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Editorial for TWC No. 9 (September 15, 2012).

The affordances of digital technologies increase the available semiotic resources through which one may speak. In this context, video remix becomes a rich avenue for communication and expression in ways that have heretofore been the province of big media. Yet recent attempts to categorize remix are limiting, mainly as a result of their reliance on the visual arts and cinema theory as the gauge by which remix is measured. A more valuable view of remix is as a digital argument that works across the registers of sound, text, and image to make claims and provides evidence to support those claims. After exploring the roots of contemporary notions of orality, literacy, narrative and rhetoric, I turn to examples of marginalized, disparate artifacts that are already in danger of neglect in the burgeoning history of remix. In examining these pieces in terms of remix theory to date, a more expansive view is warranted. An approach based on digital argument is capable of accounting for the rhetorical strategies of the formal elements of remixes while still attending to the specificity of the discourse communities from which they arise. This effort intervenes in current conversations and sparks enhancement of its concepts to shape the mediascape.

Die "Generation Remix" kommt zu Wort: Musiker, Filmemacher, Netzkünstler, Videoaktivisten, Blogger, Facebook-Nutzer – sie alle remixen, was das Zeug hält. Der Remix ist ein Alltagsphänomen und verändert unsere Kultur. Er ist aber auch verboten – im deutschen Urheberrecht ist kein Platz für diese Art der Kreativität. Sie nimmt die Versatzstücke unserer Alltags- und Medienkultur und produziert daraus Neues. Im Buch "Generation Remix" erklären Remixerinnen und Remixer, was einen genialen Remix auszeichnet, erzählen von ihren Kämpfen mit einem veralteten Urheberrecht und präsentieren ihren persönlichen Lieblingsremix. Ergänzt werden diese Gespräche durch Beiträge der Remixkünstlerin Cornelia Sollfrank, des Musikers Georg Fischer, des Creative-Commons-Gründers Lawrence Lessig, des Urheberrechtsexperten Till Kreutzer, des Journalisten und Meme-Experten Dirk von Gehlen und anderen. Ohne Remix ist Kultur nicht möglich. Die Kampagne "Recht auf Remix" (www.rechtaufremix.de) setzt sich dafür ein, eine Ausnahmeregelung im Urheberrecht einzuführen, die Remixe unter bestimmten Bedingungen erlaubt. Remix soll nicht mehr illegal sein, sondern als Kunstform anerkannt werden. Playlist aller im Buch erwähnten Remixes unter http://goo.gl/6xx4J5

Is this new caste-neutral, education-hungry, spend-happy young person representative of the real India?

Abstract
Exta is a curatorial project consisting of a 'primer' exhibition of artists' film and sculpture, two forthcoming exhibitions, and a film currently in production. The project traces the speculative activities of haruspicy, the divination of future events from the reading of entrails gathered from a sacrificed entity. Here, we expand on this mystic act as a 'somatechnic' ritual: how the artworks and our curatorial narrative work towards an imagined future populace divined from the entrails of a dead body-politic. With reference to Jon Abbink's studies of contemporary haruspicy and some of its precedents in ancient practices, we situate Exta as a publicdivinatory reading that conjures a vision of an alien, future populace. We compare this to popular methods of articulating and narrativising post-human futures, by describing a mode of speculation inscribed with the occult potencies of haruspicy and, referring to Reza Negarestani, how it operates as a vector of decay in its monstrous corruption of such idealised narratives.

Digital content, particularly audiovisual material, sourced on the Internet is unlikely to remain usable and discoverable into the long term as a result of file corruption, format obsolescence, unreliable hosting sites, and insufficient metadata. In this overview, the risks to the material, the current preservation efforts being undertaken by remix communities, and suggested methods that creators of remix video can use to help their material survive into the next digital generation are presented.

While data-driven art is not new, recent developments in technical, artistic, and social spheres have coalesced to produce new opportunities for artists and activists who remix data with space and place to form locationally specific political critiques of great power and flexibility.