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Zachary Shiff, MAT/AE, Mass Art
Teaching In New Media, Summer 2013
Final Research Paper
Prof. Jennifer Hall
August, 16, 2013
Identifying Mash Up as a New Art Movement Socio-politically and Philosophically
Through the works of Paul Miller and Seth Kim-Cohen
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Abstract
Terminologies present in the hip-hop and D.J. (disc jockey) music culture such as “Mash
Up”, “Remix”, and “Sample”, have been working their way into accredited fields of the “visual”
arts. It is important to recognize these works as separate from other appropriation arts and
identify how artists are specifically applying ideas present in “Mash Up” to other art forms
resulting in endless possibilities. By defining “Mash Up” as not limited to music but rather, any
combination of source materials (not limited to one field: i.e. film and music, or music and
performance, etc.), which re-engineers how the audience relates to the original material, it gives
the artist a platform to help discuss their works specifically. In this paper I will be examining
why these D.J. terminologies are leaking into art texts, how “visual” artists are redefining “Mash
Up”, and present this new trend in art not as simply: an application of D.J. procedures to “visual”
arts, but rather as a complete artistic movement with it’s own socio-political, and philosophical
background. I will identify how both artists, Paul Miller (D.J. Spooky/ That Subliminal Kid) and
Seth Kim-Cohen, work within this field, utilizing very similar philosophical intentions, but
achieving different ends representative of the wide spectrum of work that can be referred to as
“Mash Up”.
Introduction: Cultural Context of Mash Up Within the Art World
Wikipedia defines “Mash Up” thusly, “a song or composition created by blending two or
more pre-recorded songs, usually by overlaying the vocal track of one song seamlessly over the
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instrumental track of another. To the extent that such works are ‘transformative’ of original
content.”1 (See Appendix: Figure 1) This definition is both limiting and also subjective. It limits
the art of “Mash Up” to the auditory realm, however, currently the term “Mash Up” appears in
countless “visual” art and curatorial texts including but not limited to: Art Forum, The Museum
of Modern Art, The Whitney Art Museum, and The Tate Modern. Secondly, this definition
requires that the reader understand what is meant by “’transformative’ of original content” an
arguably subjective terminology.
I feel in order to understand the rise of D.J. terms like, “Sampling”, “Mash Up”, and
“Remix” in academic and artistic texts we must examine the etymology of these terms within the
“visual” artistic realm. It is important to note that, within the “visual” art world, the concepts
surrounding these terms predate the D.J. New Media artists may provide a clue as to why this
specific D.J. terminology has worked it’s way into the “visual” arts and academic vernacular.
Mark Tribe explains; “Artists have always influenced and imitated one another, but in the
twentieth century various forms of appropriation, from collage to sampling, emerged as an
alternative to ex nihilo [out of nothing] creativity … While rooted both in Duchamp's assisted
readymades and Pop art's recycling advertisements and comic books, New Media art remixes are
also influenced by the sampling and remixing practices of popular music, particularly hip-hop
and electronic dance music.”2 Here Tribe implies that these, next generation, New Media artist
existing within both the popular (“low”) culture and academic (“high”) culture contexts, brought
the term “Mash Up” to the “visual” arts and the academic world at large. It is precisely this
blending of academic and popular culture that I believe is a tenant of the modern day “Mash Up”
1
“Wikipedia Entry: Mash Up,” last modified August 3, 2013, http://en.wikipedia.org/wiki/Mashup_(music)
Mark Tribe and Rena Jana, New Media Art, (New York: Tanshen, 2006), Brown University Wiki Version,
accessed August 10th, 2013, https://wiki.brown.edu/confluence/display/MarkTribe/New+Media+Art
2
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artists. I also believe that by appropriating this D.J. vernacular, modern day artists are making a
political statement regarding popular culture and its contributions to our current art world.
Socio-Political Implications in Kim-Cohen and Millers’ Work
Both Seth Kim-Cohen and Paul Miller have political motivations that drive their work.
Kim-Cohen seems interested in raising the academic appreciation of the cultural contributions
punk and rock music have given our society, and illustrating how these movements can help
better illuminate and relate to philosophical and artistic ideas. Miller is also interested in popular
culture and how it can contribute to artistic and philosophical discourse. His interests, however,
seem to rest more with urban African American contributions.
It is Miller’s belief that the concept of “authenticity” is a European one, originating from
the invention of the printing press. In a conference he gave in Canada as part of the Toronto
International Film Festival Higher Learning Initiative,3 Miller explains that during the oral
tradition of narrative storytelling here was a great appreciation for the concept of “versions”.
Meaning, the key part of the oral tradition, according to Miller, was to change and alter the
existing narrative. Miller goes on to explain how “Guttenberg changed the way Europeans
related to text”. Printing introduced the idea of the authenticity and authentic text, while cultures
that were less exposed to printed word maintained their value of alternate versions of narrative.
Here, I believe that Miller is drawing a parallel to Americans and African Americans. This leads
Miller to his much larger argument, present in his work: throughout history the African
American has been restructuring Anglo-European sources and exposing their lack of urban
perspective.
3
Paul Miller, “Rebirth of a Nation” (Paper presented at TIFF Higher Learning Conference, Toronto, Canada,
November 17, 2010)
TIFF Higher Learning is a free ongoing program for film students, faculty, and artists to discuss current trends,
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Miller introduces the “concept of the grid” with African American inventor, Gary A.
Morgan’s, stoplight.4 Miller uses Morgan’s invention as a frame using the city structure as a
musical metaphor. Miller states that musical genres originated in urban environments
(electronic, hip hop, and jazz music) are responding to the grid of the city, and applying
Morgan’s “orthogonal [urban grid] logic” to sound. Here Miller illustrates two characteristics
present in the remix: It appropriates, restructures, and subverts traditional works. And it is done
in a manner that illuminates urban lifestyle or offers an alternate perspective.
Miller applies this hypothesis historically, citing the Bebop jazz movement of Harlem
New York as the beginning of the Remix5 and Jamaica’s Dub Reggae record movement as being
the period at which the remix took the shape that we recognize today.6 Miller’s aims within his
own work seem to be in continuing this arguably African American tradition of restructuring.
I’ve arrived at this conclusion based on his work, “The Rebirth of a Nation” in which Miller
restructures D.W. Griffith’s controversial film “Birth of a Nation”. Here Miller’s goal seems
two-fold; to illuminate the inherent racism and manipulation in the film, and also to add to this
African American tradition of restructuring white works to better reflect the African American
urban perspective. (See Appendix Figure 2)
4
Paul Miller, “Rebirth of a Nation” (Paper presented at TIFF Higher Learning Conference, Toronto, Canada,
November 17, 2010)
Miller explains that Morgan “took apart the landscape, and applied rational structure to it”, thus restructuring the
Anglo-white city with a special attention paid to urban life.
5
“Wikipedia Entry: Scrapple from the Apple,” last modified July 12, 2013, http://en.wikipedia.org/wiki/Thirty-twobar_form#Middle_eight
In Bebop, artists would sample a traditional work and change it to reflect the faster paced urban attitudes
surrounding the Bebop culture. Charlie Parker’s composition “Scrapple from the Apple” is evidence of this. The
song borrows its chord progression from “Honeysuckle Rose”, and George Gershwin’s “I Got Rhythm”.
6. Paul Miller, “Rebirth of a Nation” (Paper presented at TIFF Higher Learning Conference, Toronto, Canada,
November 17, 2010)
In Jamaica during the 1960’s it was more popular to collect records than attend live musical performances. Unlike in
the States, Jamaican recording artists could profit more from record singles than from live performances. King
Tubby was the first sound engineer to remove vocals from a pre-existing record for the purposes of marketing
instrumental “versions” of popular songs to dance clubs, creating what was considered a “Dub” mix and what later
lead to the Dub Reggae music genre. It was this groundbreaking approach to pre-recorded music that lead to the D.J.
and remix artists.
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Seth Kim-Cohen is also interested in the Mash Up as a political vehicle, but his interests
rest more in class issues, than race; specifically, with how the academic artistic society view
popular-culture history.
It should also be mentioned that Kim-Cohen does not work as a traditional Mash Up
artist. The majority of his work is performance and sound based and Kim-Cohen’s work does
not deal specifically with the technological aspects of sampling or the history of the D.J. as
Miller’s does. The sources present in Kim-Cohen’s Mash Ups need not even appear in the work
itself. In redefining Mash Up I feel it is important we acknowledge that sources need not be
evident in a work for that work to be a Mash Up. In Kim-Cohen’s “Critique of Instrumental
Reason (by use of an electric guitar)” in which “an electric guitar, plugged into an amplifier,
hoisted to the top of a tree and dropped repeatedly for 8 hours”7 this work references William
Fossett’s famous philosophical quandary “If a tree falls in the forest…” without directly utilizing
the text in the piece. The piece is presented with Fossett’s text adjacent to the video of KimCohen’s performance on Kim-Cohen’s website. (See Appendix Figure 3) Working much like
curatorial text, this work of Fossett’s helps redefine Kim-Cohen’s performance within a
philosophical context. Through the actual blending of two seemingly unrelated elements a third
concept emerges, re-engineering how the viewer interprets the original source material present in
the work.
An example of this is his work, “The Be in Bathos Equals the Pee in Pathos (Except at
the Bathhouse)”. In this work Kim-Cohen embodies performance Artist, Dan Graham,
appropriating phrasing and posturing from his performance, Performer/Audience/Mirror.
However, Kim-Cohen rather than narrating his own body’s motions is narrating and mimicking
7
“Seth Kim Cohen: Projects: Critique of Instrumental Reason (by the use of electric guitar), http://www.kimcohen.com/projects/critique_elecgtr_home.html
Shiff, TiNM, Summer 2013, JHall
Pg. 6
the movements of Johnny Rotten’s “performance” at the Sex Pistols final concert at the
Winterland Ballroom8 as it is projected on the wall next to him. (See Appendix Figure’s 4 and 5)
Kim-Cohen’s aim in his work is to provoke his audience to respond and in so doing perhaps
validate this Sex Pistol’s performance as worth investigation, as he states during an interview
with art21 “Transmission” Blog Writer, Amelia Ishmael: “I recognize that the audience at such
an event may be more intimately familiar with the nuances of Dan Graham’s work than with The
Sex Pistols. By mapping one to the other, I’m merely reflecting my relation to the two bodies of
work, to the equivalence of their seriousness and sophistication.” Kim-Cohen continues,
“There’s a lot of shitty work on punk, metal, and rock in general. Those of us who feel a strong
affinity to the work [punk music movement] and a relation to the subtle, yet crucial, textures and
meanings and effects of the work, should not back off and let the hacks have at it. We need to
speak to the importance of the work. We need to extricate and illustrate the complex sets of
relations enacted by the work.”9 It seems that Kim-Cohen is stating that in the hands of a careful
artist, the subject matter, regardless of its value within artistic academic culture, can inspire
masterful work.
It is this belief of acknowledging and celebrating popular culture present in both KimCohen and Miller’s work that I interpret to be at the core of New Media, 21st Century artists,
especially those experimenting with the Mash Up art-form. Instead of disregarding popular
culture as unrelated to the arts and philosophy, these artists view popular culture as a reflection
8
“Wikipedia Entry: The Sex Pistols”, last modified August 15, 2013, http://en.wikipedia.org/wiki/Sex_Pistols
The projection is specifically the encore performance of the Sex Pistols in which they are performing a cover of The
Stooges song “No Fun”. This concert is renown due to the unusual statements Rotten makes both at the beginning
and end of the performance, (“You'll get one number and one number only 'cause I'm a lazy bastard." And “"Ever
get the feeling you've been cheated?") and his unusually disinterested and unenthusiastic attitude (sitting at the edge
of the stage chanting “no fun” repeatedly)
9
Amelia Ishmael, “Transmission: An Interview with Seth Kim-Cohen,” Art21 Blog March 5th 2013, accessed
August 11th, 2013. http://blog.art21.org/2013/03/05/transmission-an-interview-with-seth-kim-cohen-i-move-to-theleft-and-back-to-my-right-step-behind-the-amplifier-and-i-disappear-into-the-darkness/
Shiff, TiNM, Summer 2013, JHall
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of the society that created it, and thus a very relevant tool in aiding their audiences’
understanding of their work. I believe that these principles represent the following mantra: topics
worth investigation are not limited to the “high” arts.
Derrida, Deconstruction, and Mash Up Artists
As well as being one of the more influential philosophies of the last century, Jacques
Derrida’s deconstructionism can be interpreted as predictions of contemporary artistic practice,
especially within the context of Mash Up artists.
Jaques Derrida was a philosopher most known for his “deconstructionist” triptych of
texts, “Speech and Phenomena”, “Of Grammatology”, and “Writing and Difference” during the
1960s. Derrida confronted the logocentric (reading of words and language as a fundamental
expression of an external reality10) ideas present in Husserl and Strause’s philosophical theories,
using their own text to illuminate the hypocritical instability inherent within their theories. As
Arthur Bradley states, “Derrida’s challenge is to articulate a way of reading that does not remain
faithfully inside the logocentric tradition nor pretends that one can simply move outside it, but
rather shows the instability or contingency of that tradition from within.”11 Derrida essentially
presents that the traditional philosophical “concept of being” as not objective, but rather based
upon “a set of complex, questionable assumptions that are the products of a very particular time
and place.”12 Derrida is aware that any alternative philosophy suggested would be equally flawed
as it would be based on the same long-held assumptions. As Bradley states, “He is deeply
skeptical of any attempt to get 'beyond' [traditional metaphysics] for the simple reason that we
10
New Oxford American Dictionary, s.v. “logocentric”
Arthur Bradley, Derrida’s Of Grammatology (Edinburgh, GBR: Edinburgh University Press, 2008) Ebrary
Edition, accessed August 13, 2013,
http://site.ebrary.com/lib/mcaadmin/docDetail.action?docID=10435273&p00=grammatology
12
Arthur Bradley, Derrida’s Of Grammatology (Edinburgh, GBR: Edinburgh University Press, 2008) Ebrary
Edition, accessed August 13, 2013,
http://site.ebrary.com/lib/mcaadmin/docDetail.action?docID=10435273&p00=grammatology
11
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have no way of thinking, talking, or writing that is not dominated by the metaphysical
tradition.”13 Following Derridian logic that any alternative theory would be equally flawed,
Derrida instead deconstructs existing texts parasitically, exposing their flaw from within. To
quote Derrida, “'the movements of deconstruction do not destroy structures from the outside.
They are not possible and effective, nor can they take accurate aim except by inhabiting those
structures.”14
It is evident how Miller is working within Derrida’s philosophical construct: Miller’s
opinions towards authentic texts as an Anglo-European construct based on assumptions rather
than fact; Miller’s attempts and value of restructuring texts to expose their prejudice; How
Miller’s Mash Ups embody a parasitic deconstruction from within the host; And both Miller and
Derrida’s fear of the “violent [imposition of] the values of western culture over others.”15
What is less clear is how Kim-Cohen also works within a Derridian philosophical
construct, as his work may appear less-deconstructionist. Kim-Cohen’s work actually presents a
concept quite present in Derridian philosophy. Although Derrida never presented a
philosophical theory, as it would undermine the concept behind deconstruction, Derrida’s
observations presented a platform within which a philosophy is present. Derrida argues against
the hierarchical stance in which one element of a dichotomy asserts itself over the other.16 For
example, in the argument of presence vs. absence, Derrida would argue that both claims,
presence over absence and absence over presence, were inherently flawed and capable of
13
Arthur Bradley, Derrida’s Of Grammatology (Edinburgh, GBR: Edinburgh University Press, 2008) Ebrary
Edition, accessed August 13, 2013,
http://site.ebrary.com/lib/mcaadmin/docDetail.action?docID=10435273&p00=grammatology
14
Arthur Bradley, Derrida’s Of Grammatology (Edinburgh, GBR: Edinburgh University Press, 2008) Ebrary
Edition, accessed August 13, 2013,
http://site.ebrary.com/lib/mcaadmin/docDetail.action?docID=10435273&p00=grammatology
15
Arthur Bradley, Derrida’s Of Grammatology (Edinburgh, GBR: Edinburgh University Press, 2008) Ebrary
Edition, accessed August 13, 2013,
http://site.ebrary.com/lib/mcaadmin/docDetail.action?docID=10435273&p00=grammatology
16
“Wikipedia Entry, Jaques Derrida, last modified August 9 th,2013. http://en.wikipedia.org/wiki/Derrida
Shiff, TiNM, Summer 2013, JHall
Pg. 9
deconstruction. Instead, Derrida suggests that rather than existing within a hierarchy, elements
exist in relationship to one another, thereby defining one another. Kim-Cohen helps illustrate this
concept of Derrida’s in his essay “Sound Today”, “I only know what a chair is by ruling out
other possibilities, such as seat, stool, couch, recliner, table, lamp, and on and on… consider the
most basic procedure of semantic identification: looking up a word in the dictionary… look up
the definition of the word chair to say definitively what it is. My dictionary says “A separate seat
for one person…” So I look up seat: “A thing made or used for sitting on, such as a chair”…The
point – Derrida’s point – is that you can keep looking up words that appear in the definitions of
other words forever and you’ll never reach the definition that says ‘Congratulations! You now
understand definitively what chair means.’ What a chair is derives from a network of relation
and differentiation ... If we try to match Descartes’ pith, we have to settle for something like ‘I
am not X, therefore I am I.’”17
This concept leads me to Kim-Cohen’s concept of developing work “about and around” a
subject mentioned in his book, “In the Blink of an Ear: Towards Non-Cochlear Sonic Art”.
Kim-Cohen begins his book citing a scene from Jim Jarmush’s film, Down By Law, and using it
as a metaphor to illuminate the “critical conflict of art history in the 1960s.”18 (Interestingly,
even here Kim-Cohen is using popular culture to illustrate academic concepts, his writing itself
is a sort of Mash Up.) In the scene Roberto Begnini’s character has drawn a window on a prison
wall in chalk and asks his cellmate, “Excuse me do you say in English, ‘I look at the window,’ or
do you say in English ‘I look out the window’?”19 Kim-Cohen explains how he see’s this as
related to art history, “Minamilism, Conceptualism, performance, and so on-might accept that the
17
“Seth Kim-Cohen: Sound Today (Is No Longer a Function of the Ear)”
http://noncochlearsound.com/?page_id=101
18
Seth Kim Cohen, In The Blink of an Ear: Toward a Non-Cochlear Sound (New York: Continuum, 2009, xv-xvii
19
Seth Kim Cohen, In The Blink of an Ear: Toward a Non-Cochlear Sound (New York: Continuum, 2009, xv-xvii
Shiff, TiNM, Summer 2013, JHall
Pg. 10
illusion of a window on a jail cell wall is a problem, but its solution is entirely different from
[Clement] Greenberg’s … I suppose that, if we are fixated on prepositions, we could call it
looking about the window, in both senses of about – around and pertaining to… In the gallery
arts, the conceptual turn after Marcel Duchamp adjusted the focus from an art of at or out to an
art of about. This is what has been characterized as the turn from ‘appearance’ to
‘conception’”.20
This concept is itself very Derridian: The dichotomy presented between “at” or “out” is
one in which neither one nor the other can be proven, instead the best approach is observing their
relationship to one another. To this end, Kim-Cohen has himself been regarded as an artist that
“initiates a listening about and around rock music as a cultural signifier.”21 If we consider KimCohen’s “Bathos” piece this description makes sense because throughout the performance at no
time are The Sex Pistols audible, instead what is heard is guitar feedback, drum clatters, and
Kim-Cohen’s own voice narrating changes in movements. Kim-Cohen does not make work with
sound as much as he makes work about and around sound art.
Considering this, one could argue that Kim-Cohen’s work is as much about and
around the concept of Mash Up as it is a Mash Up itself. Kim-Cohen's work illustrates this point
beautifully in his “Tomorrow is the Question” Is The Question!. In this work Kim-Cohen uses
Craiglists advertisements to solicit musicians brought together by their independent reads of
Kim-Cohen's very slippery genre description: “POST-POSTPUNK, NEW NO WAVE
KILL “KILL. YOUR IDOLS.” YEAH YEAH YEARS, LIARS, BLACK DICE: WHATEVER. TRULY RADICAL
ANTI-ROCK. LIKE A CINDER BLOCK FROM THE TOP STORY WINDOW. GROOVES. SLASHING
20
Seth Kim Cohen, In The Blink of an Ear: Toward a Non-Cochlear Sound (New York: Continuum), 2009, xv-xvii
Amelia Ishmael, “Transmission: An Interview with Seth Kim-Cohen,” Art21 Blog March 5th 2013, accessed
August 11th, 2013. http://blog.art21.org/2013/03/05/transmission-an-interview-with-seth-kim-cohen-i-move-to-theleft-and-back-to-my-right-step-behind-the-amplifier-and-i-disappear-into-the-darkness/
21
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GUITARS. FED UP SAMPLERS. TAKE DOWN THE CORPORATACRACY. ANY GENDER, AGE, RACE,
PROFICIENCY.” 22
This piece itself is very Derridian, Kim-Cohen is referencing both the problems and
possibility present in writing. The concept that new musical genres can be called into existence
simply by writing them down, seems to be getting at the heart of Derrida’s Of Grammatology:
his problems with logocentrism, the relationship between speaking and writing, and the idea that
language is itself a construct itself based on presupposed assumptions. “Tomorrow is the
Question” also provides evidence for the Derridian concept of existing in-between a dichotomy:
“Tomorrow is the Question” both proves that people can create something from ideas present in
text, but also that no two people interpret text exactly the same way. Within this contradiction is
the heart of Deconstructionist thinking.
Conclusion
By examining how two different Mash Up artists utilize similar philosophical platforms
and socio-political aims, I hope that I have clarified the many ways in which Mash-Up can be
utilized.
Seth Kim-Cohen performs a certain type of subtraction through addition (i.e. 1+1=1),
yielding a new product by combining two seemingly unrelated concepts. Kim-Cohen’s sources
retain their original identity functioning like Duchamp’s “Fountain” readymade. Rather than
splicing the Sex Pistols and Dan Graham together, Kim-Cohen performs as Graham while
projecting The Sex Pistols. Both original sources remain intact within the new work. This is a
new way of approaching the concept of Mash Up, but although unconventional, it is still within
the confines of Mash Up as it is defined in this report: these works are created solely through the
22
Michael Wilson, “Seth Kim-Cohen, Audio Visual Arts” Artforum, Summer 2012, http://www.kimcohen.com/Assets/Texts/Kim-Cohen_Tomorrow_AF_Summer12.pdf
Shiff, TiNM, Summer 2013, JHall
Pg. 12
combination of other sources. Kim-Cohen’s hand is rarely present in his own work, rather he
acts as the conduit through which Dan Graham and The Sex Pistols can be connected forming a
triangulation between three individuals: Dan Graham, Johnny Rotten, and himself. As KimCohen explains, “relating is a key word for me. I think that when you boil art down to its
indispensable components, what you’re left with are relations: of artist to audience, artist to
materials, audience to materials, audience to audience, everyone to history, etc.”23 Kim-Cohen
presents a small simple complete package which itself can be unpacked and examined infinitely.
Another example of this is Kim-Cohen’s work “Four Songs Sung Site-Specifically”24: KimCohen singing the Velvet Undergrounds Run, Run, Run while he himself is physically running is
a deceptively simple concept, and one that upon greater scrutiny opens up a wealth of
ontological, epistemological, and phenomenological questions.
If we liken Kim-Cohen to a blender smoothly producing a new product through combining
two separate elements, than we can say that Miller operates more like a food processor, breaking
media apart into it's basic pieces and re-assembling the puzzle. Unlike Kim-Cohen, the original
piece does not retain its original form, however, Miller presents an example of how a D.J. can
operate as a deconstructionist exposing the hidden hypocrisy within a source. Miller himself
recommends, “applying D.J. technique to film”. He likens his process to that of Georges Milies
stating that as Milies applied his previous knowledge as a magician to film and in a similar way
Miller is applying his knowledge of how a D.J. creates to music to film.25 This explains why
Miller’s Mash Up deconstruction is more based on a “sampling” and “mixing” model, than Kim23
Amelia Ishmael, “Transmission: An Interview with Seth Kim-Cohen,” Art21 Blog March 5th 2013, accessed
August 11th, 2013. http://blog.art21.org/2013/03/05/transmission-an-interview-with-seth-kim-cohen-i-move-to-theleft-and-back-to-my-right-step-behind-the-amplifier-and-i-disappear-into-the-darkness/
24
“Seth Kim Cohen: Projects: Four Songs Sung Site-Specifically”, http://www.kimcohen.com/projects/4SongsSungSiteSpecifically_home.html
25
Paul Miller, “Rebirth of a Nation” (Paper presented at TIFF Higher Learning Conference, Toronto, Canada,
November 17, 2010)
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Cohen’s combined readymade approach.
Works Cited
Amelia Ishmael, “Transmission: An Interview with Seth Kim-Cohen,” Art21 Blog March
5 2013, accessed August 11th, 2013. http://blog.art21.org/2013/03/05/transmission-aninterview-with-seth-kim-cohen-i-move-to-the-left-and-back-to-my-right-step-behind-theamplifier-and-i-disappear-into-the-darkness/
th
Arthur Bradley, Derrida’s Of Grammatology (Edinburgh, GBR: Edinburgh University
Press, 2008) Ebrary Edition, accessed August 13, 2013,
Shiff, TiNM, Summer 2013, JHall
Pg. 14
Mark Tribe and Rena Jana, New Media Art, (New York: Tanshen, 2006), Brown
University Wiki Version, accessed August 10th, 2013,
https://wiki.brown.edu/confluence/display/MarkTribe/New+Media+Art
Michael Wilson, “Seth Kim-Cohen, Audio Visual Arts” Artforum, Summer 2012,
http://www.kim-cohen.com/Assets/Texts/Kim-Cohen_Tomorrow_AF_Summer12.pdf
Paul Miller, “Rebirth of a Nation” (Paper presented at TIFF Higher Learning Conference,
Toronto, Canada, November 17, 2010)
Seth Kim Cohen, In The Blink of an Ear: Toward a Non-Cochlear Sound (New York:
Continuum), 2009, xv-xvii
“Seth Kim-Cohen: Sound Today (Is No Longer a Function of the Ear)”
http://noncochlearsound.com/?page_id=101
“Seth Kim Cohen: Projects: Critique of Instrumental Reason (by the use of electric
guitar), http://www.kim-cohen.com/projects/critique_elecgtr_home.html
“Seth Kim Cohen: Projects: Four Songs Sung Site-Specifically”, http://www.kimcohen.com/projects/4SongsSungSiteSpecifically_home.html
Wikipedia Entry, Jaques Derrida, last modified August 9th,2013.
http://en.wikipedia.org/wiki/Derrida
“Wikipedia Entry: Mash Up,” last modified August 3, 2013,
http://en.wikipedia.org/wiki/Mashup_(music)
“Wikipedia Entry: Scrapple from the Apple,” last modified July 12, 2013,
http://en.wikipedia.org/wiki/Thirty-two-bar_form#Middle_eight
“Wikipedia Entry: The Sex Pistols”, last modified August 15, 2013,
http://en.wikipedia.org/wiki/Sex_Pistols
Image Appendix:
Figure 1:
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Flyer for BOOTIE, the first bootleg mashup club in the United States, launched in San Francisco,
2003. Designed by Adrian and Deidre Roberts, Bootie. http://www.bootiesf.com. Permission
granted to GFDL the image by Adrian Roberts.
This image depicts popular cultures typical definition of the Mash Up
Figure 2:
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Scene from Paul Miller’s Rebirth of a Nation
http://movies.nytimes.com/2009/06/22/movies/22rebirth.html?_r=0
Figure 3:
Scene from Seth Kim-Cohen’s Critique of Instrumental Reason (by use of electric guitar)
Spor Festival
Aarhus, Denmark
2013. http://www.kimcohen.com/projects/critique_elecgtr_home.html
Figure 4:
Shiff, TiNM, Summer 2013, JHall
Pg. 17
Dan Graham performing "Performer/Audience/Mirror," 1977 at De Appel Arts Centre,
Amsterdam, 1977. http://www.brooklynrail.org/2009/07/artseen/dan-graham-beyond
Figure 5:
Seth Kim-Cohen performing “The Be in Bathos Equals the Pee in Pathos (Except at the
Bathhouse)” Counterpath, Denver, 2013http://www.kimcohen.com/projects/thebeinbathos.html