The remix and Greek type problems
The 16th May 2010, Jean-Luc Godard sent a letter to the Cannes Film Festival Director saying: “Dear Thierry Frémaux, due to Greek type problems, I won’t be able to be your guest in Cannes. Best regards, Jean-Luc Godard." Those days, Godard presented Film Socialisme, a film aimed at making his emblem out of audiovisual recycling, bluntly mixing images from the Internet, VHS and mobile phones. There lies the ending of the film: after the reproduction of the FBI anti-piracy message Godard writes: If the law is unjust, justice comes before the law. No comment".
Unfortunately since then, Greek problems have worsened, and not only in Greece, but also in several countries, Spain among them. Felipe G. Gil makes a journey to the centre of audiovisual remix, where Ecce Homo (Behold the Man) Cecilia Gimenez’s version, is able to embody Anonymous facing the congress, where Hitler finds out about 25S, and Aznar raps saying that, despite everything, “Spain goes well”.
An audiovisual source code (with Creative Commons Attribution-ShareAlike Licence) in which we see the ZEMOS98 imaginary in the remix culture, and its relationship with digital culture. What do a surrealist writer and a DJ have in common? What is the link between a wiki and avant-garde literature? Can a story be told while granting the source code to the readers so that they can remix it? An anagram, a game, a scratch... And without butter popcorn smell.
What’s the Audiovisual Source Code?
The source code is a collection of text lines that set up some instructions a computer must follow in order to execute a program. Sharing the source code is the basis of free software. In this context, culture implies two basic statements: on one hand, assuming that the intellectual work is all derivative (Lawrence Liang), meaning that every notion of our creativity is subject to a series of conventions that should be questioned, that our concept of the origin of ideas and current laws on copyright should be reformulated, as well as the business model of big cultural industries; and on the other, defending the idea of culture as an infinite palimpsest, and of art as a game played by people of all times, and the remix as an transversal operative system which affects every educational and communication process.
Regarding the format of the event, Audiovisual Source Code is neither a projection nor a conference. It is a hybrid. To learn more about the topic, please go to EMBED.at.
Felipe G. Gil was in his mother’s belly when Tejero entered the Congress shooting. Later on, he dedicated himself to recording radio programs in cassette tapes. Fortunately, he didn’t study Economics but Audiovisual Communication and became a member of ZEMOS98. He defines himself as a “new media writer”, though he doesn’t know what it means. His friends don’t talk to him anymore because he is very persistent with the remix topic. Moreover, he is a co-writer in a blog about “political fiction” and he is also a Star Wars fan, a semi-professional tennis player, and a fanatic of the Lebanese parsley salad.
ZEMOS98 is a team of cultural producers. They try to create critical thinking, to dismantle dominant messages, to spin relationships and communities; try to work at intersections and in the margins, to work glocally; try to pay attention to their networks and to make their own contents recyclable and remix the others’ ones.
They are also planning to organise a festival and they had tried to organise a laboratory of non-formal education named 98LAB. In essence, ZEMOS98 try things.
Tuesday November 6th, 8 pm
Centro Experimental y Tecnológico para la Cultura y las Artes de Sevilla
C/ Torneo, 18 (entrada por C/Santa Clara, 91)
T. 955 47 11 91