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In a section called "Premix," Gunkel examines the terminology of remix (including "collage," "sample," "bootleg," and "mashup") and its material preconditions, the technology of recording. In "Remix," he takes on the distinction between original and copy; makes a case for repetition; and considers the question of authorship in a world of seemingly endless recompiled and repurposed content. Finally, in "Postmix," Gunkel outlines a new theory of moral and aesthetic value that can accommodate remix and its cultural significance, remixing--or reconfiguring and recombining--traditional philosophical approaches in the process.
Table of Contents


David J. Gunkel is Distinguished Teaching Professor of Communication Technology at Northern Illinois University (USA). He is the author of five books: Hacking Cyberspace (Westview Press, 2001), Thinking Otherwise: Philosophy, Communication, Technology (Purdue University Press, 2007), The Machine Question: Critical Perspectives on AI, Robots, and Ethics (MIT Press, 2012), Heidegger and the Media (Polity Press, 2014), and Of Remixology: Ethics and Aesthetics After Remix (MIT Press 2016). He is the founding co-editor of the International Journal of Zizek Studies, co-editor of the book Transgression 2.0: Media, Culture, and the Politics of a Digital Age (Continuum, 2011), and the founding co-editor of the Indiana University Press book series Digital Game Studies. He has lectured widely in the US, Europe, and South America and won numerous awards for excellence in teaching and research. Information available at http://gunkelweb.com
David J. Gunkel


The word "remixology" has been appropriated, borrowed, and even ripped off from other sources. It was, for instance, already deployed in the title to Paul Sullivan's (2013) book about Jamaican dub, Remixology: Tracing the Dub Diaspora. Before that, however, it served as a kind of keyword developed and utilized by Mark Amerika (2011a) to identify the art and artistry of collage, cut-ups, readymades, and remix. But even this use is frustratingly unoriginal insofar as the term was already in circulation in DJ culture and utilized in promotional materials for dance club events and mashup parties. If anything is certain from this seemingly confused and mixed lineage, it is that the term "remixology" is already caught up in the problematic that it seeks to address--the appropriation and reconfiguration of already available source material whereby questions of origin and originality appear to recede into and get lost in the mix....
Of Remixology - Introduction