(PDF) Remix Games as Instruments of Digital Humanities Scholarship: Harnessing the Potential of Virtual Worlds

Remix games are like remix videos, remix music, or remix images in that they are primarily comprised of sampled content. As a working definition, for the purposes of this chapter, remix games may be understood as games that are composed of previously published media elements, which have been appropriated, repurposed, and reconfigured in the creation of a new work that communicates different messages and meanings than the source material. This chapter has shown, the adoption of games as tools in digital humanities scholarship has been gradually increasing over the past decade, to the point where games have almost become an accepted form of academic publication in their own right. Finally, through a sample of global examples, this chapter highlights how remix games can be used to support existing practices within digital humanities scholarship, such as visualization, digital archiving, innovative pedagogy, and virtual simulation, while potentially enabling a range of new ones.

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THE ROUTLEDGE HANDBOOK OF REMIX S T U D I E S A N D D I G I TA L H U M A N I T I E S In this comprehensive and highly interdisciplinary companion, contributors reflect on remix across the broad spectrum of media and culture, with each chapter offering in-depth reflections on the relationship between remix studies and digital humanities. The anthology is organized into sections that explore remix studies and digital humanities in relation to topics such as archives, artificial intelligence, cinema, epistemology, gaming, generative art, hacking, pedagogy, sound, and VR, among other subjects of study. Selected chapters focus on practice-based projects produced by artists, designers, remix studies scholars, and digital humanists. With this mix of practical and theoretical chapters, editors Navas, Gallagher, and burrough offer a tapestry of critical reflection on the contemporary cultural and political implications of remix studies and the digital humanities, functioning as an ideal reference manual to these evolving areas of study across the arts, humanities, and social sciences. This book will be of particular interest to students and scholars of digital humanities, remix studies, media arts, information studies, interactive arts and technology, and digital media studies. Eduardo Navas is Associate Research Professor of Art at The School of Visual Arts at The Pennsylvania State University, PA. He implements methodologies of cultural analytics and digital humanities to research the crossover of art and media in culture. His production includes art and media projects, critical texts, and curatorial projects. Navas is co-editor of The Routledge Companion to Remix Studies (2015), Keywords in Remix Studies (2018), and has published extensively on remix theory and practice. He is Research Faculty in the College of Arts and Architecture’s Art & Design Research Incubator (ADRI). Owen Gallagher is Programme Manager and Assistant Professor of Web Media at Bahrain Polytechnic, where he lectures in film, sound, animation, and game design. He is the author of Reclaiming Critical Remix Video (2018), and co-editor of Keywords in Remix Studies (2018) and The Routledge Companion to Remix Studies (2015) with Eduardo Navas and xtine burrough. He has published a number of book chapters, journal articles, and conference papers on remix culture, intellectual property, and visual semiotics, and is particularly concerned with the changing role of copyright in the networked era. xtine burrough is Professor and Area Head of Design + Creative Practice in the School of Arts, Technology, and Emerging Communication at UT Dallas, and she is the Director of LabSynthE, a laboratory for creating synthetic, electronic poetry. She uses emerging technologies and remix as a strategy for engaging networked audiences in critical participation. She is the author of Foundations of Digital Art and Design with Adobe Creative Cloud, 2nd Edition, and co-editor of The Routledge Companion to Remix Studies and Keywords in Remix Studies with Eduardo Navas and Owen Gallagher. THE ROUTLEDGE HANDBOOK OF REMIX S T U D I E S A N D D I G I TA L HUMANITIES Edited by Eduardo Navas, Owen Gallagher, and xtine burrough First published 2021 by Routledge 52 Vanderbilt Avenue, New York, NY 10017 and by Routledge 2 Park Square, Milton Park, Abingdon, Oxon, OX14 4RN Routledge is an imprint of the Taylor & Francis Group, an Informa business © 2021 Taylor & Francis The right of Eduardo Navas, Owen Gallagher, and xtine burrough to be identified as the authors of the editorial material, and of the authors for their individual chapters, has been asserted in accordance with Sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. Library of Congress Cataloging-in-Publication Data Names: Navas, Eduardo, editor. | Gallagher, Owen, 1980- editor. | burrough, xtine, editor. Title: The Routledge handbook of remix studies and digital humanities / edited by Eduardo Navas, Owen Gallagher, and xtine burrough. Description: New York : Routledge, 2021. | Includes bibliographical references and index. Identifiers: LCCN 2020055919 (print) | LCCN 2020055920 (ebook) | ISBN 9780367361426 (hardback) | ISBN 9780429355875 (ebook) Subjects: LCSH: Appropriation (Art) | Digital humanities. | Remix History and criticism Classification: LCC NX197 .R385 2021 (print) | LCC NX197 (ebook) | DDC 701/.1--dc23 LC record available at https://lccn.loc.gov/2020055919 LC ebook record available at https://lccn.loc.gov/2020055920 ISBN: 978-0-367-36142-6 (hbk) ISBN: 978-0-367-69880-5 (pbk) ISBN: 978-0-429-35587-5 (ebk) Typeset in Goudy by KnowledgeWorks Global Ltd. CONTENT S viii x xvi xvii Acknowledgments List of Figures List of Tables Notes on Contributors Introduction EDUARDO NAVAS, OWEN GALLAGHER, AND XTINE BURROUGH PART I Epistemology and Theory 1 17 1 A Brief History of Remix: From Caves to Networks GIANCARLO FROSIO 19 2 The More Things Change: Who Gets Left Behind as Remix Goes Mainstream? FERNANDA R. ROSA, MAGGIE CLIFFORD, AND ARAM SINNREICH 36 3 Experiments in Performance, Identity, and Digital Space: 48 Mystory Remixes, Remixed LYNDSAY MICHALIK GRATCH 53 4 Production Plus Consumption: Remix and the Digital Humanities VIRGINIA KUHN 70 5 Immersive Feminist Remix: An Affect Dissonance Methodology KAREN KEIFER-BOYD 80 6 Versioning Buddhism: Remix and Recyclability in the Study of Religion SETH M. WALKER 95 7 Monster Theory 2.0: Remix, the Digital Humanities, and the Limits of Transgression MEGEN DE BRUIN-MOLÉ 109 8 Sampling New Literacies: Remix Studies and Digital Humanities in a Cross-Disciplinary Approach EDUARDO DE MOURA 125 9 RS (Remix Studies) + DH (Digital Humanities): Critical Reflections on Chance and Strategy for Empathy EDUARDO NAVAS 140 v CO N T E N T S PART II Accessibility and Pedagogy 157 10 Designing the Remix Library ANNE BURDICK 159 11 Interdisciplinary Design and Transcultural Collaboration as Transformative Remix Tools IAN MCARTHUR 12 In the Mix, the Collaborative Remix to Repair, Reconnect, Rebuild VICKI CALLAHAN, NICOLE RICHTER, CHRISTINA LANE, AND DANIEL CLARKSON FISHER 175 194 13 Remixing Literature in the Classroom: From Canons to Playlists in the Study of Latinx Literature and Beyond KELLEY KREITZ 210 14 Metadata for Digital Teaching: Enabling Remix for Open Educational Resources MICHAEL COLLINS 222 15 Hack It! Diy Divine Tools: An Art Hack Implemented as New Media Pedagogy in the Public Liberal Arts VICTORIA BRADBURY 236 16 On The Capabilities of Hip Hop-Inspired Design Research: An Annotated Syllabus 247 JOYCELYN WILSON 17 Internet Memes as Remixes: Simpsons Memes and the Swarm Archive SCOTT HADEN CHURCH AND GAVIN FELLER 259 18 Poetically Remixing the Archive XTINE BURROUGH 273 PART III Modularity and Ontology 287 19 Hallucination or Classification: How Computational Literature Interacts with Text Analysis ERAN HADAS 289 20 Machine-Driven Text Remixes ALESSANDRO LUDOVICO 302 21 Talk to Transformer: AI as Meta Remix Engine MARK AMERIKA 313 22 The Critical Role of New Media in Transforming Gamers into Remixers LISA HORTON AND DAVID BEARD 325 vi CO N TENT S 23 Vandalize a Webpage: Automation and Agency, Destruction and Repair ETHAN PLAUT 342 24 Allegories of Streaming: Image Synthesis and/as Remix STEVE F. ANDERSON 354 25 Always Already Just: Combinatorial Inventiveness in New Media Art DEJAN GRBA 366 26 Computational Creativity: Algorithms, Art, and Artistry DAVID J. GUNKEL 385 27 Remix Games as Instruments of Digital Humanities Scholarship: Harnessing the Potential of Virtual Worlds OWEN GALLAGHER PART IV Aurality and Visuality 396 415 28 Popular Song Remixed: Mashups, Aesthetic Transformation, and Resistance CHRISTINE BOONE 417 29 Remixing the Object of Study: Performing Screen Studies through Videographic Scholarship AIDAN DELANEY 430 30 Cinema Remixed 4.0: The Rescoring, Remixing, and Live Performance of Film Soundtracks SARAH ATKINSON 443 31 The Sound of the Future: A Digital Humanities Remix Essay PAUL WATKINS 456 32 Hacking the Digital Humanities: Critical Practice and DIY Pedagogy 473 MARINA HASSAPOPOULOU, WITH DONNA CAMERON, CRISTINA CAJULIS, DA YE KIM, JASPER LAUDERDALE, ERIC HAHN, PEDRO CABELLO, HOJONG LEE, SOYOUNG ELIZABETH YUN, KELSEY CHRISTENSEN, AND KATE ANDERSON-SONG 33 Djing Archival Interruptions: A Remix Praxis and Reflective Guide MARK V. CAMPBELL 488 34 Exploring Remix Process: The Case of the Spanish Megamix ADRIAN RENZO 500 35 Scratch Video: Analog Herald of Remix Culture NICK COPE 513 36 Curating, Remixing, and Migrating Archived “Muse Files” PAUL DOUGHERTY 529 Index 544 vii AC KNOWL E D GM ENT S This book could not be possible without the relevant and timely contributions by the distinguished scholars who accepted our invitation to participate. We thank them for their willingness to go through a long editing process, especially during unprecedented times of a global pandemic, global political instability, as well as ongoing climate change events. Their commitment to meet the deadlines to make this publication a reality makes more than evident their commitment to each of their respective fields of research. We also thank our editors at Routledge, Erica Wetter and Emma Sherriff, for supporting a book that brings together two areas of research that continue to be very much in development and overseeing this manuscript during all stages of editing, review, and production. We thank the editorial board at Routledge for finding potential in a third anthology on Remix Studies. We thank the remix community of activists, artists, designers, cultural producers, and scholars who continue to be engaged in very real, even lifechanging, cultural challenges, and push against norms of creativity—always moving toward a fairer and more inclusive future. —Eduardo Navas, Owen Gallagher, and xtine burrough As has been the case for every major publication I have been fortunate enough to work on, I was able to complete this project thanks to the selfless support of colleagues, friends, and family. I must thank xtine and Owen for being amazing friends and collaborators. I hope we can keep working together in future projects. I thank my faculty colleagues in the School of Visual Arts at The Pennsylvania State University, who make me feel fortunate to be part of a thriving community, for which creativity is truly a way of life. I thank B. Stephen Carpenter II, Dean of The College of Arts and Architecture at The Pennsylvania State University, for his ongoing support in all aspects of my teaching and research. I thank William Doan, Director of the Arts & Design Research Incubator (ADRI), for supporting my ongoing research and for creating a strong interdisciplinary community that brings together the arts, humanities, and sciences. I also thank Mallika Bose, Associate Dean for Research in The College of Arts and Architecture and her assistant Barbara Cutler, for helping me in finding support for my ongoing research. I thank my family, especially my partner, Annie Mendoza, who encourages me to do all that I do. And I thank my two sons Oscar Eduardo and Oliver Antonio who continue to amaze me as they remind me, again and again, about what is ultimately important in life. —Eduardo Navas Working with my long-time friends and collaborators, Eduardo and xtine, on this, our third remix book together, has been a pleasure once again. We have all experienced challenging circumstances in 2020 and it is a testament to our working relationship that we have produced something that we can all be proud of. I look forward to our next viii A CKN OW LEDGME N T S fruitful collaboration. I thank each and every one of our contributors for their creativity, hard work, and willingness to respond positively to our collective feedback in the pursuit of achieving the best possible outcome. I am grateful to my family—Brendan, Frances, Leona, Vincent, Emily, and Stephanie—for their unconditional love and support through difficult times. Thanks also to Brendan Muller and Paul O’Brien for their ongoing reassurance and counsel. Most importantly, I wish to express my thanks and gratitude to my partner Angela O’Brien and my daughters, Jennifer and Rebecca Gallagher, for always being there for me with words of encouragement, affirmation, and love. —Owen Gallagher It is always a pleasure to collaborate with my friends and peers, Eduardo Navas and Owen Gallagher, and this third book collaboration is a tribute to our sustained friendship and our growth as scholars. I hope we will continue to have opportunities to be grateful together. To my partner, Paul Martin Lester, our sons Parker and Martin, my parents Viola and Bill, and my dear friend Sam Martin: “thank you” barely captures the essence of my gratitude. Your support, encouragement, wisdom, and silliness sustained me in this project. I would also like to fondly acknowledge Dean Anne Balsamo and Associate Dean of Research and Creative Technologies, Dale MacDonald, at The University of Texas at Dallas—as well as my life-long mentors, Christopher James, Steven Kurtz, and Humberto Ramirez, for their ongoing support. My personal contribution to this book centers on projects I created with humanities scholars, Sabrina Starnaman and Dan Sutko. I am grateful to call you my friends and collaborators. —xtine burrough ix FIGU R ES 2.1 2.2 2.3 2.4 2.5 3.1 3.2 3.3 3.4 4.1 4.2 4.3 4.4 5.1 5.2 5.3 5.4 6.1 Configurable music engagement, 2010–17 Configurable video engagement, 2010–17 Configurable game engagement, 2010–17 Top: Age bias in configurable cultural activities among men, 2017. Bottom: Age bias in configurable cultural activities among women, 2017 Top: Gender bias (% women relative to baseline) among older adults, 2017. Bottom: Gender bias (% women relative to baseline) among younger adults, 2017 Screenshot of “Personal: images and writing” webpage from Lyndsay/ Cindy confidential by Lyndsay Michalik Gratch (2019) Screenshot of “Personal” webpage from Mystory by Averi Davis (2019) (Image courtesy of Averi Davis) Screenshot of “Personal” webpage from Mystory Space: Where Ideas Are Made website by Jordan Rose (2019) (Image courtesy of Jordan Rose) Screenshot of orders and chaos (video) by Lee Chen (2019) (Image courtesy of Lee Hsin Chen) Left: Screenshot of the “I on News,” featured segment of The Daily Show, 2002. http://www.cc.com/video-clips/4s9r5v/the-daily-show-with-jonstewart-i-on-news—washington. Right: Screenshot of the “I on News,” featured segment of The Daily Show, 2002. http://www.cc.com/video-clips/ an05ak/the-daily-show-with-jon-stewart-i-on-news—advertising Screenshot from “Scary Mary,” Christopher Rule, 2006. https://www.youtube.com/watch?v=2T5_0AGdFic Screenshot depicting the opening lines from “Repetition in the Mirrors of Reason.” http://www.thecine-files.com/repetition-issue11/ Amethyst Kiah singing the Grammy-nominated “Black Myself” at the Troubadour February 25, 2020 Shapeshifters Above Skyscrapers 1005, 2020, Collage, 8.25 × 8.25” by Linda Stein Freedom Tower and Sentinels 1010, 2020, Collage, 16.75 x 22 x 1” by Linda Stein The Penn State art education program, including students and faculty, set-up a month-long performance, presentation, and exhibition space in October 2019 that included a comfortable place to sit while wearing a virtual reality headset to view a playlist of 360-degree videos. The screen capture is on view from the Letters to the Unknown 360-degree video remix by Alvaro Jordán, Elham Hajesmaeili, and Xalli Zúñiga (2019) Versioning Buddhism x 40 41 42 43 45 58 61 62 63 72 73 74 77 82 83 87 90 101 LI ST O F F I GU R E S 8.1 8.2 8.3 8.4 9.1 9.2 9.3 9.4 10.1 10.2 10.3 10.4 10.5 10.6 Visual rhythm: AMV’s genre. Color code: Dark grey = scene cuts 132 Frame scale variation: Visualization composed of the dataset obtained through ML model and from the density correlation between episodes 133 2, 8, and 11, according to the use of frame scale variation Frame scale variation: AMV’s genre 134 Frame scale variation: Song structure 135 In the basic process of meaning production (signification), a concept (signified) is associated with an object (signifier) in order to create 148 meaning (a sign). Empathy takes place when people identify with something that is 149 meaningful to them. In critical analysis, meaning (a sign) is examined with the goal to understand how it is constructed with concepts (signifieds) that are 150 combined with objects (signifiers). Critical analysis and empathy can be combined in order to develop a fair assessment of an object or situation with the goal to keep at bay one’s 153 biases An interior view of Harvard’s Harry Elkins Widener Memorial Library 161 under construction. Top: Diagrammatic analysis showing the distribution of the SCL’s contents before and after its redesign by the Office for Metropolitan Architecture (OMA). Reprinted with permission. © OMA. Middle: Diagram showing the continuous loop of the SCL’s book spiral. Reprinted with permission. © OMA. Bottom: Interior view of the book spiral showing the DDC notation indicated by removable floor mats. Book spiral—Seattle Central Library, October 1, 2006, by brewbooks/CC BY-SA 2.0 (https://creativecommons.org/ 162 licenses/by-sa/2.0) Underground Robot Library, an illustration by Graham Murdoch, shows how the Mansueto Library’s automated search and retrieval system works 164 (Reprinted with permission. © Graham Murdoch, www.mmdi.co.uk) What chaotic storage looks like. “Governor Hogan Tours Amazon Fulfillment Center at 2010 Broening Hwy, Baltimore MD 21224,” Maryland GovPics, September 15, 2017, by Joe Adrucyk/CC BY 2.0 165 (https://creativecommons.org/licenses/by/2.0) Left: The reading antenna of Sitterwerk’s “mobile reader” scans books as it moves along the shelves powered by an automated mechanical system. Reprinted with permission. © Sitterwerk, photograph: Katalin Deér. Right: Sitterwerk’s Werkbank allows users to compose analog and digital materials. Reprinted with permission. © Sitterwerk, photograph: 167 Katalin Deér (a) A Kiva Systems robotic drive unit supports an inventory pod that services Amazon’s chaotic storage. The barcodes that are visible on the floor guide the robots. “Governor Hogan Tours Amazon Fulfillment Center at 2010 Broening Hwy, Baltimore MD 21224,” Maryland GovPics, September 15, 2017, by Joe Adrucyk, CC BY 2.0 (https://creativecommons.org/licenses/by/2.0). (b) Screenshot showing the results of a query for Portrait of Picasso in Sitterwerk’s online catalog. (Sitterwerk Katalog, accessed May 5, 2020, http:// sitterwerk-katalog.ch/books/GM00404317). (c) Screenshot showing the xi LI ST O F F I G U R E S 11.1 11.2 11.3 11.4 14.1 15.1 15.2 15.3 17.1 17.2 17.3 18.1 18.2 Werkbank collection, “An Enormous Bump of Marvelousness,” on the Sitterwerk website. (Werkbank.Sitterwerk, accessed May 5, 2020, http://werkbank. sitterwerk-katalog.ch/table/55f1b1c4fbfcd67e04750b59). 168 mad.lab is designed to immerse diverse communities of practice and 176 culture in situated collaboration (Image: McArthur, 2018) mad.lab projects produce outcomes at scales from the body to the precinct. Left image: Abject Glass, Eliza MacDonnell, 2018. Right 178 image: The Layer, Ruoxue Chen, Jiahao Li, Jinlong Li, 2018 Observational map created using “The Stakeout” tool (Image: Peter 181 Davidson, 2015) Remixed cultural probes. Left image: Community lighting installation designed by Harry Copas mapping local resident’s daily journeys using mobile GPS apps (Image credit by Eloise McCrea-Steele, 2019); Right image: Mapping to learn how citizens describe and feel about 182 Chongqing (Image credit: Jacinta Stewart-O’Toole, 2015) Diagram depicts an example web of relationships between linked information established by OER Schema. This is a reproduction of a visualization originally created by Phil Barker in “OER Schema in 227 comparison to LRMI/Schema.” Advanced Interactive Media student Anitra Griffin, mentor of the 241 Buddha group, builds an Arduino circuit with her team Completed interactive prototype from the Buddha group 241 Left: 3D printed gold and silver awards, designed by AIM student 242 Logan Bates. Right: Ideation phase with Enkidu group Left: “Homer Simpson Reaction GIF.” Retrieved from https://giphy.com /gifs/the-simpsons-scared-homer-simpson-jUwpNzg9IcyrK. Photo by Scott Haden Church. Right Top: “You Got the Dud V2.0.” Screenshot from https://www.youtube.com/watch?v=2gB-Vcyrk8s. Right Bottom: “S U N D A Y S C H O O L.” Screenshot from https://www.youtube. 264 com/watch?v=rTfa-9aCTYg&t=2s A meme posted on subreddits to recruit Simpsons fans to take a survey 265 for the present study (Meme created and posted by Scott Haden Church) Top: Age range of the participants of the Reddit survey. Middle: Race/ethnicity of the participants of the Reddit survey. Bottom: 267 Countries of origin of the participants of the Reddit survey Top: The Women of El Toro, xtine burrough, and Dan Sutko, 2016. A free iOS app that augments the Orange County Great Park with stories from women Marines who served at El Toro and wives of Marine vets stationed there during World War II. Bottom: For audiences unable to visit the Orange County Great Park, this map shows landmarks in the park with their selected quotes from interviews: http://www.missconceptions.net/woelt 277 /map.html Top: This set of images appears in my first and second edition of Foundations of Digital Art and Design with Adobe Creative Cloud (2014, 2019) to demonstration organizing image files with Adobe software. Readers download these images from the Library of Congress as part of an activity centered on understanding copyright and fair use while subtly noticing this xii LI ST OF F I G U R E S 18.3 18.4 19.1 19.2 19.3 19.4 20.1 20.2 21.1 21.2 22.1 24.1 24.2 24.3 interesting set of unnamed women in Brady’s portfolio. Bottom: There are 417 photographs in burrough and Starnaman’s An Archive of Unnamed Women (2018–ongoing) 279 An Archive of Unnamed Women is a speculative remix project by burrough and Starnaman (2018–ongoing). As viewers click what appear to be links to further information, they are instead confronted with quotes describing women’s lives, written by women writers, from approximately the same time period as the photographs in the collection 280 Top left: The literary database for A Kitchen of One’s Own pairs each quote with one of the 25 verbs in use by Epic Kitchens across their set of training videos. Top right: A frame from of A Kitchen of One’s Own as the automated media wall displays a randomized grid design, including video and text combinations associated with the keyframe verb “mix” (assigned by Epic Kitchens) and a quote from our dataset of literature that is also “keyed” to the verb, “mix.” Bottom left: A frame from A Kitchen of One’s Own as the automated media wall displays a randomized grid design, including video and text combinations associated with the keyframe verb “wash” (assigned by Epic Kitchens) and a quote from our dataset of journalistic writings that is also “keyed” to the verb, “wash.” Bottom right: A frame from A Kitchen of One’s Own as the automated media wall displays a randomized grid design, including video and text combinations associated with the keyframe verb “turn-on” (assigned by Epic Kitchens) and a quote from our dataset of social media text that is also “keyed” to the verb, “turn-on” 282 Biblical cut-up Haiku verses from the book Code 292 A screen capture from Word2Dream, running on parts of Martin Luther King JR’s “I Have a Dream” speech 296 Automatically generated images for I Love the Look of Words 297 Reading Half Reading using both a physical book and a mobile phone 299 Emiliano Russo, Gabriele Zaverio, Vittorio Bellanich, TAPE MARK 1 at ZKM Center for Art and Media, Karlsruhe. Photo by Gabriele Zaverio 305 Constant, cover design for The Death of The Authors, 1941: The Novel. 2013. Image courtesy of the artists 306 FATAL ERROR: Artificial creative intelligence (ACI) live performance 318 Image from FATAL ERROR: Artificial creative intelligence (ACI) live performance 321 Twitter feed screenshot: Morgan Luthi, Nott a Locksmith, digital art, July 28, 2018. (Posted by the artist to https://twitter.com/morganluthi/ status/1023338326764400640?s=11) 335 Screenshot of Joel Kahn’s Frankentoons: Snooh P. Coyote and Ziggy the Pinhead 355 Top: Image morph sequence from Michael Jackson, “Black or White” music video (1991); bottom: GAN image sequence from NVIDIA, “CelebA-HQ 1024×1024: Latent Space Interpolations” (2017) 358 NVIDIA research, “Progressive growing of GANs for improved quality, stability, and variation” or “Two imaginary celebrities that were dreamed up by a random number generator” (2017); designer Karen Zack (@ teenybiscuit) created a series of images that were widely (and speciously) xiii LI ST O F F I G U R E S 24.4 25.1 25.2 25.3 25.4 27.1 27.2 27.3 27.4 27.5 27.6 28.1 28.2 28.3 30.1 30.2 30.3 circulated as evidence of the inability of machine vision systems to distinguish between dogs and baked goods (2017) Left: Memo Akten, “Gloomy Sunday” from the series learning to see (2017) (image courtesy of the artist); Right: Refik Anadol, Latent History (2019) Julian Palacz, Play it, Sam (2012). Installation view (image courtesy of the artist) Branger_Briz (Ramon Branger, Paul Briz, Nick Briz, Brannon Dorsey and Pedro Nel Ovalles), Muse AI Supercut (2017). Project case study screenshot (image courtesy of Branger_Briz) Ben Bogart, Watching (2001: A Space Odyssey) (2019). Screenshot (image courtesy of the artist) Paolo Cirio and Alessandro Ludovico, Face to Facebook (2010). Artists as catalysts exhibition in Alhóndiga, Bilbao, Spain (photo: Paolo Cirio) Screenshots of Dear Esther, Gone Home, Firewatch, Assassin’s Creed: Odyssey walkthrough videos Screenshot of the Discovery Programme’s Irish heritage 3D models, sketchfab.com Screenshots of Mortal Kombat 11 and Terminator vs Robocop Screenshots of fan mods in Skyrim, Half-Life 2, GTA V, and Sekiro, YouTube Screenshots of educational games: Logo and The Oregon Trail; walkthrough videos of Assassin’s Creed: Origins and Civilization VI, YouTube.com and InternetArchive.org Screenshots showing a sample of my students’ game projects 2018–19: The Achaemenid Empire, Hawra Alekri; City of Athens, Manar Aljaleef; PokiSaw, Eyad Abdulaziz; The Shinning, Nusaibah Alkooheji Vocal line and chord progression from “Tik Tok and California Gurls are the same song?” Transcription by the author. Ke$ha’s vocal parts are italicized; Katy Perry’s are in bold Top: Original vocal rhythm from “Milkshake” by Kelis. Transcription by the author. Bottom: Kelis’s vocal rhythm as it appears in the mashup “YYMilk” by DJ Cummerbund (transcription by the author) Iron Horse, (2018) by Tim Klein (image used with permission of the artist) Live orchestral performance of Alfred Hitchcock’s The Lodger (1927), composed by Neil Brand, performed by the Orchestra San Marco, conducted by Ben Palmer at the 38th Pordenone Silent Film Festival, October 2019 (photo by Valerio Greco) Asian Dub Foundation have rescored, remixed, and performed a number of soundtracks for live screenings of films. Pictured here, a performance of the live scoring of The Battle of Algiers—Photo: Babak Zand Goodarzi Rebirth of a Nation, Paul D. Miller AKA DJ Spooky, photo courtesy of Subliminal Kid Inc xiv 360 362 369 370 372 373 398 401 402 403 405 407 419 420 425 447 448 449 LI ST OF F I G U R E S 30.4 31.1 31.2 32.1 32.2 32.3 32.4 33.1 33.2 34.1 34.2 36.1 36.2 36.3 36.4 Imitating the Dog’s theatrical creation—Night of the Living Dead REMIX—Leeds Playhouse, January 2020, photograph: Ed Waring Bell and Blake’s ear phonautograph. Source: Library of Congress, manuscript division, Alexander Graham Bell family papers at the Library of Congress 3D-printed turntable (image courtesy of the author) Access the projects via their QR codes, or see the endnotes for links to videos, sites, or other materials Screenshot of EKO studio’s nodular editing interface A photo of one of the facets of the physical scrapbook in Cristina Cajulis’ project The split screen aesthetics of Da Ye Kim’s Going Home (03:35) The author during a video mix keynote lecture at the University of Western Ontario, London Ontario, Canada (photo credit: Datejie Green) Flyer for Remixing the Digital Archive Draft of the “Bendie” segue The final version of the segue signals an approaching change Paul Dougherty conducting “man on the street” interviews with portable video equipment at Syracuse University 1976. Inset image: Brochure from Synapse Visiting Artist Program at the Newhouse School studios, Syracuse University 1976 (image courtesy of Randy Wishman, Synapse member) Left: Four samples of remix superimpositions in White Collar Funk 1976. Right: Gregory Battock in the Soho Weekly News Composition in Public Image Ltd.’s Careering Top left: Dougherty’s 1980s U-matic home recording set up. Top right: U-matic label of international clips gathered for InterProbe 1982. Bottom left: Dougherty’s 1980s off-air collection used in making remix work. Bottom right: Soundwave software used in making Cold War Shortwave 1987 xv 452 459 466 474 475 477 478 494 494 506 507 531 532 535 537 TAB LES 6.1 6.2 6.3 11.1 34.1 Dharmic Source Code The Four Noble Truths Buddhist Operating Systems The dérive as sound-walking process List of stutter edits in the first two minutes of Supermax megamix (1990) xvi 97 97 99 184 503 CONTRIBUTORS Mark Amerika is Professor of Distinction at University of Colorado, where he is the Founding Director of the Doctoral Program in Intermedia Art, Writing, and Performance in the College of Media, Communication and Information and a Professor of Art and Art History. His artwork has been exhibited internationally at venues such as the Whitney Biennial of American Art, the Denver Art Museum, the Institute of Contemporary Arts in London, and the Walker Art Center. In 2010, The National Museum of Contemporary Art in Athens, Greece, hosted Amerika’s comprehensive retrospective exhibition entitled UNREALTIME. In 2009, Amerika released Immobilité, generally considered the first feature-length art film ever shot on a mobile phone. He is the author of many books including remixthebook (University of Minnesota Press—remixthebook.com), Remixing Persona: An Imaginary Digital Media Object from the Onto-tales of the Digital Afterlife (with Laura Hyunjhee Kim) (Open Humanities Press), remixthecontext (Routledge), and META/DATA: A Digital Poetics (The MIT Press). His transmedia art work, Museum of Glitch Aesthetics [glitchmuseum.com], was commissioned by the Abandon Normal Devices Festival in conjunction with the London 2012 Olympics. The project has been remixed for many solo exhibitions including “Glitch. Click. Thunk” at the University of Hawaii Art Galleries and “GlitchMix: not an error” at Estudio Figueroa-Vives and the Norwegian Embassy in Havana, Cuba. Steve F. Anderson is Professor and Chair of the Department of Film, Television, and Digital Media at the UCLA School of Theater, Film and Television. He is the founder of the public media archive Critical Commons and cocreator of the electronic authoring platform Scalar. He is the author of Technologies of History: Visual Media and the Eccentricity of the Past (Dartmouth, 2011) and Technologies of Vision: The War Between Data and Images (MIT Press, 2017), and coeditor (with Christie Milliken) of the anthology, Reclaiming Popular Documentary (Indiana University Press, 2021). Sarah Atkinson is Professor of Screen Media at King’s College London and coeditor of Convergence: The International Journal of Research into New Media Technologies. Sarah has published widely on the impacts of digital technologies on film, cinema and media audiences, and screen production practices and industries. She has addressed her subject through analyses of narrative, text, process, industry, apparatus, and audience. Sarah also adopts practice-based methodologies through the creation of her own original works which include video essays, short films (including Live Cinema—walking the tightrope between stage and screen which was nominated for the Learning on Screen “Best Educational Film” Award 2020), an interactive cinema installation Crossed Lines which has been exhibited internationally and an interactive documentary xvii N O TES ON C O N T R I B U T O R S featurette—The Anatomy of a Film—included on both the Artificial Eye UK Blu-ray release and Lionsgate’s USA DVD release of Ginger & Rosa (Sally Potter, 2012). Sarah coproduced Hangmen Rehanged in 2016—a showcase collaboration between the National Theatre, Omnibus Theatre Company, and Edible Cinema which staged the first-ever immersive cinema event to unite the forms and aesthetics of “event” cinema, “live” cinema, “sensory” cinema, and promenade theatre. Sarah has undertaken extensive work into the Live Cinema economy and has worked on numerous funded immersive media projects and mixed reality/virtual reality research initiatives. She has received funding from the Arts and Humanities Research Council and the Engineering and Physical Sciences Research Council in the United Kingdom, the Social Science and Humanities Research Council of Canada and Innovate UK. David Beard is Professor of Rhetoric in the Department of English, Linguistics, and Writing Studies at the University of Minnesota Duluth. He has published in journals like the International Journal of Listening, Archival Science, Philosophy and Rhetoric, Southern Journal of Communication, and Enculturation, among other venues. With Heather Graves, he coedited The Rhetoric of Oil (Routledge). With John Heppen, he has published several articles and book chapters about professional wrestling. With Lisa Horton, he coedited an issue of the Journal of Contemporary Rhetoric on remix theory. Christine Boone is Associate Professor of Music at the University of North Carolina Asheville. She received her B.M. in Vocal Performance at Indiana University and both her M.M. and Ph.D. in Music Theory at the University of Texas. Christine’s research interests are centered around popular music. She has presented papers on the Beatles in both the United States and the United Kingdom. Her current research focuses on mashups, and her work on the subject has been published in several forums, including Music Theory Online. Christine, a soprano, is also an active performer in both choral ensembles and solo work. In addition, she has put her musical knowledge to work on National Public Radio’s classical music game show, “Piano Puzzler.” Victoria Bradbury is an artist and researcher working with virtual reality, code, and physical computing. She is the coeditor of Art Hack Practice: Critical Intersections of Art, Innovation and the Maker Movement (Routledge, 2019) and co-taught “The Glass Electric: Glassblowing, Electroforming, Interactive Electronics” at Pilchuck Glass School, 2019. Victoria was a member of the British Council team for Hack the Space, Tate Modern (London, UK, 2014) and participated in the IMMERSION: Art and Technology workshops (Shanghai, China, 2012) and Digital Media Labs (Barrow, UK, 2014). Her artwork has been showcased on the Radiance Blog and at IEEE-GEM, xCoAx, Black Mountain College Museum + Arts Center Re-Happening, Harvestworks, Revolve Gallery, Albright Knox, and The New Britain Museum of American Art. She has published writing in Neural Magazine and the CITAR and Media-N journals. Victoria holds a Ph.D. with CRUMB at the University of Sunderland, UK and an MFA from Alfred University. She has been a member of the New Media Caucus Board since 2012 and is Assistant Professor of New Media at UNC Asheville. www.victoriabradbury.com. Megen de Bruin-Molé (@MegenJM) is Lecturer in Digital Media Practice at Winchester School of Art, University of Southampton. She writes on historical fiction and the xviii N O TES O N C O N T R I B U T O R S heritage industry, popular monstrosity and adaptation, and remix culture. Her book Gothic Remixed (Bloomsbury, 2020) explores the boundaries and connections between contemporary remix and its related modes through the lens of monster studies. Megen is also an editor of the Genealogy of the Posthuman, an open-access initiative curated by the Critical Posthumanism Network (http://criticalposthumanism.net/genealogy/). Read more about Megen’s work on her blog: frankenfiction.com. Anne Burdick divides her time between Los Angeles and Sydney where she is a Research Professor and Founding Director of the Knowledge Design Lab at University of Technology Sydney (UTS). Her practice-based research mixes writing and design in diverse media through collaborations with authors and texts. Her most recent project, Trina, is a multimedia speculative design fiction created with author Janet Sarbanes. Anne was coauthor and designer of Digital_Humanities (MIT Press, 2013), together with Johanna Drucker, Peter Lunenfeld, Todd Presner, and Jeffrey Schnapp. Other award-winning collaborations include the Writing Machines book and web supplement (MIT Press, 2002) with N. Katherine Hayles and phon:e:me, a net.art work by Mark Amerika for Walker Art Center’s Gallery 9. With Literary Scientists at the Austrian Academy of Sciences, she designed the experimental Fackel Wörterbuch series and the Austrian Academy Corpus. Fackel Wörterbuch: Redensarten (Austrian Academy of Sciences, 2000) was awarded the prestigious Leipzig Book Fair Prize for the “Most Beautiful Book in the World” in 2000. From 1995 to 2012, she was designer and design editor of electronicbookreview.com. Anne holds a B.F.A and M.F.A in graphic design from California Institute of the Arts and a Ph.D. in Design from Carnegie Mellon University. She maintains an affiliation with Art Center College of Design where she was the Professor and Chair of the award-winning Media Design Practices M.F.A from 2006 to 2018. xtine burrough is an artist who uses emerging technologies and remix as a strategy for engaging networked audiences in critical participation. She is the author of Foundations of Digital Art and Design with Adobe Creative Cloud, 2nd Edition, and coeditor of The Routledge Companion to Remix Studies and Keywords in Remix Studies with Eduardo Navas and Owen Gallagher. burrough values the communicative power of art-making as a vehicle for exploring the boundaries between humans and the technologies they create, embody, and employ. Her projects yield multiple layers of participation and collaborative meaning-making. She archives her work and creative process in articles, chapters, and books. burrough has edited volumes and portfolio sections for other artists to write, reflect on, expose, and archive their practices. Professor and Area Head of Design + Creative Practice in the School of Arts, Technology, and Emerging Communication at UT Dallas, she is the Director of LabSynthE, a laboratory for creating synthetic and electronic poetry. Vicki Callahan is Professor at the University of Southern California’s School of Cinematic Arts in the Media Arts + Practice and Cinema and Media Studies Divisions. She is the author of Zones of Anxiety: Movement, Musidora, and the Crime Serials of Louis Feuillade (WSUP, 2005) and editor for the collection, Reclaiming the Archive: Feminism and Film History (WSUP, 2010). With Virginia Kuhn she coedited, Future Texts: Subversive Performance and Feminist Bodies (2016) and a special issue (11) of The Cine-Files: “The Video Essay: An Emergent Taxonomy of Cinematic Writing,”(2017). She published “Introduction to The Video Essay” (coauthor Virginia xix N O TES ON C O N T R I B U T O R S Kuhn) and “Introduction to MEmorial with her video essay, The Just War,” The CinéFiles, 11 (2017). She was an NEH fellow for the inaugural workshop, “Scholarship in Sound and Image,” on Videographic Criticism at Middlebury College, and in 2015, she was in residence at University College Cork, Ireland as a Fulbright Scholar with a focus on digital media praxis. She is working on a monograph of the silent film star, Mabel Normand, and with Sarah Atkinson, she is coauthoring, Mixed Realities (MR): Gender, Precarity, and New Models of Work in the Convergence Economy. Currently, she is working on a documentary film project, The Lowcountry, which has received South Carolina Humanities grants as well as support from the Yip Harburg and Sam and Regina Green Foundations. Mark V. Campbell [aka DJ Grumps], founder at Northside Hip Hop Archive, is a DJ, Curator, and Assistant Professor of Music and Culture at the University of Toronto Scarborough. As a cofounder at the Bigger than Hip Hop Show at CHRY 105.5fm, Mark has DJed on and hosted the show from 1997 to 2015 and founded Northside Hip hop in 2010. As a scholar, Mark has published widely with essays appearing in the Southern Journal of Canadian Studies, Critical Studies in Improvisation, Souls: A Critical Journal of Black Politics, Culture and Society, and the CLR Journal of Caribbean Ideas. He is the coeditor of We Still Here: Hip Hop North of the 49th Parallel (2020) and author of …Everything Remains Raw: Photographing Toronto’s Hip-Hop Culture from Analogue to Digital (2018). Scott Haden Church, Ph.D., (University of Nebraska-Lincoln) is an Assistant Professor in the School of Communications at Brigham Young University in Provo, Utah, United States. His research primarily uses rhetorical, critical, and aesthetic methods for examining online culture and popular culture. His work on remix has been published in The Routledge Companion to Remix Studies (Routledge, 2015), the Journal of Contemporary Rhetoric (2017), and Ancient Rhetorics & Digital Networks (University of Alabama Press, 2018). Daniel Clarkson Fisher is a Toronto-based writer and educator whose most recent work is the Chinese Jamaican Oral History Project (CJOHP.org), a digital storytelling initiative inspired by his partner Stephanie Lyn and her family. He holds a Master of Fine Arts in Documentary Media from Ryerson University and is currently a contract lecturer in that program. His work has appeared in H-Net: Humanities and Social Sciences Online, the Oral History Review Blog, PopMatters, New Politics, Alternet, Bright Lights Film Journal, Nonfics, the Journal of Religion and Film, and many other publications. Maggie Clifford’s research focuses on climate literacy and communication, interdisciplinary collaboration, and the intersections of art and science. She earned a Master’s degree at the University of Florida in Forest Resources and Conservation and is a Ph.D. student in the School of Communication at American University in Washington, DC. Michael Collins is Assistant Teaching Professor in the Penn State School of Visual Arts where he teaches courses in digital art and design. Collins has been designing and creating online learning technology for over a decade and is an advocate for the use xx N O TES O N C O N T R I B U T O R S of open-source technology in online education. His most recent collaboration includes a project called OER Schema—a project that fosters free access to knowledge by helping open educational resources become interoperable. In his words, “this project is an exhilarating ontological romp through pedagogical metadata.” Mr. Collins has produced a wide breadth of creative interests including interactive art exhibitions, web interfaces, concept design, 3D animations, and operates a furniture design studio. His most recent exhibition work centers around digital privacy, identity, and security. He coauthored the book chapter, Artist Research as Praxis and Pedagogy, published in Teaching Artistic Research (De Gruyter, 2020). Mr. Collins is also the lead faculty coordinator for the multi-college World Campus Digital Multimedia Design program and enjoys teaching art and design to students in a variety of subjects. He has been a longtime sub-committee volunteer for ACM SIGGRAPH, an organization whose mission is to nurture, champion, and connect researchers and practitioners of Computer Graphics and Interactive Techniques. Nick Cope is a British academic and filmmaker who has worked in the higher education sector since 1995, in the United Kingdom and currently as Program Manager Digital Film and Video for RMIT University, Vietnam, following 8 years working in the creative and media industries. He has been a practicing film, video, and digital media artist since 1982 and completed his Ph.D. in October 2012. This locates a contemporary visual music practice within current and emerging critical and theoretical contexts and tracks back the history of this practice to initial screenings of work as part of the 1980s British Scratch Video art movement, and later collaborations with electronic music pioneers Cabaret Voltaire and others. He continues to screen older work and new, and presents papers at conferences, cinemas, concerts, galleries, and festivals; nationally and internationally. A personal website and archive is at www.nickcopefilm.com. Aidan Delaney received his Ph.D. in Digital Arts and Humanities from Trinity College, Dublin, in 2017. His research interests are in sound studies, film studies, and the philosophy of technology. His most recent project to promote listening and acoustic ecology can be found at www.audiophilia.org. Aidan has lectured on film sound, sound design, radio production, European cinema, film history, sound art, video art, and research methods in film practice. He has also led workshops, seminars, and master classes in sound editing, production sound recording, audio postproduction, MIDI composition, and multimedia programming. Aidan is an Avid Certified Instructor in Pro Tools and has worked in the entertainment industry since the 1990s as a live sound engineer. He is currently based in London and works in the Faculty of Arts and Creative Industries at Middlesex University. Paul Dougherty is an EMMY winning editor with four works in the Permanent Collection of The Museum of Modern Art (MoMA). He holds a Master of Library Science and Certificate in Archives and Preservation of Cultural Material from Queens College, with electives from NYU’s Moving Image Archiving and Preservation program. He is currently the Video Archivist for the International Rescue Committee. Dougherty’s video work and work with artists started at Syracuse University’s Synapse Visiting Artists Program, first as an undergraduate and then on staff. While working at Manhattan Cable’s Public Access Department in the summer xxi N O TES O N C O N T R I B U T O R S in 1975, he became a founding member of Metropolis Video, who first videotaped the bands at CBGB’s such as Blondie and Talking Heads in their earliest incarnations. In 1976, Dougherty started work at a broadcast television facility and began making remix work along with an early (noncommercial) music video for “Frankie Teardrop” by the duo Suicide that was acquired by MoMA. He has had one-man shows at the Institute of Contemporary Art in London and the Kitchen in NYC. Dougherty is a generalist who earned his EMMY for the first season of Pee-wee’s Playhouse, has worked as an editor for each of the Network News divisions, and edited a series of video “magazines” for the Gagosian Gallery. His postproduction experience ranges from the earliest broadcast formats to the launching of Avid Technology in 1990. Dougherty delivered a lightning talk at the 2015 Personal Digital Archiving Conference and has conducted several presentations at the New York Foundation for the Arts in recent years. Gavin Feller’s research explores the cultural impact of emerging media technologies with a focus on power, community, and identity. His forthcoming book (University of Illinois Press) traces a cultural history of new media and religion in America through the lens of the Church of Jesus Christ of Latter-day Saints (LDS/Mormon). His latest research examines the technical and cultural ideologies guiding the creation of familyfriendly media content—from content moderation to platform algorithms to copyright law. Gavin also has experience in video and audio production and has taught several media production courses. Gavin completed his Ph.D. at the University of Iowa in 2017 and worked as an Assistant Professor of Media Studies at Southern Utah University before joining Umeå University (Sweden) as a postdoctoral research fellow in 2019. Giancarlo Frosio is Associate Professor at the Centre for International Intellectual Property Studies (CEIPI), University of Strasbourg, where he also serves as the codirector of the LL.M. in International and European Intellectual Property (IP) law and academic coordinator of the CEIPI Advanced Training in Artificial Intelligence and IP law. He is a qualified attorney with a doctoral degree (S.J.D.) in IP law from Duke Law School. Additionally, he holds an LL.M. from Duke Law School, an LL.M. in IT and Telecoms law from Strathclyde University, and a law degree from Università Cattolica of Milan. Giancarlo is also Non-Residential Fellow at the Center for Internet and Society at Stanford Law School. Previously—from 2013 to 2016—he was the Intermediary Liability Fellow with Stanford CIS. He is Lecturer of the LL.M. in IP law jointly organized by WIPO and the University of Turin, where he also served as the Deputy Director from 2010 to 2013, and affiliate faculty at the Harvard CopyrightX program, where he launched the Turin University Affiliated Course in 2013. He is Faculty Associate of the NEXA Research Center for Internet and Society in Turin. Previously, Giancarlo served as a postdoctoral researcher at KU Leuven Center for IT & IP (CiTiP), COMMUNIA Fellow at the NEXA Center, and CREATe Fellow at the University of Nottingham. His last book Reconciling Copyright with Cumulative Creativity: The Third Paradigm (Edward Elgar, 2018) builds on interdisciplinary research exploring the communal and collaborative nature of creativity from a historical perspective to make predictions about creativity’s future policies. He is also the editor of The Oxford Handbook of Intermediary Liability Online published by Oxford University Press in May 2020. xxii N O TES O N C O N T R I B U T O R S Owen Gallagher is the author of Reclaiming Critical Remix Video: The Role of Sampling in Transformative Works (2018) and the coeditor of Keywords in Remix Studies (2018) and The Routledge Companion to Remix Studies (2015) with Eduardo Navas and xtine burrough. Owen received his Ph.D. in Visual Culture from the National College of Art and Design (NCAD), Dublin and is Programme Manager and Asst. Professor of Web Media at Bahrain Polytechnic, where he lectures in film, sound, animation, and game design. He is a designer, animator, filmmaker, and long-time musician, having gigged with multiple bands for the past three decades. Owen is the founder of TotalRecut. com and his remix work has been exhibited at various venues around the world. He is Senior Fellow of the Higher Education Academy (SFHEA) and has published a number of book chapters, journal articles, and conference papers on remix culture, intellectual property, and visual semiotics and is particularly concerned with the changing role of copyright in the networked era. Lyndsay Michalik Gratch, Ph.D., is Assistant Teaching Professor of Communication and Rhetorical Studies at Syracuse University. Her research, teaching, and creative work plays at the intersections of performance studies, adaptation theory, remix praxis, physical/virtual embodiment, and notions of identity within digital spaces. Her book, Adaptation Online: Creating Memes, Sweding Movies and Other Digital Performances (Lexington, 2017), positions the creation and sharing of Internet video memes as communicative practices and performances of adaptation. She has published text, mixed media essays, video art, and video essays in Text & Performance Quarterly, Theatre Annual, Women & Language Online, Departures in Critical Qualitative Research, and Liminalities: A Journal of Performance Studies. Her short fiction has also been featured in Electric Literature’s “The Outlet,” The Brooklyn Review, and Joyland Magazine. Her multimedia performance work, theatrical directing, devising, playwriting, video design, and audio design, meanwhile, have been showcased in multiple venues throughout the United States and Canada. Dejan Grba is an artist, researcher, and educator. He explores the creative, technical, and relational potentials of generative systems. He has exhibited and lectured in Asia, Australia, North and South America, and Europe, and his papers have been published in journals, conference proceedings, and books. Dejan is a Visiting Associate Professor at the School of Art Design and Media, Nanyang Technological University in Singapore. He is a Founding Chair of New Media department at the Faculty of Fine Arts in Belgrade, and a Cofounding Associate Professor with Digital Art Ph.D. Program at the Interdisciplinary Graduate Studies, University of the Arts in Belgrade. http://dejangrba.org. David J. Gunkel is an award-winning educator, scholar, and author, specializing in the philosophy and ethics of emerging technology. He is the author of over 90 scholarly articles and book chapters and has published 12 internationally recognized books, including Thinking Otherwise: Philosophy, Communication, Technology (Purdue University Press, 2007), The Machine Question: Critical Perspectives on AI, Robots, and Ethics (MIT Press, 2012), Heidegger and Media (Polity, 2014), Of Remixology: Ethics and Aesthetics After Remix (MIT Press, 2016), Robot Rights (MIT Press, 2018), Gaming the System: Deconstructing Video Games, Game Studies and Virtual Worlds (Indiana University Press, 2018), and An Introduction to Communication and Artificial Intelligence xxiii N O TES O N C O N T R I B U T O R S (Polity, 2020). He has lectured and delivered award-winning papers throughout North and South America and Europe and is the founding coeditor of the International Journal of Žižek Studies and the Indiana University Press book series Digital Game Studies. Dr. Gunkel currently holds the position of Distinguished Teaching Professor in the Department of Communication at Northern Illinois University. His teaching has been recognized with numerous awards, including NIU’s Excellence in Undergraduate Teaching Award in 2006 and the Presidential Teaching Professorship in 2009. Eran Hadas is a Tel Aviv-based digital poet and media artist. He has published eight books. Among his collaborative projects are a headset that generates poems from brainwaves, a documentarian robot that interviews people about the meaning of being human, and an artificial intelligence art curator. His most popular collaboration to date is a viral AI Eurovision song, to which he contributed the lyrics generator. Hadas was the 2017 Schusterman Artist-in-Residence at Caltech and he is the 2020 Artistin-Residence at Weizmann Institute. His projects have been exhibited internationally in various contexts, such as science museums (Heinz Nixdorf, Paderborn), art museums (Tel Aviv Museum of Art), new media festivals (Ars-Electronica, Linz), and literature festivals (Tata Literature Live, Mumbai). He teaches in the Digital Media Program, Tel Aviv University, in the Game Design M.Des, Shenkar, and in College of the Literary Arts Jerusalem. Marina Hassapopoulou is Assistant Professor in the Department of Cinema Studies, at Tisch School of the Arts, New York University (NYU). She is currently working on her upcoming book, Interactive Cinema: The Ethics of Participation and Collectivity in the Era of (Dis)Connection, and is involved in new interdisciplinary initiatives for Virtual/Augmented Reality and web-based projects for nonprofit arts organizations and independent artist groups. Working on a range of media besides print, her projects include cultural videos for folklore archives, multimedia scholarship, DIY no/lowbudget media-making, as well as online open-access collaborative initiatives including The student-focused Interactive Media Archive (https://interactivemediaarchive. wordpress.com), the online directory focused on cross-pollinations between cinema, media studies, and digital humanities (https://transformationsconference.net), and the recently launched Weird Wave Archive that provides the first English language scholarly resource on Greek cinema (https://weirdwavearchive.wordpress.com). Kate Anderson-Song is an artist, writer, and performer who holds a B.A. in Cinema Studies from New York University. Pedro Cabello del Moral is a Ph.D. candidate in Latin American, Iberian, and Latino Studies at the City University of New York. He holds an M.A. in Cinema Studies from New York University and an M.A. in Spanish Cinema Studies from King Juan Carlos University. Pedro is the author of several documentaries on education, migration, historical memory, and the Francoist Spanish dictatorship. In 2019, he organized the first edition of Brooklyn College’s Latin American Film Festival. Cristina Cajulis holds an M.A. in Cinema Studies from New York University. xxiv N O TES O N C O N T R I B U T O R S Donna Cameron is an internationally exhibited multimedia artist. She teaches at the Open Arts program at New York University’s Tisch School of the Arts. Kelsey Christensen holds an M.A. in Cinema Studies from New York University. Eric Hahn is a doctoral candidate in the Visual Studies program at the University of California, Irvine and he holds an M.A. in Cinema Studies from NYU. Da Ye Kim is a Ph.D. candidate in the Cinema Studies program at New York University. Her research interests include virtual reality, interactive media theories, film festival studies, urban media practices, and transnational studies. Jasper Lauderdale is a doctoral candidate at Tisch School of the Arts, New York University, where he studies race, gender, sexuality, and temporality in radical speculative art. Jasper trained as a documentary filmmaker and editor at Appalshop in Whitesburg, Kentucky, and his work for such artists as Lydie Diakhaté, Manthia Diawara, Amie Siegel, and David Hammons has appeared at the 56th Venice Biennale, the 23rd New York African Film Festival at Lincoln Center, Dia:Chelsea, and Dak’art 2018. He has taught courses on film history, feminist media, cinematic bodies, and vampire culture at Brooklyn College, Hunter College, and NYU. Hojong Lee holds an M.A. in Cinema Studies from New York University. Lee’s recent projects center upon geographically demarcated soundscapes and their mediated depictions in films. Soyoung Elizabeth Yun is an Undergraduate Presidential Honors Scholar in NYU Cinema Studies. Yun currently works at the Korean Film Council to promote Korean cinema on international academia and markets. Lisa Horton grew up in northern Minnesota and attended her first year of university at Itasca Community College. She took her B.A. in English from Northwestern College (now the University of Northwestern, St. Paul). For 9 years, she worked in corporate America and freelanced in theatrical stage management, then moved to Duluth to get her M.A. degree from UMD. After several years working on her Ph.D. in Michigan, she returned to UMD to teach. Her interests include science fiction, detective fiction, theater, folk music, and historical reenactment. She got her first taste of tabletop roleplaying gaming late but has been gaming since 2012—she has been an avid “Critter” since discovering the show (also late) in August 2019. Karen Keifer-Boyd, Ph.D., Professor of Art Education and Women’s, Gender, and Sexuality Studies at The Pennsylvania State University, coauthored several books: Including Difference (NAEA, 2013); InCITE, InSIGHT, InSITE (NAEA, 2008); Engaging Visual Culture (Davis, 2007); coedited Real-World Readings in Art Education: Things Your Professors Never Told You (Falmer, 2000); and has numerous journal publications. Her research on transdisciplinary creativity, feminist pedagogy, cyberart activism, transcultural dialog, action research, and eco-social justice art education has been translated and published in Austria, Brazil, China, Columbia, Finland, Oman, and S. Korea. She is a recipient of a National Art Education Foundation grant (2017– 2018) for social justice art education and a National Science Foundation grant xxv N O TES ON C O N T R I B U T O R S (2010–2012) regarding gender barriers in technology. Cofounder and editor of the journal Visual Culture & Gender, she has received Fulbright Awards (2012 Distinguished Chair in Gender Studies at Alpen-Adria-Universität Klagenfurt, Austria; and Finland, 2006) and residencies (Austria, 2009; Uganda, 2010); and several National Art Education Association (NAEA) awards including the 2020 Eisner Lifetime Achievement Award, the 2018 Special Needs Lifetime Achievement Award, NAEA’s 2015 Technology Outstanding Research Award, NAEA Women’s Caucus 2014 McFee Award, the 2013 Edwin Ziegfeld Award, and is elected as an NAEA Distinguished Fellow (2013). She is a consultant to the Kennedy Center for the Performing Arts serving on the VSA Diversity, Equity, and Inclusion Committee; serves on the Art Education Research Institute Steering Committee, the Council for Policy Studies; and the NAEA Data Visualization research commission. She served on the NAEA’s Equity, Diversity, and Inclusion Taskforce (2018–2019), as NAEA Women’s Caucus President (2012–2014) and as coordinator of the NAEA Caucus on Social Theory in Art Education. Her lifetime work is based on her deep belief that visual art is integral to forming subjectivity, community, agency, and enacting social change. Kelley Kreitz is an Associate Professor of English and an affiliate faculty member in the Latinx Studies program at Pace University in New York City. She is also the director of the university’s digital humanities center, Babble Lab. Her research on print and digital cultures of the Americas has appeared in American Literary History, American Periodicals, English Language Notes, Revista de Estudios Hispánicos and the digital mapping project C19LatinoNYC.org. She serves on the board of the Recovering the US Hispanic Literary Heritage Project at the University of Houston. She is currently completing a book that recovers the leading role played by US-based Latin American writers in the media innovation of the 1880s and 1890s. Virginia Kuhn is Professor of Cinema in the Division of Media Arts + Practice in the School of Cinematic Arts at the University of Southern California. Her work centers on visual rhetoric, remix culture, digital pedagogy, and algorithmic research methods. She has published several edited collections: One book-based Future Texts: Subversive Performance and Feminist Bodies (Parlor Press, 2016 with Vicki Callahan) and several peer-reviewed digital collections: The Video Essay: An Emergent Taxonomy of Cinematic Writing (The Cine-Files, 2016 with Vicki Callahan); MoMLA: From Panel to Gallery (Kairos, 2013 with Victor Vitanza) and From Gallery to Webtext: A Multimodal Anthology (Kairos, 2008, with Victor Vitanza); and Speaking with Students: Profiles in Digital Pedagogy (Kairos, 2010 with DJ Johnson and David Lopez). In 2005, Kuhn successfully defended one of the first born-digital dissertations in the United States, challenging archiving and copyright conventions. Committed to helping shape open-source tools for scholarship, she also published the first article created in the authoring platform, Scalar titled “Filmic Texts and the Rise of the Fifth Estate,” (IJLM, 2010) and she serves on the editorial boards of several peer-reviewed digital and print-based journals. She received the USC Faculty Mentoring Graduate Students award in 2017 and was the 2009 recipient of the USC Provost’s award for Teaching with Technology. Kuhn directs the undergraduate Honors in Multimedia Scholarship program, as well as the graduate certificate in Digital Media and Culture, and teaches a variety of graduate and undergraduate classes in new media, all of which marry theory and practice. xxvi N O TES O N C O N T R I B U T O R S Christina Lane is Chair and Associate Professor of the Department of Cinematic Arts at the University of Miami. She is the author of the book, Phantom Lady: Hollywood Producer Joan Harrison, The Forgotten Woman Behind Hitchcock (Chicago Review Press, 2020). She has written Feminist Hollywood: From Born in Flames to Point Break (Wayne State UP, 2000) and Magnolia (Wiley-Blackwell, 2011), which is the first full-length study of the Paul Thomas Anderson film. Her work has appeared in Cinema Journal, Feminist Media Histories, the Quarterly Review of Film and Video, Cine-Files, and Mississippi Quarterly. She has essays in various edited collections, including Indie Reframed: Women’s Filmmaking and Contemporary American Independent Cinema; Hitchcock and Adaptation; Feminism Goes to the Movies: Understanding Gender in Contemporary Popular Cinema; Culture, Trauma, and Conflict: Cultural Studies Perspectives on War; Contemporary American Independent Film; and Authorship and Film. She is President of the University Film and Video Association and has provided commentary to such outlets as Air Mail, Turner Classic Movies, and the Daily Mail. Alessandro Ludovico is a researcher, artist, and chief editor of Neural magazine since 1993. He received his Ph.D. in English and Media from Anglia Ruskin University in Cambridge (United Kingdom). He is Associate Professor at the Winchester School of Art, University of Southampton. He has published and edited several books and has lectured worldwide. He also served as an advisor for the Documenta 12’s Magazine Project. He is one of the authors of the award-winning Hacking Monopolism trilogy of artworks (Google Will Eat Itself, Amazon Noir, Face to Facebook). Ian McArthur is Associate Professor of Design at UNSW Art & Design in Sydney and a hybrid practitioner working in the domains of experimental interdisciplinary practice, transcultural collaboration, sound art, experimental radio, Metadesign, and education change. He is currently working on an experimental study using screen-based urban media installations to examine the contribution of Australian innovation and participatory design to the development of urban design and placemaking in Chongqing, one of China’s largest and fastest growing cities. The research tests the theoretical assumption that participatory urban media (large and small interactive screens, façades, and devices) can act as a codesigned interface between diverse community, industry, and government stakeholders in the urban environment. It will assess how screen-based interactive media installations can build engagement and dialog between citizens and other city stakeholders about the places in which they live, work, and play. By doing so, it explores the effectiveness of media interfaces in helping government and urban planners better understand and design more liveable urban environments. Ian’s practice as creative producer and sound artist involves utilizing granular and generative synthesis, mobile technologies, and open source platforms in exhibitions and telematic, non-idiomatic improvised performances. He has also produced experimental sonifications for responsive interactive media environments used in a series of public art installations and exhibitions in Australia and China. Eduardo de Moura, Ph.D., is Visiting Professor at the University of São Paulo (USP), where he develops postdoctoral research at the Applied Linguistics Department, under Dr. Walkyria Monte Mor’s supervision. His research refers to methods and analysis procedures grounded in a cross-disciplinary approach implemented in remix studies and digital humanities, seeking to provide directions for constructing parameters xxvii N O TES ON C O N T R I B U T O R S centered on rethinking and expanding digital and new literacies. Eduardo de Moura also works writing schoolbooks and with teachers training as Educational Consultant for Portuguese, Literature, Arts, Technologies, and New Media classes. He has developed a Ph.D. thesis on New Literacies and Remix Studies under the supervision of Professor Roxane Rojo at the State University of Campinas, São Paulo (UNICAMP). With the assistance of the São Paulo Research Foundation (FAPESP), Eduardo de Moura had the opportunity to improve his research under the supervision of Professor Eduardo Navas, Ph.D., at The Pennsylvania State University, School of Visual Arts— Arts & Design Research Incubator (ADRI). Eduardo Navas implements methodologies of cultural analytics and digital humanities to research the crossover of art and media in culture. His production includes art and media projects, critical texts, and curatorial projects. He is the author of Remix Theory: The Aesthetics of Sampling (Springer, 2012), Spate: A Navigational Theory of Networks (INC, 2016), as well as Art Media Design and Postproduction: Open Guidelines on Appropriation and Remix (Routledge, 2018). He is coeditor of The Routledge Companion to Remix Studies (Routledge, 2015) and Keywords in Remix Studies (Routledge, 2018). Navas currently researches and teaches principles of cultural analytics and digital humanities in The School of Visual Arts at The Pennsylvania State University, PA. He is Research Faculty in the College of Arts and Architecture’s Art & Design Research Incubator (ADRI). He is an affiliated researcher at the Cultural Analytics Lab, Cuny (2010–present). Navas received his Ph.D. from the Program of Art History, Theory, and Criticism at the University of California in San Diego, his MFA from The California Institute of the Arts, and his BFA from Otis College of Art and Design. Ethan Plaut is Lecturer in Communication specializing in computational media at The University of Auckland’s School of Social Sciences Te Pokapū Pūtaiao Pāpori in Aotearoa New Zealand. He previously held postdoctoral fellowships in both Computer Science and Rhetoric at Stanford University, where he was also a Rebele First Amendment Fellow and completed his doctoral work focused on digital disconnection, silence, and communication avoidance. He is an award-winning journalist, including three years at an independent, bilingual newspaper in Cambodia, and continues publishing in both scholarly and popular presses as well as producing media projects through collaborations in and out of academia. He holds three degrees from Stanford University (MS Computer Science, M.A. and Ph.D. Communication Research) and two from Northwestern University (ad hoc B.A. formal systems and the arts, MSJ new media journalism from the Medill School). He has written for many publications including Public Opinion Quarterly; Communication, Culture, and Critique; First Monday; and newspapers such as the Washington Post and Boston Globe. His creative work and representations thereof have appeared in gallery and museum exhibitions, public installations, books, commercial artwork, CDs, DVDs, television, and a range of live performances and online projects. He is currently working on intercultural and decolonial pedagogies for technology ethics, a philosophico-historical account of technical illiteracies, and an interactive digital exhibition for the Auckland War Memorial Museum. Adrian Renzo is Lecturer in Music at Macquarie University in Sydney, Australia. His research includes work on medley records, musical taste, DIY and automated audio xxviii N O TES O N C O N T R I B U T O R S mastering systems, and mashup production. His work has appeared in journals such as Musicology Australia, Popular Music and Society, and the International Review of the Aesthetics and Sociology of Music. Nicole Richter, Ph.D., is a Professor of Media Studies at Wright State University, where she is the head of the Tom Hanks Center for Motion Pictures and teaches courses in philosophy and film, cinema and sexuality, animation, feminist film theory, and film history. She is the author of The Moving Image: A Complete Introduction to Film (Cognella, 2018) and has published numerous book chapters and articles in The Journal of Bisexuality, Queer Love in Film and Television and Short Film Studies, among others. Dr. Richter earned her doctoral degree in communications with an emphasis in film studies from the University of Miami. She is the founder of KinoFemme and KinoQueer, respectively, women’s filmmaking, and queer filmmaking collectives. She formerly served on the editorial board for Short Film Studies and as the president of FilmDayton. Fernanda R. Rosa is Postdoctoral Fellow at the Center for Advanced Research in Global Communication at the Annenberg School for Communication, University of Pennsylvania. She has a Ph.D. in Communication from American University, in Washington, DC. Her research focuses on Internet governance, values, and design, and has received awards and recognition from the Association of Internet Researchers (AoIR), the Research Conference on Communications, information and Internet Policy (TPRC), and Columbia University. She is the coauthor of Mobile Learning in Brazil (Zinnerama, 2015). Aram Sinnreich is Professor and Chair of the Communication Studies division at American University’s School of Communication. Sinnreich’s work focuses on the intersection of culture, law, and technology, with an emphasis on subjects such as emerging media and music. He is the author of three books: Mashed Up (2010), The Piracy Crusade (2013), and The Essential Guide to Intellectual Property (2019). He has also written for publications including The New York Times, Billboard, Wired, The Daily Beast, and The Conversation. Prior to coming to AU, Sinnreich served as Associate Professor at Rutgers University’s School of Communication and Information, Director at media innovation lab OMD Ignition Factory, Managing Partner of media/ tech consultancy Radar Research, Visiting Professor at NYU Steinhardt, and Senior Analyst at Jupiter Research. He is also a bassist and composer and has played with groups and artists including progressive soul collective Brave New Girl, dub-and-bass band Dubistry, punk chanteuse Vivien Goldman, and Ari-Up, lead singer of the Slits. Sinnreich was a finalist in the 2014 John Lennon Songwriting Contest and a semifinalist for the 2020 Bernard/Ebb songwriting award. Seth M. Walker is a doctoral candidate at the University of Denver studying popular culture, religion, and new media, with a particular focus on remix theory and subversive practices. He regularly writes on topics in these areas, which has included several chapter volumes in the popular culture and philosophy series from Open Court and Blackwell. His dissertation revolves around the development and application of a conceptual metaphorical remix model for studying religious traditions, especially concerning notions of originality, authority, and authenticity. Seth’s work, research, and blog can be found at sethmwalker.com. xxix N O TES O N C O N T R I B U T O R S Paul Watkins is a Professor of English at Vancouver Island University (VIU). He is also a research team member with the International Institute for Critical Studies in Improvisation (IICSI). With Dr. Rebecca Caines, he coedited a special issue of Critical Studies in Improvisation focused on Improvisation and Hip Hop. At VIU, he is the Artistic Director of the “Writers on Campus” (Nanaimo) series. He has published widely on multiculturalism, hip hop, Canadian poetry, jazz, DJ culture, and improvisation. Under his DJ alias, DJ Techné, he has completed three DJ projects (https:// djtechne.bandcamp.com) that explore the spaces between improvisation, poetry, hip hop, and jazz. He is currently working on a book manuscript that explores sound and music in Black Canadian poetry. www.pauldbwatkins.com. Joycelyn Wilson is an ethnographic and cultural studies scholar whose research focuses on African American expressive traditions, Hip Hop Culture, digital humanities, and social justice STEM education. She received her B.A. and Ph.D. from the University of Georgia, a Master’s from Pepperdine University, and was the 2011–2012 Hip hop Archive Fellow at the W.E.B. Du Bois Institute at Harvard University. Wilson joined Georgia Tech in 2017 as an Assistant Professor in the School of Literature, Media, and Communication. xxx I NTROD UC T ION Eduardo Navas, Owen Gallagher, and xtine burrough The Routledge Handbook of Remix Studies and Digital Humanities offers a tapestry of critical reflections on practice-based and pedagogical methods relevant in contemporary culture and scholarship. The anthology explores Remix Studies (RS) and Digital Humanities (DH) in relation to multiple subjects, such as archives, Artificial Intelligence (AI), cinema, epistemology, gaming, generative art, hacking, pedagogy, sound, Virtual Reality (VR), and others. Contributors include artists, designers, remix studies scholars, communication scholars, and digital humanists. The Handbook is designed to function as a reference manual for research, an introductory resource, and a teaching tool for studies in the arts, humanities, and social sciences. The Routledge Handbook of Remix Studies and Digital Humanities expands upon the themes initially discussed in The Routledge Companion to Remix Studies (Routledge, 2015) and Keywords in Remix Studies (Routledge, 2018). This Handbook is a mashup of the digital humanities and remix studies—two fields of research that function within larger disciplines of cultural investigation. Digital humanities, as its name implies, is part of the larger field of the humanities, while remix studies is a more elusive field. Remix studies has no defined affiliation but has clear roots in art and music. With the emergence of computing in these fields, RS has expanded among emerging practices across media and culture. In time, it has evolved as a relevant framework between disciplines. The critical position of The Routledge Handbook of Remix Studies and Digital Humanities, similar to our previous publications, is informed by various schools of thought. Our major points of reference include the visual arts, art history, literary studies, new/digital media, media studies, copyright law, and their relation to the digital humanities. Remix studies branches out of remix culture, an international movement that began during the late 1990s, informed by open source and Do-It-Yourself (DIY) activities practiced across the Internet. Lawrence Lessig, a copyright lawyer who founded Creative Commons in 2001, can be considered in large part responsible for popularizing the term “remix culture.”1 Remix culture is defined by its practice: the act of using preexisting materials to create something new as desired by any creator—from amateurs to professionals. As an activity, remix in music derives from experimentations with roots in Jamaican Dub, which evolved with hip hop and disco DJs during the 1970s, in New York City. Remixing music became a major creative process for Electronic Dance Music (EDM), gaining much global attention with raves in major cities. As is common knowledge at this point, the act of remixing has led to major legal conflicts between the 1 EDU A RDO N AVA S, OW EN G A L L A G H E R , & X T I N E B U R R O U G H private sector, growing social media communities, and participatory cultures on the Internet. Remix studies emerged in the mid-to-late 2000s and became more established after the 2010s as a field of research due to the need to evaluate and understand how creativity functions with the appropriation, recycling, and transformation of content in all forms of communication.2 Remix studies has developed into a complex field, often evaluated in relation to other contemporary fields of research. It holds a direct link to the digital humanities due to its use and implementation of quantitative data analysis and qualitative assessments. These shared methods and subjects of inquiry have resulted in a crossover between the fields. This is why we consider this book, which puts the two subjects in conversation, to be a strong contribution to both fields of research. For instance, many researchers who attend conferences and write about remix culture implement digital humanities methods and principles in their assessment of the material they study. Digital humanists, in turn, often focus on subjects that are directly relevant in remix studies. Some common subjects of research include appropriation in art and literature, film and TV remakes, video games, comic books, and video essays, among others; many of which are discussed in the chapters that comprise this volume. Digital humanities is a broad term used to describe an array of convergent practices for producing, utilizing, and understanding digital information and communication technologies in working with humanities-related content. Since the turn of the century, many leading education institutions in the United States have realized the importance of new media and digital technologies in the practices of teaching, learning, and research. As early as 2001, the Stanford Humanities Laboratory was established to focus on this evolving area, followed closely by other University initiatives such as Duke’s John Hope Franklin Humanities Institute and the HASTAC Consortium, the University of Virginia’s Institute for Advanced Technology in the Humanities, UCLA’s multiple Digital Humanities projects and programs and MIT’s innovative Hyperstudio lab.3 Digital humanities scholarship is characterized by its interdisciplinary nature, cutting across traditional fields in the humanities and bringing the technological tools and methods of other disciplines to bear on the analysis of society and culture. The nature of digital humanities research is collaborative, networked, and global. Scholars in these areas are socially-engaged and well positioned to address the issues of the emerging networked societies, of which we are all now potential citizens. Digital humanities is a quickly evolving area and has already passed through at least two significant iterations.4 The first wave was focused on quantitative research methods, concerned primarily with the use of digital technologies to enhance the study of traditional humanities disciplines, for example: the digitization of material artifacts, digital archiving, search and retrieval technologies, automation and statistical cultural analytics. The second wave of digital humanities, however, centered on qualitative research methods and was more interpretive, experiential, emotive, and generative in nature, focusing on issues of complexity, medium specificity, analytical depth, historical context, and critique. Both waves now exist concurrently and feed one another, drawing upon complementary strengths, respecting and building on the work done by both science and humanities-based researchers toward a common goal, thus enhancing and reinforcing the overall effectiveness of the field and the research outputs it yields. Remix studies has interests in both strands of digital humanities, as outlined above. For example, the production and analysis of software mashups and their outputs would 2 I N TRO DU C T I O N be part of the first wave, while the aesthetic analysis of remixed music and videos would clearly be a consideration made in the second wave. The Routledge Handbook of Remix Studies and Digital Humanities brings these areas together and updates them to explore questions relevant to increasingly globally connected societies. The idea for The Routledge Handbook of Remix Studies and Digital Humanities occurred to us, as editors, after we published The Routledge Companion to Remix Studies and Keywords in Remix Studies. As a third anthology, it contributes to the construction of a foundation for remix studies as an interdisciplinary and international field of research. We consider the Companion to set the stage for remix studies as a field, bringing together scholars from the arts, humanities, and social sciences. In turn, Keywords expands on themes in the Companion to establish a vocabulary specific to RS. This Handbook, like the Companion, includes interdisciplinary scholars. It emphasizes a comparative approach in its format and functions as a referential publication that puts the digital humanities and remix studies in direct conversation, marking this time in their development. The cultural and political context in which this handbook was edited and published was unprecedented. When we wrote the proposal in late 2018, it was impossible to foresee the fact that the entire world would be experiencing the global pandemic of COVID-19 in 2020, and that an ongoing series of protests for social and racial justice spearheaded by the Black Lives Matter movement would be taking place not only in the United States but around the world—and all of this while simultaneously experiencing extreme weather changes due to climate change and global warming. As a result, many of the chapters forming part of this anthology include direct or indirect critical reflections on the cultural and political context in which this volume was produced. With rapid increases in technological innovation, the unravelling of cultural events across the world has also sped up, and as a result, the reality in which this volume is to be published is likely to be different from the one in which it was conceived and written, and quite different from the ones in which it will be read in the future. It follows to consider the fact that we no longer wait for history to come to us with the passage of time, but we now experience history fully aware of its instant documentation in real-time with live-streaming and on-demand technology. Similarly to how a replay is immediately available in sports events for viewers to analyze, the global culture in which this anthology was edited produced headlines that already read as major historical moments, which continuously shaped and reshaped the chapters by our contributors as each of them went through multiple revisions. The political upheavals in response to Donald Trump’s leadership, and the national and international protests for racial justice after the deaths of George Floyd, Breanna Taylor, Ahmaud Arbery, and Jacob Blake,5 which were preceded by several deaths of African Americans across the United States in previous years, add up to an unstable reality in which, as the late John Lewis would have said, Good Trouble is necessary for a more inclusive, fair and democratic society.6 One of his tweets from 2018 resonates even stronger today: “Never, ever be afraid to make some noise and get in good trouble, necessary trouble.”7 Across the world, ongoing struggles of global migration and social injustice remain in play, and instability in Africa, the Americas, Australia, the Middle East, across Europe and Asia continues to escalate the global state of our planet. All of these events informed and are at times reflected upon by our contributors in the chapters that comprise this anthology. In their own way, each of the two previous publications on remix studies have functioned as markers of the time in which they were published, and The Routledge Handbook 3 EDU A RDO N AVA S, OW EN G A L L A G H E R , & X T I N E B U R R O U G H of Remix Studies and Digital Humanities is no exception. Some readers may opine that this introduction could have been written in more abstract terms, to sound “academically” correct, with detachment from politics; but abstraction and detachment are modalities out of sync with the issues raised in many of the chapters written by our contributors. Given that both RS and DH focus on how media is shaped and reshaped through creative means to make sense of the world itself, it is necessary for us to engage the political and cultural climate at our time of writing. Just like how the COVID-19 pandemic cannot be separated from the ideological spin doctoring produced by extreme politics, so RS and DH research cannot be treated with “clinical cleanliness.” Our common foundational purpose is to understand how we function in subjective and objective terms in a world full of conflicts that, on the surface, appear unsolvable. Contributions We consider editing a collaborative process, which, in the case of the Handbook, also means that our initial premises for the organization of the different parts are not close to what they evolved to be once we received the actual essays from our collaborators. Chapters moved from one section to another, and parts were eventually renamed to articulate the overall narrative of the contributions. The volume is organized to be read as a book from beginning to end, if the reader desires, in which case, a certain argument can be extrapolated. The book is also edited to be read in modular fashion—as a reference manual. Each chapter provides a theoretical reflection on the relationship between remix studies and the digital humanities. The chapters offer a range of practical and theoretical approaches and methods specifically written to be of use as needed for research and/or practice by scholars and practitioners; while this is the case, we should also make clear that the chapters do not focus on technical descriptions for the sake of practical competency. When authors mention specific technical methods, it is done directly in relation to the value of critical reflection. Each chapter can stand alone, while also relating to chapters that surround it. Readers will also find that chapters both complement and challenge each other, which brings parity to debates about complex cultural issues. Our initial intent, which remains, was to group chapters according to a focused theme based on comparative methods shared by RS and DH. The chapters were eventually grouped into four sections.8 Part I: Epistemology and Theory Part I brings together chapters that focus, from different critical and methodological positions, on the roles that knowledge plays in culture. This part offers historical and theoretical accounts that combine RS and DH research, in direct juxtaposition with hands-on explanations of methods. The variation in approaches exposes the complexity in the process of knowledge production and the theoretical implications of its interpretation. Giancarlo Frosio, in Chapter 1, “A Brief History of Remix: From Caves to Networks,” provides a concise survey of different forms of appropriation, borrowing, and recycling of content, forms, and ideas that have been at play since the beginning of human cultures. His focus is on Western history’s early tendency to borrow freely and how this process evolved into a romantic narrative that privileged the concept of the author as 4 I N TRO DU C T I O N sole creator of content, which in current times continues to hinder creativity, while information flows across networks with unprecedented efficiency. Frosio connects contemporary research projects to particular texts from the past in order to demonstrate how DH enhances research in RS. In Chapter 2, “The More Things Change: Who Gets Left Behind as Remix Goes Mainstream?” Fernanda R. Rosa, Maggie Clifford, and Aram Sinnreich share results of a ten-year data analytics study on the state of configurable culture, which they define as “a range of different cultural practices and artifacts, including but not limited to, mashups, memes, remixes, mods and machinima.” They argue that configurable culture blurs the line between traditional production and consumption online, which, in turn, imposes limits on the democratization of cultural production affecting creativity across age, gender, and race. A key argument proposed in this chapter is that remix is becoming normalized as part of media production itself, which begs reflection on fixed terminology, and asks for openness to ongoing changes in the field of remix studies. Lindsay Michalik Gratch, in Chapter 3, “Experiments in Performance, Identity, and Digital Space: 48 Mystory Remixes, Remixed,” describes a class project she designed based on Gregory Ulmer’s “mystory technique.” The project guidelines ask students to implement performance and remix practices to explore aspects of digital identity. Gratch shares a personal application of the method by creating her own persona inspired by Cindy Sherman’s performative art. She combines creative writing and collage techniques to put into practice what she calls “remix yourself” methods in order to challenge her students and readers to reconsider their assumptions about the meaning-making process. In Chapter 4, “Production Plus Consumption: Remix and the Digital Humanities,” Virginia Kuhn discusses the differences of scholarship between academic remix and the digital humanities. Kuhn argues that as a discipline, digital humanities focuses its efforts on tool development and methods in art and literature, while academic remix implements diverging forms of semiotic analysis to examine all media forms that bring together image, sound, and text. Kuhn analyzes various popular and academic examples of remix and goes on to argue that both RS and DH are important for the combination of “multimodal digital arguments.” This enables the production of multimedia work that can be more accessible to general publics with the goal to raise awareness of institutional structures designed for the oppression of diversity in culture. Karen Keifer-Boyd, in Chapter 5, “Immersive Feminist Remix: An Affect Dissonance Methodology,” discusses affect studies methods that are useful to resist and counter forms of oppression, which include, but certainly are not limited to, ableism, classism, colonialism, heterosexualism, imperialism, and racism. Keifer-Boyd delineates how feminist scholarly research is useful for students to engage in remix video projects that include 360-degree virtual immersive environments. Her chapter describes processes she implements for class projects that encourage students to engage in affect dissonance as a critical practice. She juxtaposes her class project case studies with the multidisciplinary media art of Linda Stein to provide clear examples of critical practice defined by feminist pedagogical approaches in remix practice and the digital humanities. Seth M. Walker brings together Buddhist philosophy and software development in Chapter 6, “Versioning Buddhism: Remix and Recyclability in the Study of Religion.” He explains that writer and teacher Stephen Batchelor developed a “basic ‘software’ analogy” to discuss different Buddhist philosophies and practices. Walker applies theories from remix studies to Batchelor’s categorization of Buddhist thought in order to 5 EDU A RDO N AVA S, OW EN G A L L A G H E R , & X T I N E B U R R O U G H argue that dialogic developments in religious philosophies can be extrapolated to be useful in other religious traditions. Consequently, one of Walker’s core arguments is to question the authority that is established when originality and authenticity are not questioned. He “hacks” remix theory and software development lingo in order to create an intertextual mashup of disciplines that offers ways to subvert and question institutional paradigms that may seem unshakable; Walker’s strategies prove to be useful beyond religions. In Chapter 7, “Monster Theory 2.0: Remix, the Digital Humanities, and the Limits of Transgression,” Megen de Bruin-Molé reconfigures remix as “one of the greatest ‘monsters’ of our age.” She takes on the possible implications of remix being proposed by critics as a symptom of degeneration, while considering those who celebrate it as a transgressive tool to rewrite, and recreate contemporary culture. Bruin-Molé reflects on the methodological shifts in critical practice when the meaning of monsters as theoretically discussed in literary studies has moved to the mainstream. She effectively brings together remix studies and gothic monster studies to create an unexpected monster mashup in order to consider the possibilities of decolonizing the humanities through a monstrous hybrid for the twenty-first century, and what this means for RS and DH. Eduardo de Moura’s contribution, Chapter 8, “Sampling New Literacies: Remix Studies and Digital Humanities in a Cross-disciplinary Approach,” offers a methodological discussion of image-mining as an example of digital humanities methods for “constructing parameters to rethink and expand digital literacies.” Moura provides technical explanation of image-mining processes from his research on Anime Music Videos to offer a clear case of the effective combination of remix studies and digital humanities methodologies toward a multidimensional approach of both quantitative and qualitative methods. In Chapter 9, “RS (Remix Studies) + DH (Digital Humanities): Critical Reflections on Chance and Strategy for Empathy,” Eduardo Navas discusses how RS and DH can be useful in evaluating the manipulation of facts and data usage to justify bias. The chapter focuses on the critical analysis of truth and denial to consider a creative approach toward empathetic and critically objective methods, useful for engaging with information that supports or questions cultural differences. The chapter concludes with a description of Switch Chess, a performative work of art developed by the author. In this modified version of Chess, chance is implemented to displace adversarial principles that inform a player’s drive for self-interest. The performative work can be enacted by anyone who wishes to explore empathy—the ability to place oneself in the position of another. Part II: Accessibility and Pedagogy Part II includes chapters that discuss issues related to archiving and accessibility of knowledge, and the diverging possibilities for teaching that emerge with the combination of RS and DH methods. Classroom experiences with students are included in various chapters providing an intimate evaluation of teaching and learning methods. In Chapter 10, “Designing the Remix Library,” Anne Burdick discusses the architecture and organization of library collections in terms of possibilities for a constant state of remix. She argues that library materials are optimal for constant recombination and recategorization, yet they are administered by sociotechnical systems that resist “the aesthetic disruption of remix.” Burdick offers four uniquely innovative examples that 6 I N TRO DU C T I O N shed light on the possibilities of remix as integral to knowledge design as a specific practice within digital humanities. Her case studies are The Seattle Central Library (SCL); The University of Chicago’s Mansueto Library; Sitterwerk, a private library located in St. Gallen, Switzerland; and a speculative Universal Programmable Library, as imagined by Jeffrey Schnapp and Matthew Battles. Burdick makes a strong case for redefining the library as a space where models of knowledge and design are synonymous with regenerative remixing. Ian McArthur in Chapter 11, “Interdisciplinary Design and Transcultural Collaboration as Transformative Remix Tools” discusses remix tactics for the exploration of “worlding” collaborative design education. He describes numerous activities that take place in mad.lab, a three-week elective course for students, which aims “to deconstruct the monolithic influence of Western design praxis.” The chapter offers a theoretical, socially conscious, and practical overview of the international collaboration for city making in the megacity of Chongqing in South West China among UNSW Art & Design (Sydney), Chongqing’s Sichuan Fine Arts Institute, and The School of Architecture, Design and Planning’s Design Lab at the University of Sydney. McArthur’s goal is to decolonize design by fostering hybrid communities defined by experimental mapping and participatory methods shared by students in Australia and China. For Chapter 12, “In the Mix, the Collaborative Remix to Repair, Reconnect, Rebuild,” Vicki Callahan, Nicole Richter, Christina Lane, and Daniel Clarkson Fisher discuss the video essay as an important part of the scholarly toolkit that explicitly brings together RS and DH for creative and critical production. The chapter describes their collaboration, which began well before the SCMS 2018 conference for which they used the prompt of “Post Truth.” The authors outline, in detail, the process that took place during the collaboration, which consisted of each participant sharing footage to be used in an initial video. The results were, in turn, remixed among colleagues for a second-order remix video essay. All participants gave each other feedback, and during the SCMS conference they were also able to receive feedback from attendees. The authors continue to plan more collaborative remix interventions, in order to explore surprisingly disruptive elements of collaborative video essay remixes. Kelley Kreitz in Chapter 13, “Remixing Literature in the Classroom: From Canons to Playlists in the Study of Latinx Literature and Beyond,” considers how RS and DH can work together for students to engage in Latinx history. Digitization of archives is a great resource for the classroom, making it possible for students to explore relevant content in nonlinear forms that fall within RS and DH. Kreitz explains how she operationalizes the “playlist” (in terms of music lists) as a conceptual model for students to navigate Latinx literature as “archival collections” over established “literary canons.” Kreitz provides examples that help her make a case for considering a playlist approach as a means to democratize the process of accessing and producing knowledge. For Chapter 14, “Metadata for Digital Teaching: Enabling Remix for Open Educational Resources,” Michael Collins describes a metadata project called Open Educational Resource (OER) Schema. The principle behind this project is to expand on the possibilities of sharing information in support of access and production of knowledge. He considers schemas to provide a foundational structure to make “education remix tools” freely available on the web. Collins provides examples of remix tools that support digital authoring while promoting stability of digital information storage which continues to be ephemeral across the Internet. Collins considers how OER Schema will play a role, 7 EDU A RDO N AVA S, OW EN G A L L A G H E R , & X T I N E B U R R O U G H along with AI and machine learning in future educational models. He also considers the economic implications of open-source publishing for the educational book market and educational materials and resources. Victoria Bradbury, in her contribution, Chapter 15, “Hack It! DIY Divine Tools: An Art Hack Implemented as New Media Pedagogy in the Public Liberal Arts,” describes art hacking events, in which advanced undergraduates participated as mentors for first year humanities students. The hacking workshop, which was linked to a class on world religions, had the theme of “gods and goddesses.” Participants creatively explored “hackthemed literature” while learning technical skills that instilled basic principles of group collaboration. Consequently, Bradbury reflects on the implications of enacting hackathons, as commonly practiced in commercial tech industries, as a means to explore creativity and criticality in academic contexts. Chapter 16, “On the Capabilities of Hip Hop-Inspired Design Research: An Annotated Syllabus,” by Joycelyn Wilson provides a detailed description of a humanities/computational media elective course she taught in 2018. The purpose of the course was to introduce undergraduate students to hip hop–based design methodologies for critical engagement with race, science, and technology. Wilson taught this class numerous times; as a case example, she considers the course of Spring 2018 to represent a particular moment, in which students were able to engage in “a formulated analysis rubric created specifically for guiding student groups through the ideation, writing, and final production of a humanities-centered computational media product.” The final project, in this case, was a podcast; one of Wilson’s goals is to provide the opportunity to understand the preservation of content that affords Black culture viability in terms of media production. In Chapter 17, “Internet Memes as Remixes: Simpsons Memes and the Swarm Archive,” Scott Haden Church and Gavin Feller contrast Casey Boyle’s theory of “rhetorical edition” against DH’s method of the “critical edition” in order to expand interpretation beyond academic-textual commentary through the acts of appropriating, transforming, and versioning of texts. Church and Feller consider the Swarm Archive “an iconic primary text in open dialogue with (secondary) scholarship and (tertiary) vernacular commentary, or remixed iterations of the text.” The authors propose the unexpected case study of Simpsons memes to discuss aspects of versioning through constant appropriation. They connect this memetic process to “Quintilianisms,” which can be considered derivatives from a text with no specific author. Church and Feller provide a quantitative study of Simpsons memes in order to argue that the Swarm Archive offers the possibility to be inclusive rather than exclusionary by incorporating regenerative remixes as valid forms of cultural production that express people’s realities. xtine burrough in Chapter 18, “Poetically Remixing the Archive,” provides an intimate glimpse into her creative collaborations with DH scholars. She explains her position as a creative practitioner grounded in the visual arts who crosses over to DH while differentiating herself from “critical makers.” burrough considers “critical making—an emergent ‘makers’ turn in the humanities centered on research and process.” In a discussion of three collaborative projects as poetic remixes of archives: The Women of El Toro (2016), An Archive of Unnamed Women (2018), and A Kitchen of One’s Own (2020), this chapter provides an honest account of burrough’s connections to and disconnections from DH. 8 I N TRO DU C T I O N Part III: Modularity and Ontology Chapters in Part III offer critical analysis complemented with a range of analytical methods that ponder the state of human existence in relation to cultural production defined by principles of modularity, consisting of nonlinear means to create new content with digital technology. Many of these chapters showcase the evolving relationship between modular art and creative coding in an era where AI can be used to generate human-like artistic and literary works. Eran Hadas for Chapter 19, “Hallucination or Classification: How Computational Literature Interacts with Text Analysis,” discusses his creative practice consisting of mashing poetry and code. He provides detailed insight into various methods for poetic text generation remixes with the implementation of machine learning. Hadas reflects on the contention between creative synthesis and the analysis of texts generated. He considers possible acrimonious sensibilities in the initial randomness of texts, which, in effect, defines the content that is produced based on preceding content. Hadas argues that “Text generating algorithms and remixes are closely related,” and that “The remix can be seen as a baseline algorithm to the manipulation and generation of texts.” Hadas, in effect, expands the creative implementation of machine learning based on remix methods for creative writing. Alessandro Ludovico discusses text transformation methods in Chapter 20, “Machinedriven Text Remixes.” His chapter offers a bifurcating historical account of poetic experimental literature, making connections between aleatory experiments by the OuLiPo group during the 1960s and computer-driven projects developed throughout the decades that followed, moving toward autonomous writing. He describes the role of remix in early experiments from the 1960s in relation to machines designed to mimic writers’ styles, effectively “to generate credible fakes,” and thereby exposing literary connections between RS and DH. Mark Amerika contributes an experimental piece of writing for Chapter 21, “Talk To Transformer: AI as Meta Remix Engine.” Amerika remixes writing he produced with the online platform Talk to Transformer (now InferKit) with the goal to reflect on recurring questions about authorship. He considers the Transformer language model (GPT-2) to function as both “a meta-remix engine and artistic collaborator.” The chapter, as a result, is a mashup of reflective writing that explains Amerika’s experience with the Transformer by repurposing the very text produced by the language model algorithm. Amerika considers the process, which he refers to as “Artificial Creative Intelligence,” a hybrid form of consciousness that binds the author to the GPT-2 online platform leading to the question, “What does it mean to be human?” David Beard and Lisa Horton redefine role-playing games in relation to remix culture in Chapter 22, “The Critical Role of New Media in Transforming Gamers into Remixers.” They propose the resurgence of tabletop role-playing games, as they have become integrated in networked media, to be closely linked to principles of the “regenerative” remix. Beard and Horton offer a case study example, a group of online gamers, who are active on Twitch as Critical Role in order to demonstrate how “tabletop roleplayers remix using the tools of the digital humanities.” Ethan Plaut in Chapter 23, “Vandalize a Webpage: Automation and Agency, Destruction and Repair,” describes the creative process his students experience as they learn to hack HTML and JavaScript for class projects. He reflects on the ethical 9 EDU A RDO N AVA S, OW EN G A L L A G H E R , & X T I N E B U R R O U G H implications that emerge as students produce creative works that may be offensive to different groups of people. Plaut argues that the skills students attain from computer science are relevant to digital humanities in terms of remixing as a design method. His chapter argues for a type of pedagogy that “moves too fast for comfort,” thus pushing students to engage within the parameters of the critical making movement. This results in works that are not always polished, but which lead to unexpected questions on the relation of “algorithmic and remix cultures.” Chapter 24, “Allegories of Streaming: Image Synthesis and/as Remix,” by Steve F. Anderson reflects on the production of digital images, which, for the last twenty years, have been closely defined by their storage in ever-growing databases. Anderson argues that databases have contributed to “the digital transformation of visual culture, giving rise to creative practices predicated on affordances of modularity and remixability.” He argues that our reality has been defined by “the logics of data,” and currently our culture needs to become more aware of the growing influence of machine vision and image synthesis technologies within the framework of remix culture. Anderson’s chapter includes case studies of projects by the Google Brain team, Facebook’s AI Research (FAIR), and Turkish media artist Memo Akten. Dejan Grba for Chapter 25, “Always Already Just: Combinatorial Inventiveness in New Media Art,” discusses remix in terms of creative thinking and production in relation to new media art and digital humanities. Grba focuses on generative artworks that combine materials from film, television, and the Internet in order to argue that bricolage proves to be a relevant conceptual model to “leverage complex technical infrastructures, foster curiosity and encourage vigilance in our critical appreciation of the arts, technology, culture, society, and human nature.” Grba throughout his chapter describes various media art projects in order to make a case for a form of creativity that brings together artistic and scientific methods defined by a “ludic cognitive drive.” David Gunkel discusses the philosophical questions on authorship raised by the implementation of Artificial Intelligence (AI) in the creative process for Chapter 26, “Computational Creativity: Algorithms, Art, and Artistry.” His key argument is on AI not having a sense of originality as part of its functions. He points to what Alan Turing called “Lady Lovelace’s objection,” which proposes that computers do not have the ability to produce something with a sense of uniqueness on their part because they only perform what they are programmed to do. Yet, Gunkel subversively, as philosophers do, raises questions about the human condition that demonstrate such an assumption is more complex than it appears. He provides various examples that beg readers to reconsider the real issues behind the creative drive solely accredited to humans with the direct question: “Can AI, robots, and/or algorithms be creative?” In Chapter 27, “Remix Games as Instruments of Digital Humanities Scholarship: Harnessing the Potential of Virtual Worlds,” Owen Gallagher analyzes remix games as proactive instruments of participation in digital humanities. Gallagher considers games “inherently remixable,” which is why remix can make the game development process more accessible to academics or creative individuals who would not consider themselves game designers. Remix games are specific in that they are “composed of previously published sampled elements,” and therefore link remix to digital humanities by opening up new approaches to game design with principles of appropriation, and transformation based on their modular nature. Gallagher discusses the evolution of games in academia and offers evidence on how and why games have become integral in digital humanities to the point that they could be considered proper academic publications. 10 I N TRO DU C T I O N Part IV: Aurality and Visuality This final section brings together essays that focus on visual media and sound, including studies on music and its relation to film and DIY aesthetics, as well as their possibilities in the classroom. The part closes the book by making evident the pervasiveness of timebased media across culture, and why sound and moving images, combined with interactivity, remain crucial forms of communication that are relevant for examination in RS and DH. Christine Boone, in Chapter 28, “Popular Song Remixed: Mashups, Aesthetic Transformation, and Resistance,” argues that mashups have the potential to become part of a subculture that remains challenged by mainstream culture, which paradoxically expresses the creative drive behind mashups. She explains that this takes place in two ways. The first is in terms of the set of rules that defines them, which are expected to be broken in order for mashups to be legitimated. This process makes them more complex than some critics have dismissively argued. The second is that mashups are counterproductive to the music industry, because they appropriate material that is protected by copyright law. To reflect on this complexity, she revisits the theories of Theodor Adorno and Walter Benjamin in order to unpack, particularly against Adorno’s critical position of popular music, the reasons why mashups have the potential to “give commentary, and allow listeners to zoom out and look at popular song[s] from a wider perspective.” In Chapter 29, “Remixing the Object of Study: Performing Screen Studies Through Videographic Scholarship,” Aidan Delaney discusses the video essay as a form of writing performed by film scholars as a means to expand critical analysis in film studies. He argues that remix, in this case, functioning as a form of writing, makes this recent practice possible with the implementation of digital technology: the ability to appropriate and rearrange source material. His main argument is that “videographic scholarship” makes use of remix methods in order to perform analysis of screen media moving well beyond film studies in ways that are relevant in digital humanities as an interdisciplinary field. Delaney further argues that the video essay is relevant to producers and viewers according to analogic syntax that differs from the written text, thus opening new ways of presenting a critical argument with visual language. This is unique in that a video essayist can “intervene” or appropriate the very work they are analyzing in order to discuss its cultural implications defined by audiovisual experience. Sarah Atkinson, in Chapter 30, “Cinema Remixed 4.0: The Rescoring, Remixing and Live Performance of Film Soundtracks,” examines live music performance for films and screen media in contemporary times. She reviews the history of sound in film beginning with the silent era to consider how and why live music performance for a film has evolved beyond the movie theater into other screen media. Atkinson explains that live performances of soundtracks have gone through four waves: The first took place in early silent cinema, the second in the cinema of the 1960s, the third with Video Jockey (VJ) culture in the 1980s, and the fourth, and most recent, borrows methods from previous waves to remix for live performance using post-produced material. Atkinson, in effect, offers a classification of live performance for screen media. Paul Watkins in Chapter 31, “The Sound of the Future: A Digital Humanities Remix Essay,” discusses remix and DH as means to engage with sound “as foundational to research and new knowledge creation.” He, in turn, repositions methods used by DJs to rework preexisting material, often forgotten, or not critically evaluated, as valid approaches to perform research in DH while discussing its interrelation with sound 11 EDU A RDO N AVA S, OW EN G A L L A G H E R , & X T I N E B U R R O U G H studies. Watkins, in this regard, makes reference to Pauline Oliveros’s concept of “deep listening” to suggest hybrid forms for doing research in sound that overlaps RS and DH. He ends his chapter with an honest account of his own practice as DJ and scholar working at the intersection of sounds studies, remix studies, and the digital humanities. Chapter 32, “Hacking the Digital Humanities: Critical Practice and DIY Pedagogy,” was written by Marina Hassopopoulou with Donna Cameron, Cristina Cajulis, Da Ye Kim, Jasper Lauderdale, Eric Hahn, Pedro Cabello, Hojong Lee, Soyoung Elizabeth Yun, Kelsey Christensen, and Kate Anderson-Song. The chapter focuses on alternative modes of writing relevant within DH by students that explore alternative methods outside of data-driven and big data production and analysis. The projects discussed throughout the chapter bring together RS and DH beyond the expected use of computational tools, by emphasizing a hypertextual aesthetic that encourages the modular reading of each project description as in a “choose-your-own-adventure hypertextual modality.” To expand RS and DH beyond the digital, some of the projects are “no/low-budget multimedia scholarship projects,” while some are produced in analog form (as in a hand cut and bound print book). Projects also include video remixes, short films, and virtual games inspired by or based on appropriated source material. Each project description is accompanied by its own QR code providing immediate online access so that readers can experience the actual project as they read the analysis. Hassapopoulou reflects on the ephemerality of the projects given the instability of content across the Internet as technology keeps changing; she points out that some of the projects discussed are already in danger of becoming inaccessible in the near future. Mark Campbell, in Chapter 33, “DJing Archival Interruptions—A Remix Praxis and Reflective Guide,” reflects on his own practice as a DJ scholar focusing on remix and digital archives. He is interested in people’s experiences of “digital saturation” informed by politics that continue to be closely linked with copyright infringement. For Campbell, remix and archives are great resources of material to repurpose in the quest for a creative disruptive praxis. To provide a sense of his direct relation to remix and archives, Campbell describes two of his live video mixing performances; one a keynote at The University of Western Ontario, and the other a performance at The Royal Ontario Museum. Campbell’s performances are a reminder of the important history of remix in terms of Afrodiasporic culture, which he honors through the public enaction of DJing techniques that emphasize call and response, as well as repetition. The chapter also offers Campbell’s reflections on a procedural guide for DJing digital archives. Campbell’s chapter highlights the ethical importance of “oral and sonic innovations indebted to the African diaspora.” Chapter 34, “Exploring Remix Process: The Case of the Spanish Megamix,” contributed by Adrian Renzo, discusses the relation of musicology and digital humanities by focusing on the possibilities of close readings of an object of analysis with the combination of methods shared by musicology and DH. Renzo writes a detailed analysis of the Spanish megamix genre, which he explains is specific to the 1980s. He defines the Spanish megamix specifically as a type of intertextual recording consisting of heavy repetition of short phrases complemented with multilayered special effects. Renzo explains that this genre has enjoyed a recent revival in Spain. To provide an intimate account of the Spanish megamix, he includes a detailed description of his own creative production of a megamix in order to expose complexities that are not evident by simply listening to a composition. 12 I N TRO DU C T I O N Nick Cope’s contribution, Chapter 35, “Scratch Video: Analog Herald of Remix Culture,” builds on his previous historical account of Scratch Video. In an earlier publication Cope concluded that Scratch Video functions as a “herald” of remix culture. For his contribution to this anthology, Cope builds on this premise to elaborate that Scratch Video’s influence in the arts, post-punk, and industrial music scenes are not well historicized and sets out to survey such connections that include the early video industry, DIY cultures, as well as video art. Cope makes a case for Scratch Video not only having been a herald of things to come in the past, but that it also remains in such a perpetual position for our future: Cope argues that Scratch Video “challenged copyright law and anticipated mashup, plunderphonic and remix cultures yet to come.” Paul Dougherty closes the anthology with Chapter 36, “Curating, Remixing and Migrating Archived ‘Muse Files’,” in which he provides an autobiographical account of his long practice as a video remixer. Dougherty, an EMMY award-winning editor, candidly shares his early experiences remixing late at night in different media studios that provided him with time to work on his creative material. He explains how he understood remixing in his early years through his practice of collecting magazine images. Like the record digger in DJ culture, Dougherty became obsessed with collecting content, which he would eventually remix. His chapter includes personal descriptions of five works with a detailed workflow on how they were put together. Dougherty sees a connection of his work to DH in terms of attitude. He explains that “The Digital Humanities Manifesto 2.0,” which offers a means to produce outside academia resonates with his experience of working outside “the academy” of art. Dougherty’s detailed discussion of his long creative practice makes evident that video remixing is clearly a form of writing in its own right, which is now closely embedded in digital media production, and bound with both RS and DH. The brief descriptions of chapter contributions above should provide a strong sense of the diversity of subjects of research and critical approaches by each scholar bringing together RS and DH. Contributors come from diverse areas, such as Art Practice, Art Education, Art History, African Diaspora Studies, Communications, Copyright Law, Cultural Studies, Liberal Arts, Media Design, Musicology, and Feminist and Women Studies, among many other disciplines. Each section provides a narrative arc with variations of approaches that complement and may question each other in ways that build for a future of better understanding founded on diversity of opinions. Additional resources can be found online at remixstudies.com; a website that was established with our first collaborative publication, The Routledge Companion to Remix Studies, which we intend to keep active as support to ongoing research. We consider the chapters brought together in The Routledge Handbook of Remix Studies and Digital Humanities as a representative sample of the ongoing research produced across the arts and humanities and hope it becomes a seed for future research on important questions that bring together the arts, humanities, media, science, and technology studies. While our aim for this Handbook was to put remix studies and the digital humanities in conversation, our long-term goals as interdisciplinary artists, scholars, and remixers is to make a path for the production of knowledge that supports our global struggle to balance cultural and ideological differences. We believe remix studies, especially in conversation with our arts and humanities kin, digital humanities, offers one such way forward. 13 EDU A RDO N AVA S, OW EN G A L L A G H E R , & X T I N E B U R R O U G H Notes 1 Lawrence Lessig, Remix: Making Art and Commerce Thrive in the Hybrid Economy (New York: Penguin Books, 2008). 2 For a timeline on the relation of remix to remix studies read: Eduardo Navas, “Remix,” Keywords in Remix Studies, eds., Eduardo Navas, Owen Gallagher, xtine burrough (New York: Routledge, 2018), 246–58. 3 The Stanford Humanities Laboratory is now referred to as the Stanford Humanities Center and comprises several distinct departments, CESTA, CIDR, CCRMA, and DHFG. Duke, HASTAC, and University of Virginia remain active and relevant; UCLA has a dedicated Digital Humanities program, which they nurture through a broad-reaching network called “HumTech;” MIT’s Hyperstudio is still active. There are many others we could mention here. 4 There are a few accounts that outline the stages described. For introductory reference: Jeffrey Schnapp et al., ‘The Digital Humanities Manifesto 2.0’, UCLA.edu, May 29, 2009, http://manifesto.humanities.ucla. edu/2009/05/29/the-digital-humanities-manifesto-20/. David Berry, “The Computational Turn: Thinking About the Digital Humanities.” Culture Machine, 12, 2011. ISSN 1465-4121, https://sro.sussex.ac.uk/id/ eprint/49813/1/BERRY_2011-THE_COMPUTATIONAL_TURN-_THINKING_ABOUT_THE_ DIGITAL_HUMANITIES.pdf. Julie Thompson Klein, Interdisciplining Digital Humanities: Boundary Work in an Emerging Field (Ann Arbor: University of Michigan Press, 2014), 47–63. 5 We submitted all chapters for this manuscript on August 25, 2020 while we continued to add to and edit this introduction. Jacob Blake was shot in the back seven times by a police officer on August 23, 2020. He was standing at the driver’s side door of his car as his three children were in the back seat. While we wrote this very sentence we were simultaneously feeling the collective consciousness of a country and a globe that is not at peace. 6 John Lewis, “Together, You Can Redeem the Soul of Our Nation,” New York Times, July 30, 2020: accessed August 31, 2020 https://www.nytimes.com/2020/07/30/opinion/john-lewis-civil-rights-america.html. 7 From John Lewis’s Twitter account: June 27, 2018: accessed August 27, 2020, https://twitter.com/repjohnlewis/status/1011991303599607808, an article on a documentary with the quote as the title about John Lewis after his passing: “‘John Lewis: Good Trouble’ Review: Past Progress, and More to Come,” New York Times, July 2, 2020: accessed August 27, 2020, https://www.nytimes.com/2020/07/02/movies/john-lewisgood-trouble-review.html. 8 Any direct quotes in the chapter descriptions section of this introduction are taken from the respective chapter or the chapter abstract. Bibliography Remix Studies Aufderheide, Patricia. Reclaiming Fair Use: How to Put Balance Back in Copyright. Chicago, Illinois: University of Chicago Press, 2011. Amerika, Mark. Remixthebook. Minneapolis and London: University of Minnesota Press, 2011. Amerika, Mark. RemixtheContext. London and New York: Routledge, 2017. Boon, Marcus. In Praise of Copying. Cambridge, Massachusetts: Harvard University Press, 2010. Berry, David M.. Copy, Rip, Burn: The Politics of Copyleft and Open Source. London: Pluto Press, 2008. Borschke, Margie. This is Not a Remix: Piracy, Authenticity and Popular Music. New York and London: Bloomsbury, 2017. Bourriaud, Nicolas. Postproduction: Culture as Screenplay: How Art Reprograms the World. 2nd Edition. New York: Lukas & Sternberg, 2005. Chang, Jeff. Can’t Stop Won’t Stop: A History of the Hip Hop Generation. New York: St. Martin’s Press, 2005. Christopher, Roy. Dead Precedents: How Hip-Hop Defines the Future. London: Repeater Books, 2019. Eshun, Kodwo. More Brilliant Than the Sun: Adventures in Sonic Fiction. 1st Edition. London: Quartet Books, 1998. Evans, David. Appropriation: Documents of Contemporary Art. Cambridge, MA: MIT Press, 2009. Gallagher, Owen. Reclaiming Critical Remix Video: The Role of Sampling in Transformative Works. New York: Routledge, 2018. 14 I N TRO DU C T I O N Goldsmith, Kenneth. Uncreative Writing. New York: Columbia University Press, 2011. Guertin, Carolyn. Digital Prohibition: Piracy and Authorship in New Media. London: Bloomsbury, 2012. Gunkel, David. Of Remixology: Ethics and Aesthetics After Remix. Cambridge, Massachusetts: MIT Press, 2016. Jenkins, Henry. Convergence Culture: Where Old and New Media Collide. New York: NYU, 2006. Jenkins, Henry, et al. Spreadable Media: Creating Value and Meaning in a Networked Culture. New York: NYU Press, 2013. Laderman, David and Laurel Westrup. Sampling Media. London: Oxford University Press, 2014. Lessig, Lawrence. Remix: Making Art and Commerce Thrive in the Hybrid Economy. New York: Penguin Press, 2008. Miller, Paul D. Rhythm Science. 1st Edition. Cambridge, Massachusetts: MIT Press, 2004. Miller, Paul D. Sound Unbound. Cambridge, Massachusetts: MIT Press, 2008. Morales, Aaron. American Mashup: A Popular Culture Reader. New York: Pearson, 2011. Mueller, Ellen. Remixing and Drawing: Sources, Influences, Styles. New York: Routledge, 2018. Navas, Eduardo. Art, Media Design, and Postproduction: Open Guidelines on Appropriation and Remix. New York: Routledge, 2018. Navas, Eduardo, Owen Gallagher, and xtine burrough. Editors. The Routledge Companion to Remix Studies. New York: Routledge, 2015. Navas, Eduardo, Owen Gallagher, and xtine burrough. Editors. Keywords in Remix Studies. New York: Routledge, 2018. Navas, Eduardo. Remix Theory: The Aesthetics of Sampling. Wien and New York: Springer, 2012. Poschardt, Ulf. DJ Culture, translated by Shaun Whiteside. London: Quartet Books Ltd, 1998. Reynolds, Simon. Retromania: Pop Culture’s Addiction to Its Own Past. New York: Farber & Farber, 2011. Rose, Tricia. Black Noise: Rap Music and Black Culture in Contemporary America. Middletown, Connecticut: Wesleyan University Press, 1994. Sinnreich, Aram. Mashed Up: Music, Technology and the Rise of Configurable Culture. Amherst and Boston: University of Massachusetts Press, 2010. Sinnreich, Aram. The Piracy Crusade. Amherst and Boston: University of Massachusetts Press, 2014. Sinnreich, Aram. The Essential Guide to Intellectual Property. New Haven and London: Yale University Press, 2019. Sonvilla-Weiss, Stefan. Mashup Cultures. Wein and New York: Springer, 2010. Sullivan, Paul. Remixology: Tracing the Dub Diaspora. London: Reaktion, 2014. Veal, Michael. Dub: Soundscapes and Shattered Songs in Jamaican Reggae. 1st Edition. Middletown, Connecticut: Wesleyan University Press, 2007. Williams, Quentin. Remix Multilingualism: Hip Hop, Ethnography and Performing Marginalized Voices. London: Bloomsbury, 2017. Digital Humanities Overview Battershill, Claire and Shawna Ross. Using Digital Humanities in the Classroom: A Practical Introduction for Teachers, Lecturers, and Students. New York and London: Bloomsbury Press, 2017. Berry, David M. “The Computational Turn: Thinking About the Digital Humanities.” In Culture Machine, Vol.12. UK: Sussex Research Online, 2011. Berry, David M. Understanding Digital Humanities. New York: Palgrave McMillan, 2012. Berry, David M., Anders Fagerjord. Digital Humanities: Knowledge and Critique in the Digital Age. London: Polity, 2017. Burdick, Anne and Johanna Drucker. Digital Humanities. Cambridge, Massachusetts: MIT Press, 2016. Carter, Bryan. Digital Humanities: Current Perspective, Practices and Research (Cutting-Edge Technologies in Higher Education). Bingley: Emerald Book Publishing, 2013. Crompton, Constance, Richard J Lane, and Ray Siemens. Doing Digital Humanities: Practice, Training, Research. New York and London: Routledge, 2016. 15 EDU A RDO N AVA S, OW EN G A L L A G H E R , & X T I N E B U R R O U G H Gardiner, Eileen and Ronald G. Musto. The Digital Humanities: A Primer for Students and Scholars. New York: Cambridge University Press, 2015. Gold, Matthew K. Debates in the Digital Humanities. Minneapolis, Minnesotta: University of Minnesota Press, 2012. Gold, Matthew K and Lauren F. Klein. Debates in the Digital Humanities 2016. Minneapolis, Minnesotta: University of Minnesota Press, 2016. Gold, Matthew K and Lauren F. Klein. Debates in the Digital Humanities: 2019. Minneapolis, Minnesotta: University of Minnesota Press, 2019. Jones, Steven E. The Emergence of the Digital Humanities. New York: Routledge, 2013. Klein, Julie Thompson. Interdisciplining Digital Humanities: Boundary Work in an Emerging Field. USA: University of Michigan Press, 2014. Sayers, Jentery. Making Things and Drawing Boundaries: Experiments in the Digital Humanities (Debates in the Digital Humanities). Minneapolis, Minnesotta: University of Minnesota, 2018. Schnapp, Jeffrey et al. The Digital Humanities Manifesto 2.0. USA: UCLA.edu, 2009. Schreibman, Susan, Ray Siemens, and John Unsworth. A New Companion to Digital Humanities (Blackwell Companions to Literature and Culture). Oxford: Blackwell, 2016. Terras, Melissa and Julianne Nyhan. Defining Digital Humanities: A Reader (Digital Research in the Arts and Humanities). New York: Routledge, 2013. Warwick, Claire and Melissa Terras. Digital Humanities in Practice. (The Facet Digital Heritage Collection). London: Facet, 2012. Digital Humanities Topics Benardou, Agiatis, Erik Champion, Costis Dallas, and Lorna Hughes. Cultural Heritage Infrastructure in Digital Humanities. New York: Routledge, 2018. Gardiner, Hazel and Charlie Gere. Art Practice in a Digital Culture (Digital Research in the Arts and Humanities). New York: Routledge, 2018. Kinder, Marsha and Tara McPherson. Transmedia Frictions: The Digital, the Arts, and the Humanities. Oakland, CA: University of California Press, 2014. Klein, Julie Thompson. Interdisciplining Digital Humanities: Boundary Work in an Emerging Field. Ann Arbor: University of Michigan Press: USA, 2015. Leonhardt, Nic. The Routledge Companion to Digital Humanities in Theatre and Performance. New York: Routledge, 2018. Risam, Roopika. New Digital Worlds: Postcolonial Digital Humanities in Theory, Praxis, and Pedagogy. Evanston, IL: Northwestern University Press, 2018. Sayers, Jentery. The Routledge Companion to Media Studies and Digital Humanities. New York: Routledge, 2018. Simanowski, Roberto. Digital Humanities and Digital Media Fibreculture. London: Open Humanities Press, 2016. Svensson, Patrik. Between Humanities and the Digital. Cambridge, Massachusetts: MIT Press, 2015. 16 Introduction Aufderheide, Patricia. Reclaiming Fair Use: How to Put Balance Back in Copyright. Chicago, Illinois: University of Chicago Press, 2011. Amerika, Mark. Remixthebook. Minneapolis and London: University of Minnesota Press, 2011. Amerika, Mark. RemixtheContext. London and New York: Routledge, 2017. Boon, Marcus. In Praise of Copying. Cambridge, Massachusetts: Harvard University Press, 2010. Berry, David M. Copy, Rip, Burn: The Politics of Copyleft and Open Source. London: Pluto Press, 2008. Borschke, Margie. This is Not a Remix: Piracy, Authenticity and Popular Music. New York and London: Bloomsbury, 2017. Bourriaud, Nicolas. Postproduction: Culture as Screenplay: How Art Reprograms the World. 2nd Edition. New York: Lukas & Sternberg, 2005. Chang, Jeff. Canâ t Stop Wonâ ™ € t Stop: A History of the Hip Hop Generation. New York: St. Martin's Press, 2005. ™ € Christopher, Roy. Dead Precedents: How Hip-Hop Defines the Future. London: Repeater Books, 2019. Eshun, Kodwo. 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