remixes.reusesThe precessionChimerian – Hip hop Man: of culture a technocultureNotes was on birthed a Remix is onefrom Culture that this repeatedly field– Dean of bricolage, Valadez consumes of recycling its own goods,jazz, call recycles, and response, regenerates, and the personasstyles,compositeurban and into into a a singular music scene soundscape. that often Hip features hop fed multiple off of composite artists contributing personas, disparate sometimes rhyming in dj battles, schemes, other erWilliamhiptimes hop in S.battles Burroughs - face-offs devised between in literature competitors – collision which of ultimatelydisparate thoughts,became the shifts product in temporality, itself. What shifts T.S. Eliotin speak and- tricconformsculturelocality, and to fragmentationa generated model of structure of a techno-centric - hip hop made society, mainstream. where the But birthing this acceptance of hip hop by was the preceded larger youth by elec - neityaturinginformation, media ecology possible – a landscape via the telephone, of mediated the television,effects. The and notion the tape of a recorder,remix culture, among articulated other electronics, from the simulta as struc- - Likealltheof theat words once. mediated of Ours Marshall eye is a ofbrand McLuhan, Eadweard new world “Today, Muybridge’s of all-at-onceness.the instantaneous camera, to Time, the world simultaneity in aof sense, electric ofhas information the ceased electric and mediaage space is sensedinvolves has vanished. from all of us, artToday’screatedprimitives, deco, bymodern steel-and-glass wethe now motor man live carin in the ora- recycled, global evenmodern by village thereused,city airplane. occupiesof our re-habbed. own It himselfis making, created It is within in aby factsimultaneous instant the the architectonic modern electronic happening. ideal informationcomposite: to face-lift The global movement.”colonial,the old village into gothic, the is[1] not AsbricolageThenew. Teilhard regenerative puts de Chardinour complex mind writes, at psychologicallyease “Our and habit comforts is requires to divideour needs. this up ourto be human so; an world architectonic into compartments hybridity where of different the chaos sorts of thatappropriationof which‘realities’: is began the from naturalas Muybridgean already and artificial, beganexisting physical to source. disassemble and Or moral,it is visualarguable organic space that and with Gutenberg juridicial, his ‘image-taker’, forin theinstance.” 14th itself century [2] a Themeans disturbed, beginnings of separationinmentsfragmented, Number: ofThe man’s the Language abstract sense offrom of space, Science the concrete or [3],to disappear man’s and sense Euclidean yet offurther space space backwards shifted set into and compartmentsin fragmented time, that, as as thingsTobias numbers thatDantzig markedoriginally com the- ascensionNotseenwere only holistically. is asit the the architectonicDe cultural Chardin norm witnesses that in manyadministers thewestern pluralism to civilizations, us, soof ‘realities’it is also which the as theycontainstransculturated mash us. into Pluralism the environment, same and particular relativism and its spaces. quickas theirtrans-immigrationandterms concepts can timesonly survive there are in afewer remix surviving environment members that is of not an hospitable absolute position to absolutes. who claim Is it no the wonder inerrancy that of in chewsantagonisticasAbsolute Scriptures? towards relativismOr, likewise, as theare inerrancyany ‘fundamentalist’ of their Scientific faith positions, Atheism? notably The New Richard Atheist Dawkins movement who is es just- Whenperceptionoutrelativism the concreteas of anti-intellectual. the urbanized and the phenomenainfluences, It is the dominant the themselves multiple culture truth lose that claimsorigin recycles andwithin andtranscend a reuses,transculturated absolute permits position,context.and perpetuates, the environ with- - presses:Barkerwhichment, is both the object and event, display themselves in its inhabitants. This is the psychic envelope Roger phenomenonwithunstructured,The viewthe programming is not passive,worthy uncommon of heprobabilistic investigation carries among about psychologistsarena for with itself, of himself….Whenobjects and that not and theas events an environment instrumentwe uponlook at which the offor behavior environmentunraveling man behaves is a the relatively of behaviorrelevant inbehavior accordance as a knowledgepatterning….Wearrangementsprogramming of the withinof found….that objects behavior persons, and characteristics eventswe the could environment which predict of coerce the some is drugstores, seen behavior aspects to consist in arithmetic of accordance children’s of highly classes, behavior structured,with theirand more basketballown improbable adequatelydynamic games from they reconfiguration,Edward[Rogerinhabited Barker, T. than Hall similarlyfromEcological also knowledge through problematizes Psychology] Barker’s of the behaviorthevoice: ecological tendencies impressions of particular upon children….[4]the human condition, or in a sense the [EdwardIttelson,inBarker which demonstrates andheHall, functions Kilpatrick, Beyond that[italicsCulture] as wellin studyingare as Hall’s]. my earlier man Much it work, is of impossible the leads work to of tothe the separate same transactional conclusion. the individual psychologists [5] from the Ames, environment underphenomenaisIt is a awonder wonder unless concretized that art one forms sees into replay theobjects visionary many produced such role conclusions not from solely the humanas before art form condition. academic but as Thesephenomena expertise artifacts, can risen confirmpre-conditioned from cultureits validity; - as it systematizenecessarypreconditionsecological heat,to itself energize come into being. intothe cultureform This like explainsinto diamonds its behavior. why and Marilyn Thecoal, Monroe’sartifact simultaneously though stage necessitates persona things to through behold circulation image-circulationyet containing for it to the and needersreconfigurationsbodily to fragmentation unknowingly that becameweconfuse still see artifactthe today. image and Yet, with was for the toa staged bereal. beheld, image but to provided re-shape the a society’snecessary real fuel form, for thepassive female receiv- environment,graphicalwhoMcLuhanism stated in contendsconsciously1955 that psychogeographywhat organized the psychogeographers or not, was on “thethe emotions study were of also theand theorizing,precise behavior laws ofprojected individuals.”and specific foremost effects[6] The by ofhuman Guy the Debord, geo mind,- frequentlybarriers,nonporoussituated withindisdaining fused arenas with differentiation the complex electric; in ecologyeffects,between cannottoday, forms, with deter thus the itself‘geography’ mediated from bricolage. and in Debordian the digital Remix andin environments combinatory McLuhanian relationsephemerate time with bors’almostelectric.the self-refutingly, The remix geography without geography is physical, (Africa is virtual, and architectonic, Russia are now literary, proximally audible, located mechanized, alongside electric, our neigh and,- imagecirculation,statesDedoorsteps Chardin that –in well “Time, such points environments in a out sense, the mimetichas ‘frontiers….tend ceased faculty and of space man to vanish’, andhas vanished”the but ephemeral he is [7]).amiss boundaries when he neitherof relativism attributes when it heto pointfrontiersInjuxtapositions a space-time, of view between of of the legitimately imagery, these expansion pairs nor and oftheof opposites perforcelife remix between conditions extended tend a vertebrate to vanish. ofto hisinclude time: eitherIs there the spreading movementsafter all such its limbs of a thegreat or mind equippingdifference within us,themfrom the the traditionPerhaps[Pierrewith feathers, Teilhard ofunknowingly, doing and de so anChardin, since aviator de Chardin even Phenomenon soaring Da pronounces Vinci’s on wings ofera. Man] Thewith the chimerianmorphologicalwhich he has principle, had transition the established ingenuity from man toand provide into elevated chimera himself before in ?the [8]Da long througheitherbyVinci the ancient the camera, Greeks, the has car, only or the seen conversation, fruition in the that mechanical engenders age. the It anthropomorphizing is the mechanizing of of human machines. actions, When [sexualized,topartCharles the visual Dickens romanticized,contrast, admonished the obesity, or cutified], such of mechanizing the psychologically machine. ofToday’s the anthropomorphized labor machinery force in hisis either literature, amidst visually commercialit is anthropomorphizedlikely he capitalism,was reacting or in nowthetweengrowing human indefinitely and the machine invisible. inevitably We are at havethe time ended. where The the chimerian morphological principle, and which psychological Pascal saw delineations as inner, has be - Whatthatnowresulted we a chimera,can in outer. watch then,The this psychic ispronouncement man! envelopeWhat a novelty! inof hindsight.re-configuration/reassembly What a monster, what a chaos, is fast-forwarded what a contradiction, to contemporary what ears The[Blaiseerror;a prodigy! chimerian the Pascal, pride Judge mindPensees]and of refuseall holds things, ofno the absolutes,imbecile universe! worm for [9] an of absolute the earth; denies depositary multiplicity, of truth, just a sink as Renaissance of uncertainty paintings and lackcauseCubism.denied of ofthe For chimerian the Renaissance mind. It is painter the Renaissance to paint cubistically person that was held impossible to a single, not individual because ofpoint lack of of view, invention the result be- thesimultaneity,staticof fixed space. the result Cubism of information-all-awareness as we now see it in retrospect, through was the the newspaper progenitor and of hip the hop, camera. of relativism, [The newspaper and easilysoworldbeginnings tookand unconsciouslyfor of all-knowing;granted as merelydo the today. camera a painting the beginnings of flat planes of inall-seeing.] space. Cubism Cubism performed was the crystal consciously ball that what the wewhole all tracedpathevents,The ground since events precedes The which Matrix, preclude the Minority figure non-imagined such Report, that 1984, we instigateimagery, and Brave theand New ground which World. pre-concludeand Events the environment preceded our mediated eventhrough by being. 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We go spaces.ticalearbudThe environment Such acoustics and absolve the playlist themselves constitute of shifting gravity. contexts so that we situate ourselves in revolving acous- sculptureEvennotMuch ignored of the today thisvisual wantsfact art as of to some the deny past of gravity. it century, too has Once evenmoved it does proto-notions towards so, either the insciencemeta the andImpressionists, has away manipulated from the deny descriptively metaphysics gravity. Literature concrete. or we arehas disengagement.Thelongerno flaneur in the today concrete The is the flanuer anymore technics today but machine, is have the technic’sinstead increasingly been user, transfigured. mimeticincreasingly of the mimetic machine’s of the user, using in bothmachine, his dandy in both and its bourgeoiseTheanddandy disengagement.urban flaneur and proletarian intensifies Both play dress. his reciprocal role He as takes being roles this fashionably asfurther public by performer replayingarticulate andenoughhimself detached asto replayhis voyeur.counterpart, multiple signs whereby through gender enrouteobservingaboutsignification as is composite subsumed figure, under undifferentiated the dismissal of as category all symbols and lostof order in the have convolute been Target-ized system of signs.and circulated He strolls skateimages.circulatedthrough Heall through image dons hisdevices. store alt-look ads’ That asdiluted heis his does relativism camouflage. his outlook, on ‘expressing His and second dandies yourself’role himself is to throughrecognize extensively polled his downautonomy, pre-designed boutiques if only popularity and also professional,armchairTheshops. remix This deejays geography is but the in withmetropolitan either, isdigital remix sampling Technics culture man, and where is ®, remixcut-ups or trans-fashionsimulations artifact. are not Mash-up thereof,theoretical is dress-able. DJ’swith acknowledgements, areyouTube participatory publication. culturalists, but Other rather deejays sometimes dj necessity. are practice,1984)are(J-ay the [10] letters Mash-up of his DJ’s name, DJ cutting Spooky, and Max scratching Tannone, are and the multitude aspects others,of his game. reclaim – Run-DMC Duchampian lyrics, readymade Jaydiohead,readymadeaudionot as creators cut-up Tannone’s of new puts songs, mash-upon the but role album, as of creators re-spun Thom ofsyncretist; Yorke’s new experiences Radiohead it plays semiological with play already-experienced ground confusion to Jay-Z’s as figure, coherence.experiences. already On an The theMarcoBurroughianEliot- Maggi literarydescribes sinuous his own fold, work.) compounding The readymade the sign is convolutiona bricoleur that further. creates (‘Semiotic a system turmoil’, of signs, as sculptor whereby bled,Prostheticismposition.sign syncretism is isour empowered future Duchampian by those Self,prior readymadeexperiences. arms A form and of legs dialectic to embody to equivocate phantom an limbs. interpellational Reassem- tomakesthe cut-upfuture sense self body. inis anaPlastic chimera era that surgery of admires man is andon reconstructions ascension machine – just the andas Human is the psychological built Machine.[11] environment. surgery. The cut-up Likewise, Collaging method it isskin no precedes andscience silicon fiction only ridestheProstheticcollage rise readymadeof machines,Man and conceptsthe been Duchampian more directly forthcoming Selfinto hasour inthoughtsbeen his triumphantlatent the and same has entry way just into one now, being. might for the His purchase past motives century shoes. are andclear a forhalf he with whichTorahthenot a donkey, elicitswere ofthis but old, latency an men automotive. of of renown’ desire Early in [12] the documentationThe Genesis force versionof words exposes of asserts mash-ups the that progenitor – these a hybrid men seed race were to that our trans-dimensional became Duchampian ‘mighty Self: men us.Matthewadulteratedhybrids, Barney beyond herald the boundariesthe super-progenic; of humanity, Plastic such Man that and the his new malleable super-progeny visages wasinvoke formed. the future The videoschimera of in compositecreatedTheAimee Torahic Mullins from sculptures accounts the hyper-sexualizes mosaic positadmit images that this man prostheticism 21stof mass wascentury mancreated narrative. andwhile in the theSteve mechanical Theimage Mann interactivity of intellectualizesGod; extensions the of theRemix social of them. ouraccounts and technique. the posit visage Oliver that of man theHerring’s comis - communicationWhenbecomemon communication Man. Private speeds identity flows up and from is sacrificedinformation atoms to to bits, isthe universally ascollaged Nicholas photosaccessible. Negroponte of contributing It is pointsnot contrary outskin in tones. Beingto discover Digital[13], that bits are context;videlow-context,also no-context or rather, then no-context. must take As it, Hallchange earlier it, adapt said, low-contextit, and subsume communication us into itself. invites No-context the receiver communication to pro- non-artist.Musicahistorical.allows isfor low-context interpenetration The rise of in dj-ing today’s of equipment all machinery sorts of in other the as itformforms has of been of software data. reduced Without and to video bitscontext, andgame allowsanything devices for is mash-upshas figure, made and forthe man even ready is the- ad,Mash-upslessmade of the andart form remixes Duchamp since theyemployed exist in as all outcast, sensorial and spaces more of– the a hobby acoustic, employed the architectonic, out of convention. the visual, the talismofunitsthe capitalism. magazine, Is the it not televisual, remarkable the technic, to note thethat software this exchange – are no from longer anti-capitalism subversions to ofI-might-want-to-be-anticapi capitalism, but rather are - HisWilliamtois demonstratedalter proposition: readymades. S. Burroughs ifthrough Duchamp What scavenged the was could production outcast from lift readymades, this became of debrisReadyMade out of and ofthe convention. iftechnoculture,magazine, the Dada-ists specifically urbancould composites,employ published remix for and as the senselessness,lifted proletariat artifacts. methodcutupnotwhy himself? of writing It was he a claimand Brion of his Gysin that Eliot further lifted employed. from newspaper 1959 marked headlines the date and of became publication the forerunner of his composite to the fieldHising.literature, response of Naked asserted Lunch beyond [14], and a alsofocus foresaw, on content-based in a 1984 interview, formal sociology, the topic ofand Burrough’s instead was cut-up suggestive method of of the writ - sciousnessfactsthepsychogeography, of human perception, “It’s simply because the old whenever montage you method walk that’sdown old the hat street in painting or look outapplied the window, to writing. your It’s concloser- to Theis theaffected restaurant, moment by random where the boutique, the factors. object the In has otherculture, been words, have wrested life all absorbedis from a cut-up.”[15] the whatold environs, the elite artsto be first resituated provoked, for thatre-consumption. the rummage Fredericrealized,Asinternet children, itself Jamesonwith we hasexception have become at hisbeen to time a accepting fewperpetual was media correct the estate scholars, ‘melting in characterizing sale, the pot’except axiom axiom very thebespeaks as fewaxiom quaint get into of paid.and our the ‘poetic’; current modern/postmodern little psychological has anyone landscape. schizo really - and“…whenceculturalphrenic Swedes... psychology, came What, all these butthen, his people?is description the American, They suffices are this a mixture new little man?in of a post-postmodernEnglish, He is neither Scotch, a EuropeanIrish, remix French, time nor period. Dutch, the descendant Germans, of a leavingwoman,youEuropean; a family behind and hence whosewhose him that all grandfatherpresent strangehis ancient four mixture was sons prejudices an ofhave Englishman, blood, now and which fourmanners, whosewives you will receivesof wife differentfind was in new noDutch, nations. other ones whose country. from He is sonthe an I newcouldAmerican,married mode point a French ofwho, out life to he Iteverscatteredhas is notembraced, appeared.” merely all over geneticsthe [16] Europe; new − J. governmentnorHector here biological they St. John are he factors incorporatedobeys, de Crevecoeur Crevecoeur and the into new one points rank of the heout finestholds. to us, systems .but . . The rather Americans of thatpopulation through were which the once filter has of identitywithresaturatedhybridity new would theideologies American, chose. and Even the traditions, so,composite Crevecoeur’s effectively man, has myopia seating been allows inwrung power him of aancient the governing error ideologies of forceremaining which and Eurocentric traditions, only a composite only in his to forebe - beforelongshouldcast; McLuhan,he have mashed-up although perhaps the eastern the titlepersona global into man his would chimera, have he served would him have better. predicted the global village Germans,calledmeltingMan is Corinthian the and Swedes,most intermixture composite brass, Poles, was of and silverof formed; all Cossacks, creatures....and sogold in and thisand Well, all continent,--asylumother the as Europeanmetalsin the old a new burningtribes,--of of compound all nations,--theof thethe Africans,Temple more preciousenergy at and Corinth, of of thethan Irish, by any, the [RalphemergedvigorousPolynesians,--will Waldo asfrom the Emerson, the new construct Pelasgic Europe journal anda which new entry,Etruscan race, came 1845] a outbarbarism.new of religion, the smelting-pot [17] a new state, of thea new Dark literature, Ages, or which that which will be earlier as voice;poemarts.The pre-figuration Emerson’s The Waste statement Land. by Crevecoeur Contemporarily that a ‘new and Emersonliterature’ acute itself, wouldof the it preceded compositearise crystal-balls and man promised is whatprescient T.S.the role Eliotin both of would a thefuture visualpen collective in andhis epicliterary tionperspectivesreligions,its tempo aswas though collaged rift in cognitiveglobalization into one dissonance, rift. had This already rift shifting- the occurred. collective time through It multiplicity,was cubistic temporality, the in itstemporality methods,multiple references,that snapshots occurs and inof fragmenta varying multiple - andforetheof form and - WWIIwas one was in bringing which was near a sensethe rear: of Thea disquieted Waste Land zeitgeist, was all as that, remembrances the landscape of WWIupon echoedwhich machinery faintly from TurnAtTHEbricolage the WASTEupward violet collided. hour, fromLAND when the by desk, T.S. the Eliot eyeswhen (lines and the back 215human – 215 230) engine OldILikewaits Tiresias, man a taxi with thoughthrobbing wrinkled blind, waiting, female throbbing breasts, between can seetwo lives, HerTheHomeward,At the stove,typist violet homeand andhour, lays bringsat the tea-time,out evening foodthe sailor clearsin hour tins. home herthat breakfast, fromstrives sea, 220 lights Stockings,OnHerOut the dryingof the divan window combinationsslippers, are piled perilously camisoles, (at nighttouched spread her and bybed) stays. the sun’s last rays, 225 He,IPerceived tooTiresias, the awaited young old the the man scene,man expected with carbuncular, and wrinkled foretold guest. dugsarrives, 230 the rest— TheAsOneA small a timeofsilk the house-agent’s hatis lownow on on a propitious, Bradford whom clerk, assurance millionaire. as with he guesses,one sits bold stare,235 Anddeutsch.EndeavoursThe mealwhen is we ended, to were engage shechildren, heris bored in staying caresses and attired, the archduke’s, InMarie,AndMy the cousin’s, I wasmountains, hold frightened. on he tight. took there And me He you outdownsaid, feel on Marie, we afree. sled, went. 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Exploring good time:the Matrix: Visions of the Cyber Present, edited by Karen Haber; Fugitive Images, edited by http://navasse.net/recuts/index.htmlhttp://www.totalrecut.com/remixtools_1.php?cat=onlinevideoeditinghttp://gizmodo.com/5826310/remix-the-president-with-the-obama-board-keyboardhttp://www.cutnmix.com/ http://www.nytimes.com/2010/03/21/books/21mash.htmlculture/#commenthttp://learning.blogs.nytimes.com/2010/03/25/remix-reuse-recombine-holding-a-seminar-on-mash-up-http://www.mashmashup.com/ http://mitpress.mit.edu/e-books/mediawork/titles/writing/writing_webtake/index.htmlhttp://www.politicalremixvideo.com/http://www.djbc.net/spooky/http://footage.stealthisfilm.com/browse [1]Bibliographyhttp://www.remixmylit.com/http://www.austinkleon.com/2011/03/30/how-to-steal-like-an-artist-and-9-other-things-nobody-told-me/ Marshall McLuhan,“McLuhan on McLuhanism,” WNDT Educational Broadcasting Network, 1966 [5][4][3][2] RogerEdwardTobiasPierre TeilhardBarker, Dantzig, Hall, Beyond Ecological De Number: Chardin, Culture, Psychology,The The Languagep. Phenomenon 100 p.4 of Science, of Man, Free Harper Press, Perennial, 1967 1959, p.222 [9][8][7][6] GuyBlaiseDeMcLuhan Chardin, Debord, Pascal, p.222 Introduction Pensees, para to a #434 Critique of Urban Geography, Les Levres Nues #6, 1955 andProductions[11][10] Brandon Run-DMCMaster-List Bauer , “Jam-Master2000 and A.Bill Jay”, Miller, self-titled Flower, RCP.MLK2.PDFalbum, Profile Records, webzine 1984 Spring 2011, issue 8, Random Cultural [15][14][13][12] WilliamNicholasTorah, Genesis S. Negroponte, Burroughs, 6:1-7 NakedinterviewBeing Digital,Lunch, (interviewee Knopf, Grove Press,1995 unknown), New York,1984 1959 [18]IIV,[17][16] 116 MadonnaJ.Ralph Hector Waldo St. and John Emerson, Depeche de Crevecoeur, journalMode mash-up entry, Letters 1845, of from ‘Like first an publishedIt or American Not’ by 1912 Madonna Farmer. in Journals and ‘Personalof Ralph Waldo Jesus’ Emerson, by Depeche Vol. Records,nerDJMode, Apollo Bros. mash-up 2005; Zero, Depeche http://apollozero.blogspot.com/;by Mode, ‘Personal Jesus’, Madonna Violator, Mute‘Like ItRecords, or Not’, Confessions1990 On a Dance Floor, War- [22][21][20][19] KTMGEdmundRichardGreek ProverbPapers: Nikolaus Carpenter, Thirteen, von They Coudenhove-Kalergi, The Became Dialogues What of They G. Practical de Beheld, Purucker, Idealism, Ballantine Theosophical 1925 Books, 1970University Press, 1930 representatives[25][24][23] Ibid.EdwardThe image T. Hall, perpetuated of Beyond Culture,by hip hop Anchor songs Books/Doubleday, and videos, Boys 1976,in the p.102 Hood-style movies, and embraced by the [26]specificallyIthe use hipThe the hop Gregoryterm, referringcommunity, Brothers, to the namely package, Bed Intruderthe rap or the artists Song, commoditization themselves, 2010, http://www.youtube.com/watch?v=hMtZfW2z9dw is of ghetto-ized such a lifestyle. into package. This is the way in which [29]cto649nkjY[28][27] JeanJoshBET HipBaudrillard,Bricker, Hop statementAwards, Simulations, 2010, published http://www.youtube.com/watch?v=JaThgHKmcaM&feature=related (New on York: youtube, Semiotext(e), screen name 1983) sqosh12; http://www.youtube.com/watch?v=-

The Chimerian Man: Notes on a Remix Culture Dean Valadez The precession of a technoculture is one that repeatedly consumes its own goods, recycles, regenerates, reuses – remixes. Hip hop culture was birthed from this field of bricolage, of recycling jazz, call and response, and the urban composite into a music scene that often features multiple art- ists contributing disparate rhyming schemes, styles, and personas into a singular soundscape. Hip hop fed off of composite personas, sometimes in dj battles, other times in hip hop battles -face-offs between competitors which ultimately became the product itself. What T.S. Eliot and William S. Burroughs devised in literature – collision of disparate thoughts, shifts in temporality, shifts in speaker locality, and fragmentation of structure -hip hop made mainstream. But this acceptance by the larger youth culture conforms to a generated model of a techno-centric society, where the birth- ing of hip hop was preceded by electric information, possible via the telephone, the television, and the tape recorder, among other electronics, as structuring a media ecology – a landscape of medi- ated effects. The notion of a remix culture, articulated from the simultaneity of the mediated eye of Eadweard Muybridge’s camera, to the simultaneity of the electric age is sensed from the words of Marshall McLuhan, “Today, the instantaneous world of electric information media involves all of us, all at once. Ours is a brand new world of all-at-onceness. Time, in a sense, has ceased and space has vanished. Like primitives, we now live in a global village of our own making, a simultaneous happening. The global village is not created by the motor car or even by the airplane. It is created by instant electronic information movement.” [1] Today’s modern man in the modern city occupies himself within the architectonic compos- ite: colonial, gothic, art deco, steel-and-glass - recycled, reused, re-habbed. It is in fact the modern ideal to face-lift the old into the new. The regenerative complex psychologically requires this to be so; an architectonic hybridity where the chaos of bricolage puts our mind at ease and comforts our needs. As Teilhard de Chardin writes, “Our habit is to divide up our human world into compart- ments of different sorts of ‘realities’: the natural and artificial, physical and moral, organic and juridicial, for instance.” [2] The beginnings of which began as Muybridge began to disassemble visual space with his ‘image-taker’, itself a means of appropriation from an already existing source. Or it is arguable that Gutenberg in the 14th century disturbed, that is fragmented, man’s sense of space, or to disappear yet further backwards in time, that, as Tobias Dantzig comments in Number: The Language of Science [3], man’s sense of space shifted and fragmented as numbers marked the separation of the abstract from the concrete and Euclidean space set into compartments things that originally were seen holistically. De Chardin witnesses the pluralism of ‘realities’ as they mash into the same particular spaces. Not only is it the architectonic that administers to us, so it is also the transculturated envi- ronment, and its quick ascension as the cultural norm in many western civilizations, which contains us. Pluralism and relativism as terms and concepts can only survive in a remix environment that is not hospitable to absolutes. Is it no wonder that in trans-immigration times there are fewer surviv- ing members of an absolute position who claim the inerrancy of their Absolute Scriptures? Or, likewise, the inerrancy of their Scientific Atheism? The New Atheist movement is just as antago- nistic towards relativism as are any ‘fundamentalist’ faith positions, notably Richard Dawkins who eschews relativism as anti-intellectual. It is the dominant culture that recycles and reuses, permits and perpetuates, without perception of the urbanized influences, the multiple truth claims within a transculturated context. When the concrete and the phenomena themselves lose origin and transcend absolute posi- tion, the environment, which is both the object and event, display themselves in its inhabitants. This is the psychic envelope Roger Barker presses: The view is not uncommon among psychologists that the environment of behavior is a relatively unstructured, pas- sive, probabilistic arena of objects and events upon which man behaves in accordance with the programming he carries about with himself….When we look at the environ- ment of behavior as a phenomenon worthy of investiga- tion for itself, and not as an instrument for unraveling the behavior-relevant programming within persons, the envi- ronment is seen to consist of highly structured, improbable arrangements of objects and events which coerce behav- ior in accordance with their own dynamic patterning….We Rfound….that we could predict some aspects of children’s behavi Edward T. Hall similarly problematizes the ecological impressions upon the human condition, or in a sense the reconfiguration, also through Barker’s voice:

Barker demonstrates that in studying man it is impossible to separate the individual from the environment in which he functions [italics are Hall’s]. Much of the work of the transactional psychologists Ames, Ittelson, and Kilpatrick, as well as my earlier work, leads to the same conclusion. [5] [Edward Hall, Beyond Culture]

It is a wonder that art forms replay many such conclusions before academic expertise can confirm its validity; it is a wonder unless one sees the visionary role not solely as art form but as phenomena risen from culture -as phenomena concretized into objects produced from the human condition. These artifacts, pre-conditioned under ecological heat, come into form like diamonds and coal, simultaneously things to behold yet containing the pre¬conditions necessary to energize the culture into its behavior. The artifact though necessitates circulation for it to systematize itself into being. This explains why Marilyn Monroe’s stage persona through image-circulation and bodily fragmentation became artifact and was to be beheld, but provided the necessary fuel for the female reconfigurations that we still see today. Yet, for a staged image to re-shape a society’s real form, pas- sive receivers need to unknowingly confuse the image with the real. McLuhanism contends what the psychogeographers were also theorizing, projected fore- most by Guy Debord, who stated in 1955 that psychogeography was “the study of the precise laws and specific effects of the geographical environment, consciously organized or not, on the emotions and behavior of individuals.” [6] The human mind, situated within arenas complex in effects, cannot deter itself from bricolage. Remix environments ephemerate non¬porous barriers, disdaining dif- ferentiation between forms, thus ‘geography’ in Debordian and McLuhanian time frequently fused with the electric; ecology today, with the mediated and the digital in combinatory relations with the electric. The remix geography is physical, is virtual, architectonic, literary, audible, mechanized, elec- tric, and, almost self-refutingly, without geography (Africa and Russia are now proximally located alongside our neighbors’ doorsteps – “Time, in a sense, has ceased and space has vanished” [7]). De Chardin well points out the mimetic faculty of man and the ephemeral boundaries of relativism when he states that in such environments ‘frontiers….tend to vanish’, but he is amiss when he neither attributes it to image-circulation, juxtapositions of imagery, nor the remix conditions of his time:

In a space-time, legitimately and perforce extended to include the movements of the mind within us, the frontiers between these pairs of opposites tend to vanish. Is there after all such a great difference from the point of view of the expansion of life between a vertebrate either spreading its limbs or equipping them with feathers, and an aviator soaring on wings with which he has had the ingenuity to provide himself ? [8] [Pierre Teilhard de Chardin, Phenomenon of Man]

Perhaps unknowingly, de Chardin pronounces the morphological transition from man into chimera in the long tradition of doing so since even Da Vinci’s era. The chimerian principle, estab- lished and elevated before Da Vinci by the ancient Greeks, has only seen fruition in the mechanical age. It is the mechanizing of human actions, either through the camera, the car, or the conversation, that engenders the anthropomorphizing of machines. When Charles Dickens admonished such mech- anizing of the labor force in his literature, it is likely he was reacting in part to the visual contrast, the obesity, of the machine. Today’s machinery is either visually anthropomorphized [sexualized, roman- ticized, or cutified], psychologically anthropomorphized amidst commercial capitalism, or growing indefinitely invisible. We are at the time where the morphological and psychological delineations between the human and the machine inevitably have ended. The chimerian principle, which Pascal saw as inner, has now resulted in outer. The psychic envelope of re-configuration/reassembly is fast- forwarded to contemporary ears now that we can watch this pronouncement in hindsight.

What a chimera, then, is man! What a novelty! What a monster, what a chaos, what a contradiction, what a prodigy! Judge of all things, imbecile worm of the earth; depositary of truth, a sink of uncertainty and error; the pride and refuse of the universe! [9] [Blaise Pascal, Pensees] E The chimerian mind holds no absolutes, for an absolute denies multiplicity, just as Re- naissance paintings denied Cubism. For the Renaissance painter to paint cubistically was impossi- ble not because of lack of invention because of lack of the chimerian mind. It is the Renaissance person that held to a single, individual point of view, the result of static fixed space. Cubism as we now see it in retrospect, was the progenitor of hip hop, of relativism, and simultaneity, the result of information-all-awareness through the newspaper and the camera. [The newspaper the beginnings of all-knowing; the camera the beginnings of all-seeing.] Cubism was the crystal ball that the whole world took for granted as merely a painting of flat planes in space. Cubism per- formed consciously what we all so easily and unconsciously do today. The ground precedes the figure such that we instigate the ground and the environment through imaginary events, events which preclude non-imagined imagery, and which pre-conclude our mediated being. This is the path traced since The Matrix, Minority Report, 1984, and Brave New World. Events preceded even by Lang’s Metropolis and Fellini’s dance with dolls in Cas- sanova. As in painting, the colored grounds always affect the figure; as in poetry and the literary arts, the paragraph always informs the word; as in music, the instrumental always moves the sung. Digital media do not behave this way: there is no need to. Grounds shift; text displaced; figures without a grounded ground. Grounds with a refigured figure. Digital media are a-contextual anti- forms. Digital billboards deny color theory – they don’t need to abide, they create their own en- vironment. Traditional billboards are seen by outer light; digital boards need not the natural light since they are seen by their inner light. Have you ever noticed how a setting sun never affects the colors of a digital billboard? This is not true with traditional ads. A screen life reacts similarly. Its red, green, blue, which itself is a recreation of the rgb cones of the human eye, denies whatever temperature light is surrounding it. Screen life is a micro-space unlike that of the painting, the literary, or the musical, the latter of which are under rules of contextual information. While many of the latter attempt to deny this context, ultimately, the viewing experience always subsumes the rules of external context, the outer light scenario. The earbud is a playlist of multiple micro-environments – you walk through a physical space but hear not the sounds of that space. Instead, you experience an ‘etherealization’ of sound. Sound appears from a non-present source. Listening is self-induced schizophrenia since what you hear has no context nor ground to want you haptically sense. To be proprioceptive is less married to context; low-context allows for quicker immigration from one micro-environment to the next. One’s playlist is now very rarely from a single source and is instead from a multiplicity of music artists. We go through the charade parade of replayed emotions, hyper-staged perfor- mances, and appropriated soundbytes. The earbud environment and the playlist constitute shift- ing contexts so that we situate ourselves in revolving acoustical spaces. Such acoustics absolve themselves of gravity. Much of the visual art of the past century, even proto-notions in the Impressionists, deny gravity. Literature has not ignored this fact as some of it too has moved towards the meta and away from the descriptively concrete. Even sculpture today wants to deny gravity. Once it does so, either science has manipulated metaphysics or we are no longer in the concrete anymore but have instead been transfigured. The flaneur today is the technics machine, increasingly mimetic of the machine’s user, in both his dandy and disengagement. The flanuer today is the technic’s user, increasingly mimetic of the using machine, in both its dandy and disengagement. Both play reciprocal roles as public performer and detached voyeur. The urban flaneur intensifies his role as being fashionably articulate enough to replay multiple signs through bourgeoise and proletarian dress. He takes this further by replaying him- self as his counterpart, whereby gender signification is subsumed under the dismissal of category and lost in the convolute system of signs. He strolls about observing as composite figure, undif- ferentiated as all symbols of order have been Target-ized and circulated enroute through all image devices. That is his camouflage. His second role is to recognize his autonomy, if only also circu- lated through store ads’ diluted relativism on ‘expressing yourself’ through polled pre-designed popularity images. He dons his alt-look as he does his outlook, and dandies himself extensively Edown boutiques and skate shops. This is the metropolitan man, where trans-fashion is dress-able. The remix geography is remix culture is remix artifact. Mash-up DJ’s are participatory culturalists, sometimes armchair deejays with digital Technics ®, or simulations thereof, with youTube publication. Other deejays are professional, but in either, sampling and cut-ups are not theoretical acknowledgements, but rather dj necessity. (J-a¬y are the letters of his name, cut- ting and scratching are the aspects of his game. – Run-DMC lyrics, 1984) [10] Mash-up DJ’s DJ Spooky, Max Tannone, and multitude others, reclaim Duchampian readymade practice, not as creators of new songs, but as creators of new experiences with already-experienced experiences. The audio readymade cut-up puts on the role of re-spun syncretist; it plays semiological confu- sion as coherence. On Jaydiohead, Tannone’s mash-up album, Thom Yorke’s Radiohead play ground to Jay-Z’s figure, already an Eliot-Burroughian literary sinuous fold, compounding the sign convolution further. (‘Semiotic turmoil’, as sculptor Marco Maggi describes his own work.) The readymade is a bricoleur that creates a system of signs, whereby the sign syncretism is em- powered by those prior experiences. A form of dialectic to equivocate an interpellational position. Prostheticism is our future Duchampian Self, readymade arms and legs to embody phantom limbs. Re¬assembled, the future self is a chimera of man and machine – the Human Machine.[11] The cut-up method precedes the cut-up body. Plastic surgery is on ascension just as is psychological surgery. Collaging skin and silicon only makes sense in an era that admires reconstructions and the built environment. Likewise, it is no science fiction to collage readymade concepts directly into our thoughts the same way one might purchase shoes. Prosthetic Man and the Duchampian Self has been latent and has just now, for the past century and a half with the rise of machines, been more forthcoming in his triumphant entry into being. His motives are clear for he rides not a donkey, but an automotive. Early documentation exposes the progenitor seed to our Duchampian Self: the Torah elicits this latency of desire in the Genesis version of mash-ups – a hybrid race that became ‘mighty men which were of old, men of renown’ [12] The force of words asserts that these men were trans-dimensional hybrids, adulterated beyond the boundaries of humanity, such that the new super-progeny was formed. The videos of Matthew Barney herald the super-progenic; Plastic Man and his malleable visages invoke the future chimera in us. Aimee Mullins hyper-sexualizes prostheticism while Steve Mann intellectualizes them. The Torahic accounts posit that man was created in the image of God; the Remix ac- counts posit that man is created from the mosaic images of mass man and the mechanical exten- sions of our technique. Oliver Herring’s composite sculptures admit this 21st century narrative. The interactivity of the social and the visage of the common become Man. Private identity is sacrificed to the collaged photos of contributing skin tones. When communication flows from atoms to bits, as Nicholas Negroponte points out in Being Digital[13], communication speeds up and information is universally accessible. It is not contrary to discover that bits are also low-context, or rather, no-context. As Hall earlier said, low-context communication invites the receiver to provide context; no-context then must take it, change it, adapt it, and subsume us into itself. No-context communication allows for interpenetra- tion of all sorts of other forms of data. Without context, anything is figure, and man is ahistorical. Music is low-context in today’s machinery as it has been reduced to bits and allows for mash-ups for even the non-artist. The rise of dj-ing equipment in the form of software and video game devices has made the readymade less of the art form Duchamp employed as outcast, and more of a hobby employed out of convention. Mash-ups and remixes since they exist in all sensorial spaces – the acoustic, the archi- tectonic, the visual, the ad, the magazine, the televisual, the technic, the software – are no longer subversions of capitalism, but rather are units of capitalism. Is it not remarkable to note that this exchange from anti-capitalism to I-might-want-to-be-anti¬capitalism is demonstrated through the production of ReadyMade magazine, specifically published for the proletariat to alter ready- mades. What was outcast became out of convention. William S. Burroughs scavenged from this debris of the technoculture, urban compos- ites, and lifted artifacts. His proposition: if Duchamp could lift readymades, and if the Dada-ists could employ remix as senselessness, why not himself? It was a claim of his that Eliot lifted from newspaper headlines and became the forerunner to the cut¬up method of writing he and Brion Gysin further employed. 1959 marked the date of publication of his composite literature, Naked Lunch [14], and also foresaw, in a 1984 interview, the topic of Burrough’s cut-up method of writ- ing. His response asserted beyond a focus on content-based formalM sociology, and instead was suggestive of the field of psychogeography, “It’s simply the old montage method that’s old hat in painting applied to writing. It’s closer to the facts of human perception, because whenever you walk down the street or look out the window, your consciousness is affected by random factors. In other words, life is a cut-up.”[15] The restaurant, the boutique, the culture, have all absorbed what the elite arts first provoked, that the rummage is the moment where the object has been wrested from the old environs, to be resituated for re-consumption. The internet itself has become a perpetual estate sale, except very few get paid. As children, we have been accepting the ‘melting pot’ axiom as quaint and ‘poetic’; little has anyone really realized, with exception to a few media scholars, the axiom bespeaks of our current psychological landscape. Frederic Jameson at his time was correct in characterizing the axiom into the modern/postmodern schizophrenic cultural psychology, but his description suffices little in a post-postmodern remix time period.

“…whence came all these people? They are a mixture of English, Scotch, Irish, French, Dutch, Germans, and Swedes... What, then, is the American, this new man? He is neither a European nor the descendant of a European; hence that strange mixture of blood, which you will find in no other country. I could point out to you a family whose grandfather was an Englishman, whose wife was Dutch, whose son married a French woman, and whose present four sons have now four wives of dif- ferent nations. He is an American, who, leaving behind him all his ancient prejudices and manners, receives new ones from the new mode of life he has embraced, the new government he obeys, and the new rank he holds. . . . The Americans were once scattered all over Europe; here they are incorporated into one of the finest systems of population which has ever appeared.” [16] − J. Hector St. John de Crevecoeur

It is not merely genetics nor biological factors Crevecoeur points out to us, but rather that through the filter of hybridity the American, the composite man, has been wrung of ancient ideologies and traditions, only to be re-saturated with new ideologies and traditions, effectively seating in power a governing force which only a composite identity would chose. Even so, Crevecoeur’s myopia allows him the error of remaining Eurocentric in his forecast; should he have mashed-up the eastern persona into his chimera, he would have predicted the global vil- lage long before McLuhan, although perhaps the title global man would have served him better.

Man is the most composite of all creatures.... Well, as in the old burning of the Temple at Corinth, by the melting and intermixture of silver and gold and other metals a new compound more precious than any, called Corinthian brass, was formed; so in this continent,--asylum of all nations,--the energy of Irish, Germans, Swedes, Poles, and Cossacks, and all the European tribes,--of the Africans, and of the Polynesians,--will construct a new race, a new religion, a new state, a new literature, which will be as vigorous as the new Europe which came out of the smelting-pot of the Dark Ages, or that which earlier emerged from the Pelasgic and Etruscan barbarism. [17] [Ralph MWaldo Emerson, journal entry, 1845] THE WASTE LAND by T.S. Eliot (lines 215 – 230)

At the violet hour, when the eyes and back Turn upward from the desk, when the human engine waits Like a taxi throbbing waiting, I Tiresias, though blind, throbbing between two lives, Old man with wrinkled female breasts, can see At the violet hour, the evening hour that strives 220 Homeward, and brings the sailor home from sea, The typist home at tea-time, clears her breakfast, lights Her stove, and lays out food in tins. Out of the window perilously spread Her drying combinations touched by the sun’s last rays, On the divan are piled (at night her bed) Stockings, slippers, camisoles, and stays. I Tiresias, old man with wrinkled dugs Perceived the scene, and foretold the rest— I too awaited the expected guest. 230 I TRIUMPH by Wu-Tang Clan (lines 1 – 19)

I bomb atomically, Socrates’ philosophies and hypothesis can’t define how I be droppin these mockeries, lyrically perform armed robbery Flee with the lottery, possibly they spotted me Battle-scarred shogun, explosion when my pen hits tremendous, ultra-violet shine blind forensics I inspect you, through the future see millenium Killa B’s sold fifty gold sixty platinum Shacklin the masses with drastic rap tactics Graphic displays melt the steel like blacksmiths Black Wu jackets queen B’s ease the guns in Rumble with patrolmen, tear gas laced the function Heads by the score take flight incite a war Chicks hit the floor, diehard fans demand more Behold the bold soldier, control the globe slowly Proceeds to blow swingin swords like Shinobi Stomp grounds and pound footprints in solid rock Wu got it locked, performin live on your hottest block As the world turns, I spread like germs Bless the globe with the pestilence, the hard-headed I never learn The pre-figuration by Crevecoeur and Emerson of the composite man is prescient in both the visual and literary arts. Emerson’s statement that a ‘new literature’ would arise crystal- balls what T.S. Eliot would pen in his epic poem The Waste Land. Contemporarily acute itself, it preceded and promised the role of a future collective voice; its tempo was rift in cognitive dis- sonance, shifting time through temporality, multiple references, and multiple religions, as though globalization had already occurred. It was cubistic in its methods, snapshots of varying perspec- tives collaged into one rift. This rift -the collective multiplicity, the temporality that occurs in fragmentation of form -was one in which was a sense of a disquieted zeitgeist, as remembrances of WWI echoed faintly from the fore and WWII was bringing near the rear: The Waste Land was all that, the landscape upon which machinery and bricolage collided. Eliot’s word-rubbing and image-collocation stirs within the reader multiple mental im- ages, through shifting story lines, abbreviated through snippets of scenes. It is Burroughs’ claim that Eliot’s inspiration for The Waste Land came from the proto-televisual (as I would re-term it), that is the snippets of newspaper headlines that, still to this day, punctuate each page. The televi- sual mind nowadays has no problem visualizing stock imagery of such events, perhaps collaging that with personal memoirs. Wu-Tang merely takes what Eliot provoked and charges it with more mental collaging and cultural artifacts, and in both Wu-Tang and Eliot, composite structure and appropriated sign ebb together as one united epithet. The precession into further sign convolution from Eliot to Wu-Tang parallels the precession of the cultural appropriation of relativism today. Just as Eliot was the pre-artifact for postmodernity but in hindsight, from our era, speaks quaintly, Wu-Tang may indeed seem nostalgically contemplative as the pre-artifact for some future date. This can already be witnessed by simply collocating Wu-Tang with Grandmaster Flash, Run DMC, or other progenitors, who, for their time, were ‘urban’ and ‘street’, but, by Tu-Pac and Biggie Smalls standards, are lost in hip hop antiquity. The ascension of violence in hip hop is not necessarily in graphic language alone but should be measured by its semiotic ‘stuck-on-ness’ and convolution. The violence there is not physical but psychological. Stickers are stuck-on…..as are decals, logos, icons, the such. Skateboards and snow- boards no longer really need graphic designs and should follow the race car industry – most of its surface structure is buried under the ‘stuck-on’ technique of icons and corporatization. Herring’s sculptures represent well the stuck-on-ness of our morphological state. The upper end fashion industry, being visual, is more subtle – it employs the same ‘stuck-on’ method by staged reputation through its image-circulation advert technique. Therefore, the ‘icon’ of the clothing is immaterial as it is subsumed under reputation; we cannot relinquish the fact that our surface structure is bur- ied under the ‘stuck-on’ technique of the immaterial. It is through the televisual that behaviors and role modeling become stuck-onto clothing such that a certain fashion signifies the pre-fashioned role. Many might say that elite fashion is all about the use of material – it is just as correct, if not more so, to say that it is strongly for the use of the immaterial. ‘Posers’ were youth who wore skate clothing, skate shoes, skate haircuts, and carried a skateboard, but what differentiated them from actual skaters was their lack in being able to skate: their body language often gave this away. Pos- ers stuck-on skate-speak as it were. Their role, however unbeknownst to them, was to transition the anti-social skate world into the mainstream. Their physical, linguistic, and attitudinal parlance softened the sharpness of early skater-ism. The COEXIST sticker is the breath produced from the same core principles that likewise produces mash-ups. When Madonna and Depeche Mode [18] are denied singular attention and acoustically hybridized, it is not just ‘interdisciplinary’ interplay but the blossoms of a chimerian mind. ‘Reach out, touch faith’, itself already adapted and charged lyrics, becomes re-charged through the immaterial iconography of the material girl’s pre-formed sexual performances – ‘Reach out, touch Madonna’. The opposite occurs in COEXIST: the stuck-ons, already de-charged by their reductive icons, de-charge further the forcefulness of absolutism by softening the acuity of each into Gerber’s mixes. What is charged is the pre-existent composite. Simply by adhering this sticker as clothing is a reductive cultural behavioral trait, which in the line of rationality is incoherency in thought. ‘Like It or Not’, mashed into ‘Personal Jesus’ or not, admonishes absolut- ism and perpetuates the belief composite: Cleopatra had her way Matahari too Whether they were good or bad Is strictly up to you Life is a paradox And it doesn’t make much sense Can’t have the “femme” without the “fatale” Please don’t take offense [Madonna, ‘Like It or Not’] X Crevecoeur, Emerson, Eliot, James Joyce, and Picasso (amongst numerous oth- ers), siphoned the by-products of a shifting psychology as machinery lived amongst hu- mans, cameras fragmented visual space into snippets, images began to move and talk, the radio extended the human voice, the vehicle extended the human foot. Wu-Tang, Madon- na, Depeche Mode, and mash-up culture, seen as conduits, suggests the dominant culture itself has caught up to what the mid-19th and early 20th century elite had provoked us to know. And electricity was the common force of life to these facts.

I Contain Multitudes “Who am I?” In a world of electronic all-at-onceness, everybody begins to in- clude everybody else & many begin to feel the loss of their private identities. They feel deprived…….Electricity abolishes the world of specialized human be- ings. The Western private “I” – aloof, disassociated – isn’t possible when elec- tricity involves us in the whole of mankind & forces us to incorporate the whole of mankind in us. [19] [Edmund Carpenter, They Became What They Beheld, 1970] “The man of the future will be of mixed race. Today’s races and classes will gradually disappear owing to the vanishing of space, time, and prejudice. The Eurasian-Negroid race of the future, similar in its appearance to the Ancient Egyptians, will replace the diversity of peoples with a diversity of individuals.” [20] [Richard Nikolaus von Coudenhove-Kalergi, Practical Idealism, 1925] “In answering your question very briefly, I can say simply this, that the time has not come when I would willingly suggest intermarriage; but I am in honesty bound to qualify that by saying that the race of the future will be a composite, composed of the many different races on earth today. Let us also remember that all men are ultimately of one blood.” [21] [The Dialogues of G. de Purucker, 1930]

“A jackdaw is always found near a jackdaw.” [22] – American Man is not far from ancient Greece. The circulatory nature of mythology, remixed theism, and combi- nant creatures such as the Greek chimera has all been fulfilled in contemporaryAmerican roles. Role playing as past-time has ceased; role playing as life time has increased. It is the multiple roles to play that eventually divest oneself of the individual role. It is the re-combinant environment that wrests oneself from context to context, myth to myth, vi- sualizing, with blurring speed, the visages of multiple role models through the circulatory system of images. The most dangerous factor regarding the televisual and the cinema is when we have convinced ourselves we can recognize which is fictitious and of entertainment only. If this were true that we could, why do so many of the youth and adults perform the same social roles as the make-believe actors? The ancient Greeks had myths that confounded them from what is true; the modern entertainment screen is a myth machine, obscuring feigned fact and true fiction, but we still cajole ourselves into accepting that actors are ‘just acting’. We would be wiser to accept it to say that actors make belief. When the image, the televisual and the cinematic precede the event and only prove, after the event has occurred, that it did so, it obfuscates the real. To question if the real is now real due to the performed pre-forming is to confuse knowledge systems and pure knowingness. To call this prophecy is to also confuse it with the prophetic that can be called real. This is the determined ministry of the televisual, so that behaviors and beliefs adhere to confusion, to really reel, and to somewhat reel, in order that the divinely real become a modicum of this aggregate of sort-of-reels and that the divine is reified into substrate; the rest is deified into figure. This is Inverse.

The screens that one imposes between oneself and reality constitute one of the Xways in which reality is structured. [23] [Edward Hall] Contemporary Man is ahistorical. This has to be for him to avoid psychic dam- age from the recognition of his condition. Ahistoricism avoids absolute origin and opens history up to individual attention. Contemporary Man is convenienced control over epistemological measures so that any activity is conducive towards open expression and construction. If he were alive, Hall would describe this as ‘low-context’. [24] That is the loss and gain. Loss in erasure over point of origin; gain in Contemporary Man’s ascension into virtual, plastic history, a new history constructed however we please, in what manner feels right. This resurrects the feeling of history, as when one loses a limb, one experiences phantom pain, so must Plastic Man attach a plastic history, cut-and-pasted with whatever mythologies, scientific or not, one can have digitally made. Buffet-style history. Antoine Dodson’s real persona (itself mimetic of multiple social roles) was denied entrance into the news footage of a recent interview, only to have the constructed image broadcasted via network news channels. Having been transfigured into bits allowed the reel footage to materialize as a remixed pop sensation, turning the ‘news’-real Dodson into a Boyz n the Hood-real image of readymade, ghetto-ized [25] hip-hop visage. [26] The question, in turn, is to now ask just who is the real Antoine Dodson when his public presentation of self, to use Erving Goffmian terms, is the remixed cybernetic role created and accelerated by group consensus? [27] The composite Dodson acting out his ready- made avatar, in reel life; some DIY’ers created his digital character, a multitude of others prepared and popularized, then re-made and re-enacted his stardom: Crowd sourcing and collective participation made this possible. The opening image of Josh Bricker’s two channel video also surfaces the com- plexity of remix: his work is taken from actual video footage of the first GulfWar of 1991, the most current occupation in Iraq as released from Wikileaks, and from the video game “Call of Duty 4: Modern Warfare”. The undifferentiated complicity between the three is expressed by Bricker himself,

“Instantly and for the first time the reality of war was primetime entertainment merging both reality and simulacrum. Each step in this binary timeline desensi- tized us further from the horrors of war……Additionally as the audio plays we be- come aware of the encroachment upon reality by the media driven simulacrum. At the start of the piece we hear the audio taken from the Wikileaks video, gradually as the video plays the audio becomes entwined and merged with audio pulled from the video game. The end result is an approximately equal mix of sound from real and unreal sources, blurring the line of reality a little further.” [28]

Inside this complex arena of mediated experiences, some soldiers engage war- fare through television monitors mounted in their warcraft, which become simulated into leisure youth activity, whereby the home television reenacts the soldiers’ monitors: the mediated screen thus has pre-mapped the game. For those youth who later find themselves in warfare, that gaming activity pre-maps their warfare experience, a reversal occurs, there- fore, real warfare simulates the game. The two collude, if even unknowingly, as a dialectic, passing the point of discernible reality, recycling already-experienced experiences into real life.[29] E About the author: Dean Valadez is an artist, writer, and educator, having taught as a teach- ing assistant at Boston University before getting a teaching position as Associate Lecturer at the University of Wisconsin – Milwaukee and the Milwaukee Institute of Art & Design. He has exhibited nationally in Chicago, Boston, Dallas, New Ha- ven, Manhattan, Pennsylvania, and Washington D.C.; locally at the Milwaukee Art Museum, Haggerty Museum of Art, John Michael Kohler Arts Center, Schauer Arts Center, Ripon College and various other venues. His artwork has been published in From Here to There: A Curious Collection from the Hand Drawn Map Associa- tion; BookForum, Volume 17, Issue 2; and New American Paintings, number 41. Dean’s interests and research include media ecology and he has given presentations on “Swarm Intelligence and Superstructures” at UW-Milwaukee, “Embodiment and Mass Communications: Cyber and Mechanistic Perceptions of the Body” at the 12th Biennial Symposium for Arts and Technology at Connecticut College, and has been asked to present his research on “Remix Theory and Remix Culture” at the FATE Biennial in St. Louis, MO for the purposes of contemporary education. His essay “Embodiment and Mass Communications” was published for the proceedings of the 12th Biennial Symposium.

www.deanvaladez.com [email protected]

Notes:

I understand that the term I frequently use -‘Man’ [Contemporary Man, Chi- merian Man, Plastic Man, etc.] -is seen as patriarchal and not sensitive to contem- porary usage of non-gender specific language. After consideration of such sensitive issues, I continued to employ this purposefully as the meaning of ‘man’, specifically within the context of my topics, maintains compounded associations in its use as individual and group notation or identity. Since the subject at hand is in regards to the individual in a larger aggregate, it makes literary sense to use ‘man’ over other possible terms such as ‘society’, ‘culture’, ‘people’, ‘person’ (which has no group identity at all), and the like. ‘Man’ also is warmed with a tinge of humanness and flesh in it while the other terms remain colder and connote no such associations. I meant no offense in its use, am empathetic towards minority struggles, and hope that it does not fuel gender-class feuds, from either side of the gender line. There are a host of related books that did not make their way into this essay, through quotation at least, but nonetheless are held in high regard for the seri- ous reader to get more involved with knowing his or her own environment. Such books permit the reader to move outside their environment and to peer into it from afar. The short list includes: Neil Postman’s Technopoly and The Disappearance of Childhood; Howard Rheingold’s Smart Mobs; Marshall McLuhan’s The Gutenberg Galaxy, Understanding Media, The Medium is the Massage: an Inventory of Effects, and War and Peace in the Global Village; Thomas de Zengotita’s Mediated; DJ Spooky’s Rhythm Science; Lawrence Lessig’s Remix; John Berger’s Ways of See- ing; Katherine Hayles’ Writing Machines; Baudrillard: A Critical Reader, edited by Douglas Kellner; Ray Kurweil’s The Age of Spiritual Machines; Exploring the Ma- trix: Visions of the Cyber Present, edited by Karen Haber; Fugitive Images, edited by E Patrice Petro. For a mashing good time: http://www.cutnmix.com/ http://gizmodo.com/5826310/remix-the-president-with-the-obama-board-keyboard http://www.totalrecut.com/remixtools_1.php?cat=onlinevideoediting http://navasse.net/recuts/index.html http://www.mashmashup.com/ http://learning.blogs.nytimes.com/2010/03/25/remix-reuse-recombine-holding-a-semi- nar-on-mash-up-culture/#comment http://www.nytimes.com/2010/03/21/books/21mash.html http://footage.stealthisfilm.com/browse http://www.djbc.net/spooky/ http://www.politicalremixvideo.com/ http://mitpress.mit.edu/e-books/mediawork/titles/writing/writing_webtake/index.html http://www.austinkleon.com/2011/03/30/how-to-steal-like-an-artist-and-9-other-things- nobody-told-me/ http://www.remixmylit.com/

Bibliography:

[1] Marshall McLuhan,“McLuhan on McLuhanism,” WNDT Educational Broadcasting Network, 1966 [2] Pierre Teilhard De Chardin, The Phenomenon of Man, Harper Perennial, 1959, p.222 [3] Tobias Dantzig, Number: The Language of Science, Free Press, 1967 [4] Roger Barker, Ecological Psychology, p.4 [5] Edward Hall, Beyond Culture, p. 100 [6] Guy Debord, Introduction to a Critique of Urban Geography, Les Levres Nues #6, 1955 [7] McLuhan [8] De Chardin, p.222 [9] Blaise Pascal, Pensees, para #434 [10] Run-DMC , “Jam-Master Jay”, self-titled album, Profile Records, 1984 [11] Brandon Bauer and A.Bill Miller, Flower, RCP.MLK2.PDF webzine Spring 2011, issue 8, Random Cul- tural Productions and Master-List 2000 [12] Torah, Genesis 6:1-7 [13] Nicholas Negroponte, Being Digital, Knopf, 1995 [14] William S. Burroughs, Naked Lunch, Grove Press, New York, 1959 [15] William S. Burroughs, interview (interviewee unknown), 1984 [16] J. Hector St. John de Crevecoeur, Letters from an American Farmer. [17] Ralph Waldo Emerson, journal entry, 1845, first published 1912 in Journals of Ralph Waldo Emerson, Vol. IIV, 116 [18] Madonna and Depeche Mode mash-up of ‘Like It or Not’ by Madonna and ‘Personal Jesus’ by Depeche Mode, mash-up by DJ Apollo Zero, http://apollozero.blogspot.com/; Madonna ‘Like It or Not’, Confessions On a Dance Floor, Warner Bros. Records, 2005; Depeche Mode, ‘Personal Jesus’, Violator, Mute Records, 1990 [19] Edmund Carpenter, They Became What They Beheld, Ballantine Books, 1970 [20] Richard Nikolaus von Coudenhove-Kalergi, Practical Idealism, 1925 [21] KTMG Papers: Thirteen, The Dialogues of G. de Purucker, Theosophical University Press, 1930 [22] Greek Proverb [23] Edward T. Hall, Beyond Culture, Anchor Books/Doubleday, 1976, p.102 [24] Ibid. [25] The image perpetuated by hip hop songs and videos, Boys in the Hood-style movies, and embraced by the representatives of the hip hop community, namely the rap artists themselves, is ghetto-ized into package. This is the way in which I use the term, specifically referring to the package, or the commoditization of such a lifestyle. [26] The Gregory Brothers, Bed Intruder Song, 2010, http://www.youtube.com/watch?v=hMtZfW2z9dw [27] BET Hip Hop Awards, 2010, http://www.youtube.com/watch?v=JaThgHKmcaM&feature=related [28] Josh Bricker, statement published on youtube, screen name sqosh12; http://www.youtube.com/watch?v=- cto649nkjY [29] Jean Baudrillard,D Simulations, (New York: Semiotext(e), 1983)

D To Narrate To Problematize To Generate To Crowdsource To Plot To Populate To Grid To Compute To Hybridize To Return To Delete To Document To Mask To Abstract To Print To Screen To Import To Aggregate To Manipulate To Appropriate To Weave To Clear To Critique To Interface To Store To Download To Randomize To Feed To Collage To Rotate To Crack To Loop To Encode To Bitmap To Expand To Copy To Collect To Search To Open MEDIA New MediaVerb List To Communicate To Downsample To Collaborate To Transform To Datamosh To Broadcast To Microcast To Mash-up To Montage To Network To Animate To Retrieve To Remove To Analyze To Perform To Arrange To Pixilate To Interact To Publish To Extract To Layout To Project To Stylize To Splice To Select To Stitch To Scrub To Cycle To Index To Build To Draw To Erase To Hype To Paste To Hack To Lock To Link To Cut To Fill (after Serra) To Systematize To Composite To Participate To Compress To Rasterize To Immerse To Program To Detourn To Preview To Receive To Archive To Markup To Control To Process To Surveil To Update To Stream To Access To Export To Remix To Merge To Group To Clone To Layer To Share To Insert To Trash To Undo To Crop To Send To Save To Hide To Chat To Heal To Map To Post To Sort To Edit NEWTo Tag