-effects (i.e., “postproduction”) software.
    [Show full text]
  • Sampling, Looping, and Mashing . . . Oh My!: How Hip Hop Music Is Scratching More Than the Surface of Copyright Law
    Fordham Intellectual Property, Media and Entertainment Law Journal Volume 21 Volume XXI Number 4 Volume XXI Book 4 Article 1 2011 Sampling, Looping, and Mashing . Oh My!: How Hip Hop Music is Scratching More Than the Surface of Copyright Law Tonya M. Evans Widener University School of Law, [email protected] Follow this and additional works at: https://ir.lawnet.fordham.edu/iplj Part of the Entertainment, Arts, and Sports Law Commons, and the Intellectual Property Law Commons Recommended Citation Tonya M. Evans, Sampling, Looping, and Mashing . Oh My!: How Hip Hop Music is Scratching More Than the Surface of Copyright Law, 21 Fordham Intell. Prop. Media & Ent. L.J. 843 (2011). Available at: https://ir.lawnet.fordham.edu/iplj/vol21/iss4/1 This Article is brought to you for free and open access by FLASH: The Fordham Law Archive of Scholarship and History. It has been accepted for inclusion in Fordham Intellectual Property, Media and Entertainment Law Journal by an authorized editor of FLASH: The Fordham Law Archive of Scholarship and History. For more information, please contact [email protected]. Sampling, Looping, and Mashing . Oh My!: How Hip Hop Music is Scratching More Than the Surface of Copyright Law Cover Page Footnote Assistant Professor of Law, Widener University School of Law; B.S., Communication Studies, Northwestern University; J.D., Howard University School of Law. The valuable research and writing assistance of Peri Fluger helped tremendously in the drafting of this article as did the valuable research and editing assistance of Anthony Czuchnicki. Many thanks to Juliet Moringello, John Dernbach, Chris Robinette, andré douglas pond cummings, Lateef Mtima, and Steven Jamar, for their guidance and support throughout the process of research and writing.
    [Show full text]