Brian Gaines is a PhD candidate in Clemson University’s transdisciplinary Rhetorics, Communication, and Information Design program, where his research interests reside at the intersection of postDigital Aesthetics, Visual Rhetorics, and Surveillance Studies. Brian has served as digital creative faculty in Clemson’s Center of Excellence in Creativity and Next Generation Computing, and he is the recipient of the 2018 Thomas E. Douglass Excellence in Teaching Award. He is also an assistant editor for Intermezzo.

Artist Statement

The music industry and the press, as disparate entities housed within the Fourth Estate, are both subject to the same dromological tendencies outlined by Paul Virilio’s concept of kinematic energy (Virilio 45). This third energy, which Virilio refers to as an “image” or “information” energy riding atop potential and kinetic energy, provides a theoretical basis as to why entertainment and information are in closer proximity to the masses than ever (Virilio 49). Both breaking news and the latest hit songs are readily available instantaneously via the vast network of fiber optic cables and computer terminals that circumnavigate the earth; in this regard Heraclitus was prophetic in his claim that “Thunderbolt steers all” (Heraclitus 28). However, looking into the not-so-distant past, it is possible to see this closeness to the masses has always been a key attribute to these entities’ popularity.

The evening news, occupying what is known as the Early Fringe in television dayparting, is the bulwark between daytime television and Prime Time. It is the intellectual promise of deliverance from the one-dimensionality of lowest common denominator programming to allegedly more sophisticated offerings to the more affluent. Contrastively, the mixtape, as both an artifact and an aesthetic experience, is an intellectual exercise, encasing numerous “low” artistic implications floating atop a magnetic tape within its 3.96-inch x 2.5-inch (Miller et al.) sarcophagus. Matias Viegener, writing in Thurston Moore’s edited collection on cassette culture, refers to the mixtape as “a form of American folk art: predigested cultural artifacts combined with homespun technology and magic markers…” (Moore 35). That both the evening news and the mixtape in their own way deal with the mass proliferation of diluted culture, and each are predicated by an affective quality upon their respective audiences, a synthesis of the two is applicable.

Correspondingly, the instantaneousness afforded by kinematic energy has resulted in technological breakthroughs in both informational and artistic endeavors. Aside from the speed in which we may receive these artifacts, kinematic energy has also altered the means by which these artifacts are created. Having grown up in the estuarial years between the Multimedia and Social Ages, the act of preserving sound onto magnetic was for me the perfect amalgamation of consumer and producer, embodying the ethos of the time: soundwaves and magnetic attraction, digital and analogue, condensing the abstract to concrete. Marker, paint, cellophane tape, ink, stickers, and sound organized with time were my first forays into mixed media. On a more pragmatic level, appropriating pencils, cellophane tape, and cotton swabs as implements to repair, repurpose, and clean these transcendent artifacts of imagery and sound yielded a sense of stewardship to a tactile, DIY aesthetic experience. While the spirit of media creation from my formative years survives, the tools are certainly more sophisticated.

Now, creativity software, coupled with the ubiquity of mobile computing, has ensured that just about anyone with the means and proclivity to do so may be not only a consumer but a producer within the Fourth Estate. Choosing the appropriate music for a mixtape (or compact disc, or mp3 files, or SoundCloud upload), whether for the creator’s own listening pleasure, to woo a love interest, or to expose peers to new and exciting forms of music, requires a kairotic deftness not unlike that of the news producer or station floor manager. Creating artwork for the casing, and in many instances the cassette itself, shares the same qualities associated with titles and graphics that the news relies upon to create a completeness that is more aesthetically pleasing than raw footage. While the ability to be both a producer and a consumer of media certainly presents itself as an advantage in electrate terms, after a more thorough viewing some disadvantages become apparent.

First, the kinematic energy that has made the press more egalitarian has privileged the dromologic over veracity in reporting. A particularly egregious example of speed vs accuracy occurred in the reporting of Congresswoman Gabrielle Giffords, who was shot in 2010. Venerated media outlets, including NPR and the New York Times, had to print retractions after, in a rush to break the story, that Congresswoman Giffords had been killed (“Editor’s Note”; Brisbane). While these two institutions have the integrity to admit they were in error, it is dubious as to whether the citizen journalist would admit to such oversights. The privileging of the dromologic over the factual appears to be de rigueur for many citizen journalists of the post-truth epoch, not only for public figures or notable events, but the mundane as well. I have on two separate occasions been subject to the rantings of right wing extremists writing for Campus Reform. The reporting in both instances was heavy handed, inaccurate, and hastily produced with little to no regard for veracity.

Second, as sampling and the remix have become a salient fixture across many popular music genres, attribution of sources is at best an afterthought. “The removal of the Author,” Barthes writes, “is not merely an historical fact or an act of writing; it transforms the text” (Barthes 145). Barthes further observes that once the author is removed the claim to interpret the text becomes futile (Barthes 147).  Sampling and the remix thus become what Barthes refers to as “the multidimensional space in which a variety of writings, none of them original, blend and crash” (Barthes 146). This Barthesian notion of blending and crashing is evident in the experimentation of Negativland’s U2 E.P. and the mashup compositions of Greg Gillis, aka Girl Talk. While Negativland sought to parody a well-known musical act (U2), Girl Talk uses the compositions of others as instrumentation to create new compositions from the familiar; whether or not this constitutes collaborative authorship has been subject to much debate in popular culture and in the courtroom. Moreover, Lev Manovich also suggests the concept of blending and crashing through outlining a partial history of sampling, remixing, and the Open Source movement when he asks “Who is the Author?” (Manovich). He notes that collaborative authorship is nothing new, as medieval cathedrals, the works of Old Master painting studios, orchestras, and modern motion picture studios are often the results of the labor of hundreds, if not thousands, of people collaborating over a substantial period of time (Manovich). While the argument of parsing authorship of popular media is somewhat beyond the scope of this project, being cognizant of the potentialities of collaborative authorship in terms of high and low forms of art may be a corollary of this undertaking.

While the blending and crashing that occurs in a multidimensional space creates a dialectical conundrum in both the underground and in mainstream popular music, a theoretical approach The filmmaker and theorist Florian Cramer refers to the post-digital as both a contemporary disenchantment with digital information systems and media gadgets, as well as alluding to a period in which the fascination with these systems and objects has become historical (Berry and Dieter 13). This is evident in the resurgence of analogue media objects like vinyl records, cassette tapes, and handmade “zines. And just as postpunk and postmodernity exist after the exodus of their respective epochs while maintaining semblances of their roots, the post-digital (or postdigital, or even postDigital, and other permutations) can move beyond the digital while maintaining some of its characteristics. Cramer further refines this position by claiming that certain variations of post/digital are hybrids of “old” and “new” media, or more pointedly, in so-called Do-it-Yourself (DIY, or what has been called Do-It-Together) media versus corporate media (Berry and Dieter 13–16). I further posit that because the notions of old media often result in tangible artifacts (think vinyl record or zine versus mp3 or PDF) that become special in their tactility among other physical attributes that possibly run counter to Michael Betancourt’s argument that claims of false scarcity that can be associated with physical media can be superimposed onto the digital (Betancourt 38–43), even if these artifacts are produced in part by computational technologies. Cramer reinforces these claims in his faux equation, Post-digital =” old” media used like “new media” (Berry and Dieter 21) in which he makes the case that “new ethical and cultural conventions which became mainstream in internet and Open Source culture have been retroactively applied to the creation of non-digital and post-digital media” (21). One example of this phenomenon is musicians using online music distribution sites such as SoundCloud to upload, distribute, and promote original musical compositions much in the same way that having access to two and four track tape recorders in previous eras led to the “demo tape.”  Through ascribing old media metaphors to new media practices and artifacts, we are practicing a form of hauntology: we are comforted by the streamlined smoothness of digital production yet simultaneously afraid to abandon the visceral comfort of tactile media.

In the spirit of transforming the text, I am arguing in favor of blending and crashing, not only of music but also the 24-hour news cycle. By blending and crashing these two facets of the Fourth Estate, I intend to produce and disseminate the work, “Edutainment Tonight: Nightly News as Mixtape.” This mixtape borrows elements of a recent artifact known as the “visual album,” which journalist Adam Quinn defines as:

a concept where the musician releases a video with each song on an album. The videos run together to tell a story along with the lyrics and music of the album. As a result, artists have a way to give additional context and framing to the music that they produce. This creates a richer storytelling and communication medium than music or videos alone can create, and goes above and beyond what the traditional music video is (Evolution of Visual Albums).

While the visual album, such as those produced by Beyonce and electronic music artist Washed Out (“LEMONADE”; Stones Throw), have received much attention in the last few years, the genre has at least a half century history. Quinn cites The Beatles’ 1964 film A Hard Day’s Night as one of the earliest examples of the genre. Before the advent of MTV, Led Zeppelin (The Song Remains the Same), Pink Floyd (Live at Pompeii, The Wall), and The Who (Tommy, Quadrophenia) released these longform music videos as a means to experience the music visually and aurally away from the live concert experience. As MTV gained mainstream acceptance with the music video generally promoting a single from an album rather than the album in its entirety, the visual album still enjoyed popularity with Prince (Purple Rain) and Daft Punk (55:55), especially in theaters.

Additionally, the resurgence of the genre of the traditional mixtape, such as the DJ Kicks series and Death Grips’ Ex-Military release (“DJ-Kicks”; Death Grips), further reinforces the concept of the attachment to the familiarity of tactile media. While the Edutainment Tonight Mixtape uses found footage from a variety of mainstream and alternative media news cycles paired with songs intended to deconstruct and remix to reflect and augment the contents of the news may be a new variation, the presentation of the material still bears enough semblance to the original formats. Just as the traditional mixtape presents an anachronistic sequencing that may likewise be viewed as hauntological, this project intends to perform the same function with the convergence of music and news events: the latest (at the time of this writing) Marylin Manson single stands alongside the inauguration of Donald Trump, and former FBI Director James Comey testifies before the Senate to the Beatles’ And Your Bird Can Sing, crossing genre and time barriers in popular music and national events. Furthermore, the death of Charles Manson punctuated by his eerie closing remarks in a Barbara Walters interview from the Nineties itself punctuated by Nineties indie singer-songwriter Elliot Smith (himself deceased) repeating “everything means nothing to me” reifies a notion introduced to mainstream popular culture in the Nineties: obfuscation of boundaries between information and entertainment to produce what rapper KRS-One famously termed “edutainment.” It is in this sense of edutainment that I am striving to create my own rendition of the news cycle that seeks to inform and entertain. However, my role as the author in this scenario operates independently of the prescribed corporate media narrative.

Much like creating a mixtape, the creation of a music/news mashup evokes Ulmer’s CATTt (Contrast, Analogy, Theory, Target, tale) methodology:

Contrast:  The news, which often slants towards the pessimistic, is contrasted with musical accompaniment, which changes our general inferences of the information at hand.

Analogy:  The mixtape, as a hauntological artifact, presents the listener/viewer with a suitable and possibly familiar vehicle for inferring messages created by the fusion of music and news segments as a heuretic exercise.

Theory:  The mixtape, in this example, introduces notions of hauntology, the post-digital, and collaborative authorship in a singular artifact.

Target:  The mixtape is situated to appeal to a certain demographic that is aesthetically sussed by popular culture and has a desire to be informed of world events outside of a predeterminate narrative. It also targets those who may have a desire to engage with bricolage in a digital environment.

tale:  The mixtape, as a genre that embodies several genres (of music, and in this case, of visual media), “is a dramatization of the theory of knowledge appropriate for the human subject envisioned by (or presumed by) the theory” (Ulmer 8).

It is my hope that the Edutainment Tonight Mixtape will encourage others to deconstruct and remix the narratives that are presented to us in a manner that is heuretic and aesthetic.

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