In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Remixing the Classroom: Toward an Open Philosophy of Music Education by Randall Everett AllsupJuliet HessRandall Everett Allsup, Remixing the Classroom: Toward an Open Philosophy of Music Education (Bloomington, IN: Indiana University Press, 2016).As a leading voice in music education, Randall Allsup works continually to reconceptualize music education toward democratic and socially just praxis.1 He routinely challenges the field to become self-conscious of practices that limit forward movement, providing (...) powerful critiques2 and urging music education toward open possibilities.3 Remixing the Classroom: Toward an Open Philosophy of Music Education is work that will shift our field. His comprehensive philosophy of music education looks, longs, for moral openings4 through which twenty-first-century music education may become a space of possibility. His writing interweaves stories and theory toward what he calls an "open philosophy," drawing upon the ideas of John Dewey, Maxine Greene, and Roland Barthes. Allsup introduces stories of Dapper Dan, Jiro Ono, Kafka, Atul Gawande, and the Orpheus Orchestra in New York City to illustrate powerful points about current and possible paradigms of music education.Chapter 1, "Toward Open Encounters," discusses the making and breaking of the law (tradition) and explores how tradition and the Master-Apprentice model restrict what is possible in music education. Allsup explores the nature of music education and the limitations it places upon its participants. Chapter 2, "Music-Teacher Quality and Expertise," asks fundamental questions of our field and [End Page 100] explores and challenges the "place and purpose of public schooling in a democratic society."5 Allsup speaks to the function of education and critiques music education. Chapter 3, "learning in laboratories," puts forward a Deweyan laboratory model in which a museum is at the center of the school with learning laboratories situated around it. He explores what this structural fluidity might enable and develops notions of lawmaking and lawbreaking, extending possibilities of the open encounter. The final chapter, "looking, Longing, for Moral Openings," calls on music educators to embrace a more open music education paradigm. Allsup draws upon Greene to challenge music education to move "from the predictable to the possible."6 He puts forward the Orpheus Orchestra, a conductorless orchestra, as one possibility.I situate myself as an anti-racist, anti-colonial, feminist scholar rooted in anti-oppression scholarship.7 locating my review through this framework, I elaborate upon what I see as the major strengths and limitations of this work, drawing upon Judith Butler8 and postcolonial theory. significantly, Allsup's book calls upon music education to "give an account of [it]self" and promotes a self-consciousness crucial for our field in the age of high stakes accountability measures. I contend that he provides a music education philosophy for what stuart Hall terms the "postcolonial moment"9 and ultimately positions music education as a space of possibility. Alongside these strengths, I offer a challenge toward what I view as the open possibilities of closed forms and a critique of his "pedagogy of travel and surprise."Judith Butler points to the impossibility of giving an account of oneself. she notes,I speak as an 'I,' but do not make the mistake of thinking that I know precisely all that I am doing when I speak in that way. I find that my very formation implicates the other and me, that my own foreignness to myself is, paradoxically, the source of my ethical connection with others.10Butler notes the subject's "partial opacity to [her]self."11 In Remixing the Classroom, Allsup calls upon music educators to account for the practices and traditions continually reinscribed in the field. He poses challenging but fundamental questions in the work in music education, asking readers to consider what they do unconsciously. Butler asserts we can never fully account for ourselves. Allsup challenges the field to try, pushing music educators to face hard truths and limitations of what music education is and has been. In chapter 1, for example, he argues:To call a studying musician "unmusical" is to extinguish a light; it is to act as if the future is certain and that human potential is somehow fixed. It is to act [End Page 101... (shrink)

Occupying the increasingly thin line that separates legitimate appropriation from plagiarism, remix practice raises significant ethical issues. The issue is rendered more complicated by the fact that this line frequently shifts, both in academic debates and in legal. If in large Western nations remix practice is widely considered legitimate, it is still considered necessary to add something personal to one’s sources, and if at all possible to enrich those sources in some way. This is usually considered sufficient to (...) avoid misappropriating someone else’s intellectual work. In the last few years, various legal actions in the EU and the USA have revealed a significant gap between this apparently moderate position, and the position of legislators. The purpose of this paper is to take a look at some of the most controversial positions on the issue of ‘remix ethics’, attending more closely to aesthetic implications than to political consequences. (shrink)

Cases of overdetermination or preemption continue to play an important role in the debate about the proper interpretation of causal claims of the form "C was a cause of E". I argue that the best treatment of preemption cases is given by Mackie's venerable INUS account of causal claims. The Mackie account suffers, however, from problems of its own. Inspired by its ability to handle preemption, I propose a dramatic revision to the Mackie account – one that Mackie himself would (...) certainly have rejected – to solve these difficulties. The result is, I contend, a very attractive account of singular causal claims. (shrink)

This essay is a cut-up / remix / montage of the work of Slavoj Žižek. It is a recombination of materials from his critical publications, including The Sublime Object of Ideology, For They Know Not What They Do, The Fragile Absolute: Or, Why is the Christian Legacy Worth Fighting For?, Welcome to the Desert of the Real, The Parallax View, In Defense of Lost Causes, First As Tragedy, Then As Farce, Absolute Recoil: Towards a New Foundation of Dialectical Materialism, (...) and Trouble in Paradise: From the End of History to the End of Capitalism. The section headers are all direct quotations from Žižek’s texts, as are the individual sentences in the essay’s first section. All other sentences are splicings-together of syntactic fragments from his texts. This essay is part of A Recombinant Theory Project. Micro-reports from this project are regularly published on Twitter: @remixtheory. (shrink)

This article develops a liberal theory of cultural rights that must be guaranteed by just legal and political institutions. People form their own individual conceptions of the good in the cultural space constructed by the political societies they inhabit. This article argues that only rarely do individuals develop views of what is valuable that diverge more than slightly from the conceptions of the good widely circulating in their societies. In order for everyone to have an equal opportunity to autonomously form (...) their own independent conception of the good, rather than merely following others, culture must be democratically controlled. Equal respect for members of a liberal democracy requires that all citizens have roughly equal opportunities to do things like make movies, publish novels, and exhibit paintings. This article contends that the contemporary American legal order fails to guarantee that all cititizens have roughly equal opportunities to shape and influence their shared culture. Guaranteeing the liberty to do so would require reforms to many areas of law, including applying anti-discrimination law more broadly to the conduct of cultural organizations, expanding fair use protections in copyright law, limiting the ability of businesses to arbitrarily refuse service to customers, and restricting private control of capital in order to democratize the means of cultural production. (shrink)

In this paper, I examine the views of contemporary aesthetician of music Stephen Davies about musical transcriptions as special forms of classical music and try to apply his theoretical views to remixing as a musical practice that is primarily related to contemporary electronic music. Using the theoretical approaches of Davies’ aesthetics of music, I point out the similarities between the creative attitudes of a musician in transcribing and remixing, similarities that can be found in the way these musical forms relate (...) to the original composition on which transcriptions or remixes are based. Comparisons between transcription and remix are further investigated by considering the various roles that these musical practices fulfil in various cultural contexts. (shrink)

I argue that sometimes a group can author a work of art without the work being either co-authored or multiply-authored. Sometimes the group, itself, is an author, rather than any of its members alone or together. I argue that when a group is an author like this, it has mental properties that no individual member of the group possesses. For example, we can consider the groups that authored digital remixes based on a film titled #INTRODUCTIONS created by the artists LaBeouf, (...) Rönkkö & Turner. YouTubers posted their digital remixes online, and the question is: Who authored those remixes? I contend that many digital remixes are authored by groups that are capable of cognition. (shrink)

John and Mary have fully consensual sex, but they do not want to have a child, so they use contraception with the intention of avoiding pregnancy. Unfortunately, although they used the contraception in the way in which it is supposed to be used, Mary has become pregnant. The couple decides to have the baby, whom they name ‘Ernie’. Now we fill in the story a bit. The universe is causally deterministic, and 30 years later Ernie performs some action A and (...) thereby brings about event E. We also stipulate that Ernie meets plausible compatibilist conditions for acting freely . That is, we suppose that there are no uncontroversially freedom- and responsibility-undermining conditions present in the context in which Ernie performs A, and, further, that Ernie meets plausible compatibilist conditions for acting freely. Let us say, for example, that one adopts the theory according to which the freedom-relevant condition on moral responsibility is that the agent exhibits ‘guidance control’ of his action and . On this approach, one acts freely in so far as one acts from one's own, suitably reasons-responsive mechanism. We can then simply stipulate that, in the relevant context, Ernie acts from his own, suitably reasons-responsive mechanism . If one prefers a different set of compatiblist-friendly conditions for acting freely, one can simply stipulate that Ernie meets them; indeed, the plausible compatibilist-friendly conditions seem to be compatible with each other, and thus Ernie could presumably meet all of them in the relevant context. In such a case, and given that the epistemic condition on acting freely and moral responsibility is met, I am inclined to say that Ernie …. (shrink)

A new theory of moral and aesthetic value for the age of remix, going beyond the usual debates over originality and appropriation. Remix—or the practice of recombining preexisting content—has proliferated across media both digital and analog. Fans celebrate it as a revolutionary new creative practice; critics characterize it as a lazy and cheap (and often illegal) recycling of other people's work. In Of Remixology, David Gunkel argues that to understand remix, we need to change the terms of (...) the debate. The two sides of the remix controversy, Gunkel contends, share certain underlying values—originality, innovation, artistic integrity. And each side seeks to protect these values from the threat that is represented by the other. In reevaluating these shared philosophical assumptions, Gunkel not only provides a new way to understand remix, he also offers an innovative theory of moral and aesthetic value for the twenty-first century. In a section called “Premix,” Gunkel examines the terminology of remix (including “collage,” “sample,” “bootleg,” and “mashup”) and its material preconditions, the technology of recording. In “Remix,” he takes on the distinction between original and copy; makes a case for repetition; and considers the question of authorship in a world of seemingly endless recompiled and repurposed content. Finally, in “Postmix,” Gunkel outlines a new theory of moral and aesthetic value that can accommodate remix and its cultural significance, remixing—or reconfiguring and recombining—traditional philosophical approaches in the process. (shrink)

This article explores a group of contemporary magical artists who are inspired by feminist new materialist thought. In the work of these contemporary artists, magic is defined less by the transmission of traditions and initiatory wisdom or revelations about truth, and more by the ways in which artists can initiate change by shifting perspectives and orientations through creating inspiring, affective, embodied experiences. I argue that the philosophical shifts that are emerging from feminist philosophies and feminist fiction are also helping to (...) create a cultural space for wider discussions of magic, particularly among artists, who are reconfiguring ideas about nature and being, erasing the distinctions between the human and non-human worlds, highlighting the deep connections between the material and immaterial. (shrink)

This article explores the uptake and circulation of ‘transgender’ in academic and philanthropic institutions, as a way of taking seriously Robyn Wiegman’s call for a divergentist approach. In so doing, the article aims to demonstrate the intimate entanglements between non-profit and academic spheres and identity knowledges therein. Taken together, both contexts reveal the messiness and complexities of institutionality, not only as a lived reality for individuals such as philanthropy professionals and academics, but also as an object of study itself.

In The Deaths of Hintsa: Postapartheid South Africa and the Shape of Recurring Pasts, Premesh Lalu claims to offer a critique of apartheid’s colonial past. Emblematic of this colonial past is the 1835 killing and mutilation of the Xhosa king Hintsa. Lalu uses this violent event to argue against the evidence provided by the colonial archives. He argues that the killing of Hintsa was not an empirical fact but a product of the colonial imagination. The review argues that although the (...) critique of apartheid’s colonial past is timely, the book is not about Hintsa and does not therefore offer an alternative narrative of the death of the Xhosa king. (shrink)

Por meio dos fragmentos de narrativas da trajetória da musicista e ativista Kathleen Hanna, pioneira do movimento Riot Grrrl, remontamos, a partir do documentário The Punk Singer, a terceira onda do movimento feminista, evidenciando a interseccionalidade e protagonismo juvenil. Através de fanzines, arte, colagens, letras de música, performances e formação de bandas a partir de uma filosofia punk do it yourself (DIY), salientamos a ampla contribuição de Hanna para o feminismo contemporâneo ao desafiar um cenário opressor dentro do movimento punk, (...) estimulando o surgimento de outras iniciativas feministas, rebeldes e riot grrrls. Sua prática e performance artística são abordadas pelo viés das culturas DIY e remix, potencializando partilhas do sensível e politicidades no engajamento de subjetividades que superam a contenção dos imaginários vigentes.Palavras-chave: Feminismo. Riot Grrrl. Kathleen Hanna. Cultura remix. Imaginário político. AbstractThrough fragments of narratives gathered from the documentary The Punk Singer, based on the life and career of musician and activist Kathleen Hanna, pioneer of the Riot Grrrl movement, we refer to the third wave of the feminist movement, by demonstrating the dimensions of intersectionality and youth protagonism within her work. Ranging from fanzines, art, collages and lyric-making to performance and music groups based on a punk "do it yourself" (DIY) philosophy, we highlight Hanna's broad contribution to contemporary feminism by challenging an oppressive scenario within the punk movement, and by stimulating the emergence of other feminist, rebel and riot grrrls initiatives. Her artistic practice and performance are analyzed through the bias of DIY and remix cultures, thus potentializing distributions of the sensible and politicities in the engagement of subjectivities that surpass the containment of current imaginaries.Keywords: Feminism. Riot Grrrl. Kathleen Hanna. Remix culture. Political imaginary. (shrink)

The first attempt to represent the Periodic system graphically was the Telluric Helix presented in 1862 by Alexandre-Emile Béguyer de Chancourtois, in which the sequence of elements was wound round a cylinder. This has hardly been attempted since, because the intervals between periodic returns vary in length from 2 to 32 elements, but Charles Janet presented a model wound round four nested cylinders. The rows in Janet’s table are defined by a constant sum of the first two quantum numbers, n (...) and l, so that they end with the s-block, headed by hydrogen and helium. By combining Janet’s table, Edward Mazurs’ version, in which each row represents an electron shell and Valery Tsimmerman’s use of a half square for each element, I have produced a representation that can be printed out and wound round to make a cylinder with manageable dimensions. In the unwound version, I have placed the s-block in the middle, to emphasise its pivotal nature, since it both ends each row and contributes electrons to the valence of elements in the next row; it thus does not necessarily belong either on the left or the right side of a table. The downward arrows that link subshells within each series graphically illustrate the Janet Effect. To acknowledge my debt to Chancourtois, Janet, Mazurs and Tsimmerman, I call my design the ‘Telluric Remix’. (shrink)

This is a book about ideas. Specifically, this is a book about the evolution of a certain set of ideas, and how these ideas have come to dominate every important discussion about race, gender, and identity today. Have you heard someone refer to language as literal violence, or say that science is sexist? Or declare that being obese is healthy, or that there is no such thing as biological sex? Or that valuing hard work, individualism, and even punctuality is evidence (...) of white supremacy? Or that only certain people—depending on their race, gender, or identity—should be allowed to wear certain clothes or hairstyles, cook certain foods, write certain characters, or play certain roles? If so, then you’ve encountered these ideas. As this reader-friendly adaptation of the internationally acclaimed bestseller _Cynical Theories_ explains, however, the truth is that many of these ideas are recent inventions, are not grounded in scientific fact, and do not account for the sheer complexity of social reality and human experience. In fact, these beliefs often deny and even undermine the very principles on which liberal democratic societies are built—the very ideas that have allowed for unprecedented human progress, lifted standards of living across the world, and given us the opportunity and right to consider and debate these ideas in the first place! Ultimately, this is a book about what it truly means to have a just and equal society—and how best to get there. _Cynical Theories_ is a_ Wall Street Journal_, _USA Today_, and _Publishers Weekly_ bestseller. Named a 2020 Book of the Year by _The Times_, _Sunday Times_, and _Financial Times_, it is being translated into more than fifteen languages. (shrink)

This book offers insight into the many identity work processes in play in the construction of yoga categories, inviting readers to consider pop culture yoga, a distinct way of understanding this complex phenomenon.

Drawing on interviews with mashup producers, close readings of the mashup music and videos, and a historically and aesthetically informed cultural studies approach, Brøvig demonstrates how mashup music embraces the essence of parody through its mashing and repurposing of sources, associations, and connotations.

Argues that many popular approaches to questions of social justice are illiberal and offers an alternative vision for social justice based on liberal principles, adapted from the Wall Street Journal bestseller Cynical Theories.

An exploration of YouTube as a platform for remix, reuse, and sampling.

This chapter examines Janet Cardiff’s 2001 art installation, _The Forty Part Motet_, which was on view at the Nelson-Atkins Museum in Kansas City, Missouri, in the winter of 2017. In this art installation, one enters the room and encounters forty speakers, arranged in an oval, playing a recording of the Salisbury Cathedral Choir singing “Spem in alium” (Hope in any other), which was composed by the English composer Thomas Tallis in 1556. One could opt to sit in the middle of (...) the room and listen to the wall of sound created by the joint effect of each speaker, but one could also move about the room, causing one voice to pop out and another to be drowned out. In this way, the work invites the audience not only to enjoy the music but to remix it by sampling voices. The whole work is less an opportunity for deep listening than it is an opportunity for manipulating sound by moving around. The work itself is a supercharged technical remaking of the music. And the distortions one produces through one's own movements are the direct result of the fact that recording technology makes separate what was, in the making, collective. (shrink)

This text is a remix of an archival engagement with recordings/performances of 'freedom songs' or 'liberation songs' in a south or southern African context. The authors began this collaborative research project as part of a course in the Masters in History degree programme at the University of the Western Cape (UWC). The essay includes a re-edited, updated transcript of dialogue the authors shared along with two mix(tap)es they produced together. The conversation speaks of songs as archives, archives of song(s), (...) and memory/ies pertaining to anti-Apartheid struggle and ongoing Fallism. (shrink)

This essay foregrounds “covers” of popular recorded songs as well as male and female desire, in addition to Nietzsche’s interest in composition, together with his rhythmic analysis of Ancient Greek as the basis of what he called the “spirit of music” with respect to tragedy. The language of “sonic branding” allows a discussion of what Günther Anders described as the self-creation of mass consumer but also the ghostly time-space of music in the broadcast world. A brief allusion to Rilke complements (...) a similarly brief reference to Jankelevitch’s “ineffable.”. (shrink)

In this written dialogue, four trans philosophers remix and expand on a panel discussion held at the 2025 Thinking Trans // Trans Thinking Conference that explored the pressing issue of trans philosophy’s methods, building on an ongoing discussion in the literature. The panel and this text represent an extended and ongoing discussion between the authors. The authors are committed to neither methodological uniformity nor systematicity. Nevertheless, their embrace of pluralism leads to notable convergences regarding the basic sense that trans (...) philosophy has a political dimension, the notion of philosophical rigor, and the need for reflexivity about trans philosophy’s methods. (shrink)

This paper considers a range of so-called image macro Internet memes and describes them as emerging multimodal constructions relying as much on image as on text, and apportioning roles to images much like constructional slots, for instance to fill in a subject role in a subjectless clause, or even to provide the main clause content to a textually given when-clause. In addition to existing or partially altered linguistic constructions, many examples also rely on specific top text/bottom text division of labor, (...) and crucially depend on frame metonymy, with limited formal means quickly cueing richly detailed frames (for instance by using iconic images). The popularity of memes, forming series and cycles of iterations and remixes, and their role in establishing and maintaining discourse communities seems to be driven by a need to express and reconstrue viewpoints, often starting from ideas, affects or stereotypes assumed to be intersubjectively shared with viewers, whose responses they solicit. This paper argues that a proper description of Internet memes of the type considered requires a construction grammar approach, complemented by an understanding of viewpoint dynamics in terms of a Discourse Viewpoint Space regulating the network of spaces and viewpoints. (shrink)

BackgroundThe public and healthcare workers have a high expectation of animal research which they perceive as necessary to predict the safety and efficacy of drugs before testing in clinical trials. However, the expectation is not always realised and there is evidence that the research often fails to stand up to scientific scrutiny and its 'predictive value' is either weak or absent.DiscussionProblems with the use of animals as models of humans arise from a variety of biases and systemic failures including: 1) (...) bias and poor practice in research methodology and data analysis ; 2) lack of transparency in scientific assessment and regulation of the research; 3) long-term denial of weaknesses in cross-species translation; 4) profit-driven motives overriding patient interests; 5) lack of accountability of expenditure on animal research; 6) reductionist-materialism in science which tends to dictate scientific inquiry and control the direction of funding in biomedical research.SummaryBias in animal research needs to be addressed before medical research and healthcare decision-making can be more evidence-based. Research funding may be misdirected on studying 'disease mechanisms' in animals that cannot be replicated outside tightly controlled laboratory conditions, and without sufficient critical evaluation animal research may divert attention away from avenues of research that hold promise for human health. The potential for harm to patients and trial volunteers from reliance on biased animal data1 requires measures to improve its conduct, regulation and analysis. This article draws attention to a few of the many forms of bias in animal research that have come to light in the last decade and offers a strategy incorporating ten recommendations stated at the end of each section on bias. The proposals need development through open debate and subsequent rigorous implementation so that reviewers may determine the value of animal research to human health. The 10Rs + are protected by a Creative Commons Attribution 3.0 Unported License and therefore may be 'shared, remixed or built on, even commercially, so long as attributed by giving appropriate credit with a link to the license, and indicate if changes were made.’. (shrink)

When queer characters are erased or denied closure on screen, fans mobilise not only for representation but to reconfigure memory and rehearse queer world‑making. This article develops the concept of mnemonic fan labour, theorising it as queer fan practices through which grief, endurance and creativity contest heteronormative rhythms of media storytelling, as exemplified by collective activist interventions. Drawing on memory studies, queer theory and fan studies scholarship, I foreground queer fandom as a potent site of vernacular memory‑making. A tripartite framework (...) is developed to theorise queer fandom as mnemonic labour: (1) chrono‑affective labour, manifested through collective endurance in waiting rituals that anchor fans in global queer histories of resilience; (2) transmedia‑memetic labour, exemplifying remediation as fans remix tropes and circulate hybrid archives of memory across platforms and cultures; and (3) speculative labour, exemplifying pre-mediation, as fan‑made alternative endings and utopian world‑making rehearse futures beyond unsatisfying narrative closures. These modalities are exemplified in the ‘YaoTing’ fandom of the long-running Taigi soap opera Sè-kan-tsîng (世間情; 2013–2015). Through a digital ethnography and qualitative analysis of 3199 fan‑generated threads posted between 2014 and 2015 on PTT, Taiwan’s largest online forum, the article traces how audiences enact mnemonic practices to resist queer erasure and forge new queer memories. Therefore, theorising fan labour as mnemonic labour opens imaginative pathways towards queer belonging and futures. The article theorises that fans’ mnemonic labour emerges as radical world‑making: a queer memory practice reclaiming time, remaking genre and rendering queer life liveable, again and anew. (shrink)

This paper explores the opportunities, challenges, and ethics of engaging artificially intelligent models in collaborative creations of knowledge through the creation of the “Trans-Feminist-Queer Transformer” (T.F.Q.T.), a Generative Pre-Trained Transformer 2 (GPT-2) model fine-tuned with databases of love songs from trans-feminist-queer artists, programmed to generate output for live musical performance. Guided by trans-feminist-queer phenomenologies, this paper retroactively analyzes the creation of the T.F.Q.T. from creating a dataset for fine-tuning and experimenting with intervals of training to exploring methods of remixing, adapting, (...) and performing the generated output live. Through a critical analysis of my own practice as informed by sensory analyses of other contemporary AI works—including Annie Dorsen’s algorithmic theatre, J.R. Carpenter’s electronic literature projects, and Allison Parrish’s algorithmic poetry projects—this article posits research creation as an ideal methodology for working through philosophical crises of AI and creative labour, which often understate or neglect sensory analyses of the body. This article uses the T.F.Q.T. to navigate the debate between embracing AI as “literary communism,” or “the freeing of language from the constraints of property” (Wark M. “From Automatic Writing to Automated Writing.” 2024 Ursula Franklin Lecture (keynote presentation, University of Toronto, Toronto, ON, 25 March 2024).), and shifts in public policy and discourse around the fears of generative AI and plagiarism, data theft, surveillance, and the augmentation or replacement of creative workers. Its findings reflect on the project’s technical successes and conceptual failures, concluding that while emotional resonance with the T.F.Q.T.’s output was to some degree inevitable, the generated material ultimately produced limited and stereotypical conceptions of queer identities, which are inherently fluid and resistant to normalization. (shrink)

이 책자는 형식 논리의 일종인 양상논리에 입문하고 싶으신 분들을 위한 짧은 교재입니다. “양상논리 맛보기” 라는 말마따나, 이 책자는 양상논리에 관심은 있지만 아직 본격적으로 공부를 시작하진 않은 분들께서 ‘맛보기’를 하기에 적합한 안내 책자입니다. 아무쪼록 이 책자가 양상논리를 공부해나가시는데 유용한 첫 발판이 될 수 있기를 바랍니다. / This booklet is a Korean adaptation and translation of Part VIII of forall x: Calgary (Fall 2021 edition), which is intended to be introductory material for modal logic. The original text is based on Robert Trueman's (...) A Modal Logic Primer, which is revised and expanded by Richard Zach and Aaron Thomas-Bolduc in forall x: Calgary. (forall x: Calgary is based on forall x: Cambridge by Tim Button, which is in turn based on forall x by P. D. Magnus, and also includes material from forall x: Lorain County Remix by Cathal Woods and J. Robert Loftis.) This booklet is licensed under a Creative Commons Attribution 4.0 license. (shrink)

Studios resist reductive analyses. Although isolated, they have their own frontstages and backstages, and like the laboratories studied by Knorr-Cetina, function as more than simply “internal environments.” The placeness of studios leaves both audible traces (the early reflections of sounds) and visible ones, if we think of those studios that become shrines or pilgrimage sites, or photo or video documentation of studios that provide the outside world a brief glimpse into the interior isolation of recording studio life. It would seem (...) that major facilities such as Abbey Road, Ocean Way or Sun Records are emphatically not “placeless place[s]” (Gieryn 2008), nor are they decontextualized from their immediate geographic surroundings. Although atomized project studios (including bedroom studios, garages, and barns) may not immediately appear to be embedded within the social relations of a bounded local culture, many such studios are embedded within the social relations of specific online networked cultures,20 as is evinced by the vibrant online recording engineer communities that support everything from amateur acoustician pedagogy to advanced mixing techniques and even online mixing/remixing competitions. Such studios can be considered as “local anchoring points in the cultural metropolises of the global urban network” (Watson, Hoyler and Mager 2009). Knorr-Cetina (1992) suggests something similar when she discusses how laboratories function not just as “internal environments” but rather as “a link between internal and external environments, a border in a wider traffic of objects and observations”. Like their larger counterparts, project studios are acoustic environments isolated from various perceived outsides, use the very same technologies of audition to make up for the constrained paths of audibility, and similarly shape the kinds of musical and social practices that can transpire within (even if this shaping process effectively restricts the studio’s usage to a single musician at a time). I argue that the more we wish to understand the vibe and sound of the studios, the more we may wish to consider the studio as an active agent in the process of recording production, an actor in the social worlds that inhabit its very wombs and bunkers. (shrink)

In this editorial essay, we argue that Generative Artificial Intelligence programs (GenAI) draw on what we term a “hypercommons”, involving collectively produced inputs and labour that are largely invisible or untraceable. We argue that automatizing the exploitation of common inputs, in ways that remix and reconfigure them, can lead to a crisis of academic authorship in which the moral agency involved in scholarly production is increasingly eroded. We discuss the relationship between the hypercommons and authorship in terms of moral (...) agency and the ethics of academic production, speculating on different responses to the crisis of authorship as posed by GenAI. (shrink)

Among the many forms of artistic expression that characterize the digital era, remix occupies a rather central position. At the same time, however, the success of remix as an artistic practice raises several hard questions. What is original and what is derived? How can we sort out and make sense of questions concerning origination and derivation in situations where one thing is appropriated, reused, and repurposed for something else? What theory of moral and aesthetic value can accommodate and (...) explain these situations where authorship, authority, and origination are already distributed across a network of derivations, borrowings, and re-appropriated found objects? This paper develops a response to these questions, and it does so in three steps or movements. The first briefly introduces the concept of remix and the opportunities and challenges that this now wide-spread, content creation practice presents to existing models and theories of moral and aesthetic value. The second outlines the three elements of what I call “remixology”—a new axiology (or theory of moral and aesthetic value) that is designed to scale to these new opportunities and challenges. The third and final movement investigates the consequences of this proposal, demonstrating how remixology can be read backwards through time, providing us with some new perspectives on artistry and creativity in all human endeavors, and read forwards into the emerging challenges that have been made available by innovations in algorithmic content generation and computational creativity. (shrink)

This paper introduces the concept of world-sharing rhetoric as a theoretical framework for understanding rhetorical practices that invite participation in pre-existing symbolic or material worlds. Building on and extending traditions such as vernacular and field rhetoric, Burkean identification, Bormann’s symbolic convergence theory, and Foss’s invitational rhetoric, the study proposes a model of rhetorical engagement that centres not on persuasion, but on invitation, cohabitation, and collaborative reinterpretation. Drawing from examples including fanfiction, grassroots memory writing, and adaptive spatial storytelling, world-sharing rhetoric describes (...) communicative acts in which audiences are encouraged to emotionally, symbolically, and materially inhabit worlds that are both inherited and renewed. The paper situates this rhetorical mode within the broader cultural landscape of remix and participatory practices, while differentiating it from concepts such as immersion and worldbuilding. It proposes a tripartite analysis – logos, pathos, and ethos – to examine how world-sharing functions through narrative coherence, affective investment, and communal trust. Ultimately, the paper argues that rhetorical success in these contexts is not measured by persuasive outcome, but by the creation of conditions for shared presence, continuity, and reimagining. (shrink)

‘Disruptive technologies’ is a euphemism for new technologies released lacking adequate regulation, causing significant unemployment and costly, inefficient additional labour. So it stands with LLMs. They output lookalikes of authored writing. Most output remixes existing materials, effectively stealing, since lacking understanding and intention original meaning is not added. LLMs enable low-cost, high-reward dishonesty. Students attempt to submit these products as their own texts. Some in education propose to use LLMs to allow students to generate text and then revise it. This (...) is feasible in groups small enough to ensure that students can be monitored continuously and substantially rewrite the texts while reflecting on the editing process. However, such highlighting of what is important about rewriting tasks reveals that LLMs do not add value to such activities. The recommended policy is to restrict and regulate LLMs. This protects jobs; it ensures that students have to develop skills that enhance their agency and their character development; and alleviates the problem of massive scale intellectual property misuse. Resistance to AI is urgent: no company promoting it will back down from doing so, no matter the risks of their products. This is a case of a game where one agent will never cooperate, and both agents endorse incompatible value sets. Consequently, no group potentially adversely affected should have qualms about intense opposition and has a duty to lobby for regulation and conditional supervised rollout of LLMs. (shrink)

Derek Turner, Professor of Philosophy, has written an introductory logic textbook that students at Connecticut College, or anywhere, can access for free. The book differs from other standard logic textbooks in its reliance on fun, low-stakes examples involving dinosaurs, a dog and his friends, etc. This work is published in 2020 under a Creative Commons AttributionNonCommercial-NoDerivatives 4.0 International License. You may share this text in any format or medium. You may not use it for commercial purposes. If you share it, (...) you must give appropriate credit. If you remix, transform, add to, or modify the text in any way, you may not then redistribute the modified text. (shrink)

Hip-hop music in Bulgaria is not just a style of popular music but a cultural choice and political stance. This paper explores Bulgarian hip-hop songs and artists as bearers of the communal and political through the poetic. The analyzed songs and videos of Zhluch, Atila and Upsurt from the latest wave of Bulgarian rap are symptomatic examples of the unifying characteristics of the two lines (“joking around”, “folk” and “high”, “intellectual”) of rapping as a pop culture with a dynamic nature (...) of tension and struggle. The musical play and intertextual references illuminate the role of technology as a means and form in the political game: remixes, digital sampling as expressions of the fun, contrasting, parodic, and carnivalesque recreation of reality are catalysts for challenging the status quo. (shrink)

This essay explores the archive of a 1971 interview of Angela Davis by Swedish journalist Bo Holmström—recorded in Santa Clara County Jail where Davis awaited trial—to examine the relationship between Black radical thought and its social and intellectual mediation, especially when it comes to questions of violence versus nonviolence. Where Holmström invokes the “violence/nonviolence” binary in the interview, Davis pointedly resists its distortions, restoring the record of contemporary and historical conditions of racial terror that both necessitate and criminalize Black self-defense. (...) Decades later, the interview was filtered through the violence/nonviolence binary in editing for the acclaimed 2011 documentary, The Black Power Mixtape 1967-1975, with Davis’s wider conversation with Holmström not only abridged but remixed into a shorter exchange on armed self-defense. Studying the interview from its conditions of possibility through its later remixing, and reading it together with her opening defense statement (1972) and later speeches and writings, the essay excavates and explicates Davis’s original theoretical interventions and indexes a cluster of forces that mediate Black radical thought, Black women’s radical thought more specifically, and prison texts. The final section historicizes Davis’s theorization of the spatial and relational contexts of Black self-defense in Dynamite Hill, Alabama, and in California, and contends that her incisive interventions into the violence/nonviolence binary in 1971 remain critical here and now. (shrink)

GeneMusiK is an artistic project that puts into play ideas about the capacity of physical morphologies to act as mnemonic systems by using DNA to transcode and remix musical structures. The project suggests that both biological and cultural information can function as both macro- and micro-scale structures arrayed at physical loci to create topologies which function as keys to the mapping of memory.

In recent years, the majority of studies on new technology-related phenomena have focused either on proving the benefits of innovative solutions or on criticizing social costs. The path chosen in the reviewed book Collaborative Society by Dariusz Jemielniak and Aleksandra Przegalinska is to capture a wider cultural shift that is taking place because ICT tools allow people to take advantage of their willingness to cooperate. The key thesis is that the collaborative society goes far beyond the sharing economy – or (...) economy in general. New means of digital communication, remix culture and citizen science prove that this shift is transforming social relations and our mutual relations. The authors search for the manifestations of a collaborative society in joint online production and consumption, cooperation of social activists and hacktivism, social production of knowledge, gadgets encouraging cooperation and subversive connection in digital spaces. The future of cooperation is a story about the tension between the new, communal mode of production and its distortion by capitalism. The book is a good summary of the research area and an introduction for anyone looking to explore this topic or participate in a collaborative society. (shrink)

Les « émeutes de novembre 2005 » ont donné lieu à de nombreux discours développant une thèse particulièrement univoque et déniant toute capacité de s'exprimer à la jeunesse des cités. À partir d'une veille réalisée sur Internet et portant sur différents objets expressifs, cet article vise à montrer comment la « racaille»s'exprime, entre performance identitaire et resignification critique, en usant des ressources de l'expressivisme généralisé: le remix culturel ou la convergence créative des publics des jeux, de la musique et (...) de la télévision.The "riots of November 2005" resulted in numerous speeches developing a thesis and denying any particularly unique ability to speak to the youth of the cities. From a day on the internet and realized on various expressive objects, this article aims to show how the "scum" is expressed between performance and identity resignification critical, using the resources expressivism generalized: the remix convergence cultural or creative public games, music and television. (shrink)

The article examines some of the consequences of the migration of musical works in cyberspace, particularly with regard to their ways of being and the ways in which we listen to them. Streaming is interpreted as the last stage in the expansion of a phenomenon that arose with the advent of phonography, namely, the ubiquity and availability of the works. A new development consists in the production of musical units in modular terms: works can consist of independent parts, which can (...) be replaced or constituted, in an order that depends on the user, taking inspiration from the model of the playlist. The diffusion of works on the web has also facilitated the development of the remix practice, changing listening standards and generating new conceptual conflicts concerning the identity of the works. The web weakens the distinction between the medium of communication and the medium of recording. It also favors the formation of new cognitive dispositions and generates more flexible and interactive ways of listening, generally different from those implicated in the era of the disc. (shrink)

RESUMO Este artigo contempla nosso estudo de práticas socioculturais que demonstram que/como o sujeito contemporâneo dialoga online com enunciados advindos de acontecimentos do universo off-line. Nosso corpus apresenta postagens circuladas publicamente em páginas diversas no Facebook em que se lê: “É verdade esse bilete”. A afirmativa, proveniente de um bilhete escrito por uma criança em sua esfera familiar e divulgado em redes sociais, foi apropriada por múltiplos interlocutores no ciberespaço a fim de produzir efeitos de humor e dizeres contraditórios em (...) diferentes instâncias discursivas. Para a análise, recorremos a elementos constitutivos do dialogismo de proposição bakhtiniana; aos conceitos de meme e remix e às discussões foucaultianas acerca da vontade de verdade. Nossas interpretações apontam que é possível rastrear, nas réplicas ativas analisadas, posições axiológicas que nos remetem ao sujeito contemporâneo, o qual, usando a ironia e efeitos de humor, constitui/compartilha enunciados no intuito de estabelecer sua vontade de verdade na ágora digital. ABSTRACT This paper presents a study of sociocultural practices that exemplify how subjects interact online with offline events. We analyse selected posts collected from social media profiles supported by Facebook. Each excerpt shows the affirmative “It’s true this notte,” a rough translation of a written message addressed by a four-year-old Brazilian boy to his mother stating that there would “supposedly” be a school holiday the following day. The note went viral after his teacher posted it publicly on her social media timeline and the reassuring assertion was appropriated multiple times in the cyberspace so as to as trigger a humour effect in different discourse instances. Grounded on the concepts of meme; remix; Bakhtinian dialogism and Foucauldian’s ideas on truth, we perform a discursive analysis. Our results point to track marks of axiological positions of contemporary subjects that resort to irony to construct/share utterances in order to establish their will to truth in the digital landscape. (shrink)

On Popular Music and Its Unruly Entanglements comprises eleven essays that explore the myriad ways in which popular music is entwined within social, cultural, musical, historical, and media networks. The authors discuss genres as diverse as mainstream pop, hip hop, classic rock, instrumental synthwave, video game music, amateur ukelele groups, and audiovisual remixes, while also considering the music’s relationship to technological developments, various media and materials, and personal and social identity. The collection presents a range of different methodologies and theoretical (...) positions, which results in an eclecticism that aptly demonstrates the breadth of contemporary popular music research. The chapters are divided into three major sections that address: wider theoretical and analytical issues, familiar repertoire or concepts from a new perspective, and the meanings to arise from music’s connections with other media forms. (shrink)