{"id":13,"date":"2015-10-18T14:00:47","date_gmt":"2015-10-18T14:00:47","guid":{"rendered":"http:\/\/reframe.sussex.ac.uk\/sequence3\/?page_id=13"},"modified":"2015-10-19T13:20:29","modified_gmt":"2015-10-19T13:20:29","slug":"about","status":"publish","type":"page","link":"https:\/\/reframe.sussex.ac.uk\/sequence3\/about\/","title":{"rendered":"ABOUT"},"content":{"rendered":"<p><strong><a href=\"http:\/\/reframe.sussex.ac.uk\/sequence3\/about\/\" target=\"_blank\">SEQUENCE Three:\u00a0Re\/De-Composition: Sampling, Mashups, Remix, Glitch (2015-present<\/a><\/strong>)<\/p>\n<ul>\n<li><strong>NEW!\u00a0<\/strong><a href=\"http:\/\/reframe.sussex.ac.uk\/sequence3\/archive\/sequence-3-1\/\" target=\"_blank\">Albertine Fox, \u2018EXTREME STATES:\u00a0Remixing Cinema, Visual Art and Music in Godard\u2019s\u00a0<em>Puissance de la parole<\/em>\u2019,\u00a0<em>SEQUENCE<\/em>, 3.1, 2015.<\/a>\u00a0Online at: \u00a0<a href=\"http:\/\/reframe.sussex.ac.uk\/sequence3\/archive\/sequence-3-1\/\" target=\"_blank\">http:\/\/reframe.sussex.ac.uk\/sequence3\/archive\/sequence-3-1\/<\/a><\/li>\n<\/ul>\n<p style=\"text-align: left;\">We are delighted to present the latest issue of\u00a0<a href=\"http:\/\/reframe.sussex.ac.uk\/sequence\/about-sequence\/\" target=\"_blank\">SEQUENCE<\/a><em>:<\/em>\u00a0Serial Studies in Media, Film and Music,\u00a0<a href=\"http:\/\/reframe.sussex.ac.uk\" target=\"_blank\">REFRAME<\/a>&#8216;s experimental, peer-reviewed, and\u00a0<em>sequential<\/em>\u00a0edited-collection format.<\/p>\n<p style=\"text-align: left;\"><a href=\"http:\/\/reframe.sussex.ac.uk\/sequence3\" target=\"_blank\">SEQUENCE\u00a0Three:<\/a> <em>Re\/De-Composition: Sampling, Mashups, Remix, Glitch<\/em> offers its readers, and potential interlocutors,\u00a0space for reflection on the many forms and techniques\u00a0of\u00a0recombinatory media and culture.\u00a0The inaugural contribution to\u00a0this <a href=\"http:\/\/reframe.sussex.ac.uk\/sequence3\" target=\"_blank\">issue<\/a>, and to this topic,\u00a0is by <a href=\"http:\/\/reframe.sussex.ac.uk\/sequence3\/about\/contributors\/\" target=\"_blank\">Albertine Fox<\/a>, a specialist\u00a0in the later works of that\u00a0most<em> incorporative<\/em> of filmmakers, Jean-Luc Godard.<\/p>\n<p style=\"text-align: left;\">Fox&#8217;s essay for <a href=\"http:\/\/reframe.sussex.ac.uk\/sequence\/about-sequence\/\" target=\"_blank\">SEQUENCE<\/a>\u2014'&#8221;EXTREME STATES:\u00a0Remixing Cinema, Visual Art and Music in Godard\u2019s\u00a0<em>Puissance de la parole<\/em>\u2019\u00a0(<a href=\"http:\/\/reframe.sussex.ac.uk\/sequence3\/archive\/sequence-3-1\/\" target=\"_blank\">3.1 [2015]<\/a>)<b>\u2014<\/b>is\u00a0an insightful\u00a0exploration of\u00a0the French filmmaker&#8217;s inventive techniques of fragmentation, decontextualization and recombination in his videographic work from the late 1980s, a period in which, as <a href=\"http:\/\/reframe.sussex.ac.uk\/sequence2\/archive\/sequence-3-1\/\" target=\"_blank\">Fox argues,<\/a>\u00a0video came &#8216;into its own [both for Godard and other artists] as a poetic and interdisciplinary artistic force.&#8217; For Fox, &#8216;Godard is devoted to the task of fearlessly re-instilling past forms of the image into new technological contexts, while embracing the instantaneousness of the medium\u2019s present tense.&#8217;\u00a0She\u00a0posits that in Godard&#8217;s version of the practice, &#8216;[v]ideo mashup is a plural form that thwarts our customary listening and viewing strategies, compelling us to participate in a volatile, arbitrary and indeterminate sense-making process&#8217;:<\/p>\n<p style=\"padding-left: 30px; text-align: left;\">J. Meryl Krieger understands remix and mashup as cultural processes of transformation and recreation, &#8216;mechanisms of recycling or transforming materials from other media creators with the aim of producing new content\u2019 (2015: 374). [Krieger]\u00a0notes that mashups differ slightly from remixes in that they reuse older materials and \u2018retain the references that often provide cultural contexualization for the mashup audience\u2019, while remixes \u2018blend these materials to the point where original authorship or identifiers can be lost\u2019 (2015: 374). [<em>E<\/em><i>d:\u00a0<\/i><em>Godard&#8217;s 1988 video, the principal focus of Fox&#8217;s study<\/em>]\u00a0<em>Puissance de la parole<\/em>\u00a0is a mashup that tips into the remix, as aural and visual fragments deriving from films, paintings, pop songs and musical compositions are progressively (and aggressively) pulverised, almost beyond the point of recognition. This video forges connections between different art forms (film, poetry, visual art, music) and in doing so it exposes us to Godard\u2019s particular contribution to mashup culture, namely, his manner of harnessing and recasting the main formal characteristics of his source material.<\/p>\n<p style=\"text-align: left;\">Fox&#8217;s article is particular noteworthy not only because of its unusual ambition (and its undoubted skill) in speaking seriously about film, video, painting and music <em>together<\/em>, but also because of its\u00a0own brilliant redeployment\u00a0throughout\u00a0of existing scholarship on the original art, musical and literary forms incorporated by Godard&#8217;s videographic work. At points, her\u00a0article utilises a kind of mashup (if not remix) technique in terms of its own citational approach, and thus also functions as a fascinating model of\u00a0transformative synthesis and recontextualisation in the context of scholarly argument.<\/p>\n<p style=\"text-align: left;\">As usual, as we are sequentially inviting responses to the first entry in this iteration of SEQUENCE, Fox\u2019s article also constitutes a\u00a0<em>Call for Contributions<\/em>\u00a0for further <em>Re\/De-Composition: Samling, Mashups, Remix, Glitch<\/em>\u00a0sequences. If you\u2019re inspired to respond, especially if you have research work in progress on any of the topics raised by her essay, and\/or the SEQUENCE title, in relation to any relevant cultural or communications medium (not just video or cinema), please get in touch with us at\u00a0<a href=\"mailto:sequenceserial@gmail.com\" target=\"_blank\">SEQUENCEserial[at]gmail[dot]com<\/a>. Multimedia responses of all kinds are also very much encouraged. But it would be worthwhile to discuss any substantial idea\u00a0with us at an early stage in your planning. All contributions need to comply with UK copyright law and the current understanding of fair dealing. Contributors should note that their submissions will be formally peer-reviewed. But there are no editorial prescriptions on length or content, except that your work should be some kind of \u2018sequential response\u2019. If you don\u2019t want to take part\u00a0right away, you can still enter the \u2018chain\u2019 of responses later on.<\/p>\n<p style=\"text-align: left;\">If you\u2019d like to offer a more concise response, there is also the option of leaving a comment in the moderated stream at the foot of each SEQUENCE Three entry. SEQUENCES may be long and short in all sorts of ways.<\/p>\n<p style=\"text-align: left;\"><em>Catherine Grant<\/em><\/p>\n<p style=\"text-align: left;\"><em><a href=\"http:\/\/reframe.sussex.ac.uk.sequence3\/\" target=\"_blank\">SEQUENCE Three<\/a>\u00a0is being\u00a0co-edited by\u00a0<a href=\"http:\/\/reframe.sussex.ac.uk\/sequence\/about-sequence\/sequence-editors\/\">Catherine Grant<\/a>, (founder and\u2014with\u00a0<a href=\"http:\/\/reframe.sussex.ac.uk\/sequence\/about-sequence\/sequence-editors\/\">Russell Pearce<\/a>\u00a0and <a href=\"http:\/\/www.sussex.ac.uk\/profiles\/330584\" target=\"_blank\">Katherine Farrimond<\/a>\u2014co-editor of the\u00a0<a href=\"http:\/\/reframe.sussex.ac.uk\/sequence2\/about-sequence-two\/reframe.sussex.ac.uk\/sequence\/\" target=\"_blank\">SEQUENCE\u00a0<\/a>project) with <a href=\"http:\/\/www.sussex.ac.uk\/profiles\/156493\" target=\"_blank\">Ed Hughes <\/a>and <a href=\"http:\/\/www.sussex.ac.uk\/profiles\/235751\" target=\"_blank\">C\u00e9cile Chevalier<\/a>.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>SEQUENCE Three:\u00a0Re\/De-Composition: Sampling, Mashups, Remix, Glitch (2015-present) NEW!\u00a0Albertine Fox, \u2018EXTREME STATES:\u00a0Remixing Cinema, Visual Art and Music in Godard\u2019s\u00a0Puissance de la [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"jetpack_post_was_ever_published":false,"footnotes":""},"class_list":["post-13","page","type-page","status-publish","hentry"],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/P6zPfY-d","_links":{"self":[{"href":"https:\/\/reframe.sussex.ac.uk\/sequence3\/wp-json\/wp\/v2\/pages\/13","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/reframe.sussex.ac.uk\/sequence3\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/reframe.sussex.ac.uk\/sequence3\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/reframe.sussex.ac.uk\/sequence3\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/reframe.sussex.ac.uk\/sequence3\/wp-json\/wp\/v2\/comments?post=13"}],"version-history":[{"count":21,"href":"https:\/\/reframe.sussex.ac.uk\/sequence3\/wp-json\/wp\/v2\/pages\/13\/revisions"}],"predecessor-version":[{"id":228,"href":"https:\/\/reframe.sussex.ac.uk\/sequence3\/wp-json\/wp\/v2\/pages\/13\/revisions\/228"}],"wp:attachment":[{"href":"https:\/\/reframe.sussex.ac.uk\/sequence3\/wp-json\/wp\/v2\/media?parent=13"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}