Category Archives: remix

Krewe Coumbite & Muthi Reed

Peace! … I want you to know about new work. Your insight and any references you suggest I explore, are invaluable to my process of planning and actualization. Thank you in advance.

Krewe Coumbite is a sonic instrument of study in Black and Indigenous Diasporas ecology and vernacular rhythms documented from 1940s til current. The work focuses specifically on vernacular of cultural musings expressed in: noise, chants, stories, lullabies, narratives around naming, Cultural sayings/proverbs/recipes, and in working-class rituals such as public transit, migration, service work, and in community gatherings.

Startup support/funding for the work comes in partnership with Turbulence.org to create an interactive web portal. And with Harvestworks to research, document, and archive this idea of Black Sound. Some conceptual elements i am including are: GIS mapping, audiovisual gaming, algorithmic patterns, literary worldbuilding, sound remixing, and live performance.

Your Help…

My aim with this work is to produce a signature sound that carries the resonance of Black and Indigenous transcontinental movement and activism. Using the oral/aural algorithms of “passing it on” and “repetition is the mother of learning” as tools. I’m working with both original sound recordings, and stuff i’ve scavenged from the internet of sound produced from public marches, rallies, speeches, and viral videos. With remixing, I want this work to embody the cultural wisdoms of the Indigenous and Black Diasporas. Of particular interest to me are the articulations of Black and Brown working class individuals, community groups, and multi dialect/multi lingual freedom fighters.

Who should i talk with?

What archives(public & private) should i visit?

Are there historical and contemporary sonic nuances you feel must be included to contextualize th Black Sound and/or Cultural Wisdom?

Thank You!

Muthi Reed

Black is not a color. Black is an attitude – James Brown.

Worldbuilding is the process of constructing an imaginary world, sometimes associated with a whole fictional universe. The term “world building” appeared as early as 1965 in science fiction criticism, and is used in relation to science-fiction or fantasy stories and games. The resulting world may be called a constructed world. Developing an imaginary setting with coherent qualities such as a history, geography, and ecology is a key task for many science fiction or fantasy writers. Worldbuilding often involves the creation of maps, a backstory, and people for the world. Constructed worlds can enrich the backstory and history of fictional works, and it is not uncommon for authors to revise their constructed worlds while completing its associated work. Constructed worlds can be created for personal amusement and mental exercise, or for specific creative endeavors such as novels, video games, or role-playing games.

An informal definition for Algorithm could be “a set of rules that precisely defines a sequence of operations.”

Turbulence.org Commission: “The Xanadu Hijack” by Curt Cloniger

Turbulence.org Commission: The Xanadu Hijack by Curt Cloniger:

Curt and Jason Cloniger have created a logo that will hijack the proper noun “Xanadu” in Google Images; so that a Google Images search for “Xanadu” returns a tiled collage of Xanadu Hijack logos. At the Xanadu Hijack website, various versions of the Xanadu logo are available for participants to download, manipulate, watermark, tag, and upload. Or, they can simply use the social media buttons to tag and repost the logos. Curt has also provided several pre-watermarked, Xanadu-related images – Olivia Newton John, Kubla Khan, Citizen Kane, Ted Nelson, the New Jersey Mall – which can be reposted and tagged as well. If you want to hijack Cloniger’s hijack by associating the logo with cats or unicorns that would be wonderful. Participants who demonstrate a lot of network influence or just have clever ideas will be paid, until the money runs out.

The Xanadu Hijack is a 2015 commission of New Radio and Performing Arts, Inc. for its Turbulence.org website. It was made possible with funding from the National Endowment for the Arts.

BIOGRAPHY

Curt Cloninger is an artist, writer, and Assistant Professor of New Media at the University of North Carolina Asheville. His art undermines language as a system of meaning in order to reveal it as an embodied force in the world. By layering, restructuring, hashing, eroding, exhausting, and (dis)splaying language, he causes language to perform itself until its “meaning” has less to do with what it denotes and more to do with how it behaves. Cloniger’s work has been featured in the New York Times and at festivals and galleries from Korea to Brazil. Exhibition venues include Centre Georges Pompidou (Paris), Granoff Center for The Creative Arts (Brown University), Digital Art Museum [DAM] (Berlin), Ukrainian Institute of Modern Art (Chicago), Black Mountain College Museum + Arts Center (Asheville), and the internet.

Curt has been published on a wide range of topics, including new media and internet art, installation and performance art, experimental graphic design, popular music, network culture, and continental philosophy. Recent topics have included glitch art, the “new aesthetic,” electronic voice phenomena, bodily affect, object oriented ontology, process philosophy, and artistic lying. His articles have appeared in Intelligent Agent, Mute, Paste, Tekka, Rhizome Digest, A List Apart, and on ABC World News. He is the author of four books, most recently a collection of his essays spanning 14-years, (aptly) titled One Per Year.

He maintains lab404.com, playdamage.org, and deepyoung.org in hopes of facilitating a more lively remote dialogue with the Sundry Contagions of Wonder.

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