In the July 2005 issue of Wired Magazine, the sci-fi novelist William Gibson offered his take on remix culture in the essay, “God’s Little Toys: Confessions of a Cut and Paste Artist.” In that piece, Gibson directly linked digital remix culture back to the 1950s and the Beat Generation, especially William Burroughs and Brion Gysin’s technique of “cut ups.” In so doing, Gibson was conferring aesthetic cachet on a new set of disreputable practices by finding an older set of disreputable practices that have become respectable and tame over time. “ Potential reading has the charm of making manifest the duplicity of texts, be they oulipian or not.” As always, comments are most welcome, but I am most interested in where my argument is unclear or where it could benefit from expansion or concision. This version of the paper was crafted to fit into a 15 minute time slot so I try to hit the high points of my argument in just under 2000 words. I am planning on revising this for publication.
Here is the version of this paper I presented today at the Cultural Studies Association Conference 2011 at Columbia College Chicago.
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