The project started on the 1st of September, 2018, and will run three years until 31st August, 2021. Please check this site in the future for the most recent publications.
Remix in the Age of Ubiquitous Remix
Research article by Abby Waysdorf, published in Convergence: The International Journal of Research into New Media Technologies (2021)
What is remix today? No longer a controversy, no longer a buzzword, remix is both everywhere and nowhere in contemporary media. This article examines this situation, looking at what remix now means when it is, for the most part, just an accepted part of the media landscape. I argue that remix should be looked at from an ethnographic point of view, focused on how and why remixes are used. To that end, this article identifies three ways of conceptualizing remix, based on intention rather than content: the aesthetic, communicative, and conceptual forms. It explores the history of (talking about) remix, looking at the tension between seeing remix as a form of art and remix as a mode of ‘talking back’ to the media, and how those tensions can be resolved in looking at the different ways remix originated. Finally, it addresses what ubiquitous remix might mean for the way we think about archival material, and the challenges this brings for archives themselves. In this way, this article updates the study of remix for a time when remix is everywhere.
Read the article in Convergence: The International Journal of Research into New Media Technologies here.
This Is Our Night: Eurovision Again and Liveness Through Archives
Book chapter by Abby Waysdorf, published in Pandemic Media: Preliminary Notes Toward an Inventory (2020)
Due to the COVID-19 pandemic, there was no Eurovision Song Contest for the first time in 65 years. For fans of the contest, this was distressing, at a time when life was distressing enough. Without the live event to watch and comment on, how could they participate in their fandom and connect with fellow fans? In this essay, I look at how the fan initiative Eurovision Again works to solve this problem by recreating the experience of live viewing through the use of archives. Throughout the lockdown, Eurovision Again has chosen a “classic” Eurovision Grand Final for a Saturday night viewing, complete with Twitter hashtag and voting. I argue that in combining the “shared social reality” of live viewing with the shared culture of archives, Eurovision Again serves to sustain and reinforce a “Eurofan” identity while providing a break from the anxiety of everyday pandemic life.
Read the chapter in Pandemic Media: Preliminary Notes Toward an Inventory (2020, Meson Press) here.
“Great Stuff!” British Pathé’s YouTube Channel and Curatorial Strategies for Audiovisual Heritage in a Commercial Ecosystem
Paper by Eggo Müller, published in VIEW Journal 7, 2018
In 2014, British Pathé launched its YouTube channel with more than 85,000 items of audiovisual heritage from the 20th century. This article analyses the curational strategies of this channel as developed by the German multi-channel network Mediakraft. Read more
European History Reloaded: Curation and Appropriation of Digital Audiovisual Heritage | www.cadeah.eu | © 2019
Header video by Michal Orsava © 2019