Eduardo Navas Livres

The book provides a framework for art and design projects, focusing on the concepts of remix and appropriation. It offers open-ended guidelines that encourage creativity and innovation in studio-based settings across various disciplines. By exploring these themes, it aims to inspire artists and designers to engage with existing media and transform it into new works, fostering a collaborative and experimental approach to creation.

Exploring the interplay between handwriting and typing, this work critiques modern efficiency and the superficiality of digital communication. It delves into themes of authenticity versus artifice, suggesting that societal trends often obscure genuine experiences. The text juxtaposes the allure of polished ideas against the backdrop of information overload and virtual existence. Through repurposed tweets, it offers a poetic commentary on the nature of identity and connection in a networked world, encouraging readers to seek deeper meaning amidst the noise.

Exploring the intersection of history and theory in art and media, this book delves into the impact of artificial intelligence and machine learning on culture. It critically reflects on the consequences of outsourcing elements of the creative process to AI, raising important questions about creativity, authorship, and the future of artistic expression in a technologically advanced society.

Remix Theory: The Aesthetics of Sampling is an analysis of Remix in art, music, and new media. Navas argues that Remix, as a form of discourse, affects culture in ways that go beyond the basic recombination of material. His investigation locates the roots of Remix in early forms of mechanical reproduction, in seven stages, beginning in the nineteenth century with the development of the photo camera and the phonograph, leading to contemporary remix culture. This book places particular emphasis on the rise of Remix in music during the 1970s and '80s in relation to art and media at the beginning of the twenty-first Century. Navas argues that Remix is a type of binder, a cultural glue-a virus-that informs and supports contemporary culture.