Tyler Roman- ThisIsTheRemix Final Documentation (Vasudevan)

For my final project and paper, I was really interested in the Twitter Bot as an artistic and expressive medium. As a lover of automation both large and small, I thought that the idea of creating a machine that could produce a unique aesthetic as well as possibly gain a following was very cool and intriguing, not to mention also being the perfect solution to my relatively dead social media life.

Therefore the idea was to create a Twitter bot inspired by the works of @choochoobot and @infinite deserts, two Twitter bots that used emojis and ASCII characters respectively to create unique images depicting scenes of either a train passing through various locations or various sights in an imaginary text-based desert. As someone who has also lived in Japan, I was immediately reminded of the diverse usage of ASCII characters in text messaging especially in the form of faces known as “Kaomoji”. Inspired once more, I decided to create a Twitter bot that would display my current (or for now, random) mood and some cute, fun Kaomoji emoticons to with said mood. And after some effort, some thinking, and some help from IMA fellows Jack and Nick, (not to mention source code from the ever amazing Roopa and Jiwon), I was able to complete a pretty solid early model of my intended Twitter bot.

The connection to my paper is found in the idea that my paper was focused on the idea of the convergence between art and automation. Can art that is automated and sent out be considered art? Can art that is made without human touch or emotion, made in a matter of seconds belong in a craft that has existed for millennia? The answer to that question for me is yes. I see the Twitter bot not as an artist, but an artistic medium, a way by which an artist expresses their craft and explores it through the use of automation. The twitter bot allows for an artist to render almost every possible combination of an idea once set up and does the work that the artist intended and dreamt of while also allowing them to think and work on their next big idea. The combination of art and automation can be fun, exciting, and imaginative (and useful!) and that is something I hope to have captured in my own Twitter bot.

In a post-mortem aspect, I believe that my project does indeed meet many of my goals. For one, it works, it can post almost directly on Twitter and each post is almost sure to be unique. The use of the Twitter bot in my project is fun, cute, and simple, and in that scenario, I believe that I have accomplished something great. On the flip side, however, I would like for there to be more of a range of choice of emotions as well as Kaomoji. The sampling size while ok, could and should definitely be larger and most importantly I would like in the future for my Twitter bot to be capable of running on a semi-permanent basis. I was not able to figure out the SetInterval code to further automate my bot so it is still a process of constantly reloading the script for each post and that is in no way ideal. There are many things I would like to do with my bot, and though it has indeed come quite a ways I acknowledge and accept that this is merely the start of a long and fulfilling journey.

Annie Seaman–Final Project Documentation [Remix]

I wanted to explore censorship and linguistic context in this project. My paper focused on the ability for Chinese Internet memes to subvert government censorship and spread a message. Throughout my research, I read many articles written by Americans that criticized and condemned China for instituting structures of Internet censorship. I found this attitude surprising as Americans also face levels of censorship although we live under the protection of free speech. The mechanisms of censorship in America are not near the structures of censorship in China, but I still could not help but think of the areas in daily life when Americans face censorship. After a bit of brainstorming and more research, I found that all US states have restrictions on the words citizens can print on their vehicle’s license plate. For example, here is one page of a list of banned words in North Carolina.

I also found Pennsylvania’s criteria for denying a word on a license plate. Some of the criteria defined by the Pennsylvania’s Department of Motor Vehicles are:

  1. Profane, lewd, lascivious, obscene, or vulgar
  2. Containing sexual innuendo or sexual connotations
  3. A reference to excretory functions
  4. A racial, ethnic, religious, lifestyle, or gender epithet
  5. An expression of contempt for or ridicule or superiority of a class of persons, including a particular ethnic or other group
  6. Related to alcohol abuse or illegal drugs or substances
  7. Related to illegal activities, including organized crime associations and gang or gang terminology
  8. Libelous or slanderous
  9. Directed to and likely to incite imminent lawless action
  10. Words which inflict injury or tend to incite an immediate breach of the peace

This criteria list really inspired me because it is both comprehensive and yet still very broad. Much of the criteria is left up to the interpretation and judgement of the individual tasked with making the final decision. I decided to use banned words from the list above and the criteria by which words can be banned to censor a piece of classic American literature, On the Road by Jack Kerouac.

Beside from the obvious connection between censored license plates and a book entitled On the Road, I chose to censor this novel because it is considered a defining work of the Beat generation-a post-World War II American literary movement. Beat authors, Kerouac as a core member, used their work to challenge the concept of a standard narrative. Beat literature also explored themes of materialism, sexual liberation, and experimentation with psychedelic drugs. On the Road, specifically, follows a young man on his journey hitchhiking across America.

To begin this project, I wrote the criteria for banned license plates words on post-it notes and kept them at the front of the book to have a reference of the kinds of words I would look for and censor as I read.

I then began reading and would strike through words I thought did not pass the criteria and would be banned.

The process of deciding which words I would strike through was so revealing as to the subjectivity inherent in censorship. I soon found myself questioning the intention and context of every suspicious word. For example, let’s censor this sentence:

I went into the chili joint and the waitress was Mexican and beautiful (71).

Is “Mexican” in this sentence a racial epithet or just a characterization? The intention here is clearly not malicious but does intent even matter in censorship? Algorithms don’t consider context and simply censor based on key-words. I decided to take this approach and created rules to follow as I went through the rest of the book. So I continued to strike through words and dog-eared especially provocative pages until I finished the novel.

After marking up the pages, I selected five pages to enlarge and print out. I chose these pages based on the amount of banned words. I wanted to censor pages with a lot of content so that there was a big visual impact. I then took a black marker to the pages and censored the words and sentences. I decided to black out the entire sentence the banned word is in for impact and visual effect. Blacking out the sentences became a bit of problem because the letters could be seen through the marker. I drew over the sentences many, many times but the words can still be seen. I think a solution for this would have been to use a marker to cross out the sentences on the original pages and then scan and enlarge the pages. This would have already erased some of the words and would have made marking the large copies much easier.

In addition to the censored book pages, I also created California vanity license plate stickers to add to the project. I took the most commonly censored words from On the Road and added them to a vanity license plate, the very place they are banned from. I chose California because the main character was journeying to California.

With censoring the novel, I changed the context of the banned words from license plates to a novel. To deepen the project, I wanted to experiment with placing the banned words back into their original context. I also wanted to have an image that was fully uncensored so that viewers can make their own judgements as to whether the censorship is warranted. I used the ACME License Maker to generate the images of the license plates and then I used InDesign to format the plates for printing.

Some photos of the final product displayed for class presentation:

I had a tough time starting this project because although I had a broad idea to work on the theme of censorship, I didn’t know how best to implement a full project. In the end, I am happy with the final project. I think changing the context of banned words from license plate to literature was very impactful. I was challenged through the censorship exercise because it revealed to me how subjective and many times arbitrary censorship can be. I also hope this project challenges the conception that Americans are free from censorship in their daily lives.

I wish the blacked out sentences were completely opaque on the large pages because I don’t want the audience to be able to see any of the censored materials. This is an easy fix by printing with the sentences already blacked out. I also think an extension of this project could have been leaving the banned words/sentences uncensored and blacking out all the other text. This approach would have highlighted only the banned words and removed them from the context of the novel. I think this could have also been revealing to the nature of the censored words and whether the words are justified in being banned. If I were to display this project outside of class, I would want to add a title and label to the images to explain a bit about the project. I would also want to add in my copy of On the Road  so that the audience can turn through the book and see the banned words censored on every page.


North Carolina’s list of banned vanity license plate words: The Charlotte Observer, http://www.charlotteobserver.com/news/local/article28083163.ece/BINARY/Vanity%20license%20plates%20banned%20in%20North%20Carolina%20(.pdf)

Pennsylvania’s Department of Motor Vehicle website: http://www.dmv.pa.gov/VEHICLE-SERVICES/Registration%20Plates/Pages/Personalized%20Availability.aspx

Information on the Beat Generation: http://www.online-literature.com/periods/beat.php

On the Road novel: Kerouac, Jack. On the Road. Penguin, 1972.

Acme License Maker: https://www.acme.com/licensemaker/licensemaker.cgi?text=me&state=Pennsylvania&r=1515776163

Cristian Tapia Final Remix Project- Professor Vasudevan

For my original research paper, I explored fanfiction and the role it has had on the works of original authors. I started to research notable books. I looked at Fifty Shades of Grey, The Outsiders, and The Princess Diaries. I explored how these books were created and the inspiration that fan fiction had on the authors and what their personal view on the world of fanfiction is. I found that these authors were all inspired in one way or another by fanfiction. I was interested in creating my own text based remix off of a popular work. I decided to explore the book Fifty Shades of Grey. It is a book written from the perspective of Anastasia Steele. She is the main character in the book. She is portrayed as embarrassed, timid, and submissive throughout the book, while her partner Christian Grey, is represented as a confident, dominant, and intelligent character. I wanted to flip the roles on this. In order to get a better understanding of the book, I downloaded it and analyzed the words in it. I put the words of the whole book through a program named Tagcrowd. Essentially this program recognizes the words that are used the most frequently throughout the book and tells you when these particular words appear. When I identified these words and their frequency, I made sure to use them throughout my remix. I decided to make Christian Grey the shy character and represent Anastasia Steele as the powerful confident CEO. I recreated the first chapter of the book from the perspective of Christian Grey. I used the words that recurred the most throughout the book and used several sentences from the first chapter to recreate the same scenes from the original work. I also made sure to find several details about Anastasia Steele, the new CEO, to make sure that she is described in some similarity as in the original work. I had difficulty making this piece. I had not read the original work and so I was not familiar enough to write a remix based off of it. This lead to researching summaries of the book in order to get a proper understanding of it, as well as identifying key chapters that would help me understand the role of these two characters and how they are depicted. Another struggle was making the story believable. I had to create the same environment as the original book to make sure people knew that this was a remix based off of the original piece, and that the characters now had different places and behavior in this story. I believe that I was successful and I am glad with the work that I have created. I was able to make work from a story that I originally knew nothing about

Final Project Documentation (Roopa)

Remix Final Documentation – 7 Tips on How You’re Ruining Your Relationship Slowly: A Love Formula




Acrylic paint

Articles – English and Chinese

Dried flowers

Music sheet



Old wedding portrait


Holzer Inspiration

From Jenny Holzer’s work, I was especially inspired by her text remixes and her re-contextualization of architecture, objects and location. In her series of “Inflammatory Essays,” Holzer took various quotes, both famous and non-famous, and selected fragments from them in order to construct a specific style out of remixed text. She also worked with her projection series on projecting various remixed poems and quotes onto walls, buildings, historical sites and public spaces in order to give a new and different meaning to things that might seem ordinary in daily life.

I was inspired to incorporate both of these elements into my project. I really wanted the remixed text from various love advice columns and relationship articles to be the main focus of the work, so I employed Holzer’s idea of borrowing one or two words and constructing a style around it to guide me. On the wedding dress, I chose a few prominent phrases to stand out in a remixed-text style. On the dress in larger letters are the phrases:

  • “Say I Love You”
  • “Ruining Your Relationship Slowly”
  • “Doomed Vows”
  • “Taken for Granted”
  • “Distinctive Identity”

I also wanted to give new context to the other items I incorporated into the work, such as the portrait itself, the flowers and the sheets of music. The wedding portrait obviously came from a very different context, and while it had already drastically changed in meaning since it was taken because of the scratched out faces and water damage while it was in the trash.



I started with research. While I originally wanted to cut up magazine titles to make the collage, I changed to using different article titles from the internet so I could have more to choose from. Over the course of my research, I ended up compiling hundreds of titles in both English and Chinese dealing with love, heartbreak and marriage from these sources:

  • Elle, Glamour, Gurl, Women’s Health, Cosmo, Shape, Essence, Marie Claire
  • Zhiyin, Cosmo China, Rayli

Next, I did a base layer over the background and dress to cover up some of the water damage on the original portrait and outline where I planned on filling in the dress. After that, I cut out and organized the article titles, from bigger blocks and cut out text I wanted to use in the background, to the phrases and handwritten notes for the middle, more visible layer, and finally the bigger titles that I wanted to remix into different phrases to put on top.

I worked on the dress using white acrylic paint diluted with water, first painting a layer, then crumbling, tearing and folding the cut out text into a legible but destroyed new shape, pressing it onto the fresh paint and painting over it so it stays.

The dress took a while, and after that I was able to move onto the music in the top corner above the stairs, which followed the same painting process.

After the painting was completed, I moved onto the finishing touches. My dorm room is full of dried flowers from a giant, 6-foot tall bouquet I received for Valentine’s Day, so I took a few different types of flowers and creating a little bouquet to go over the original on the portrait and glued it on. I also have a lot of old polaroid pictures, so I burned a few and glued them on the chandelier with matches.


Conclusion: Love is a Formula

Ultimately, the message I was trying to display was that today, especially in China, love is following a formula. After reading hundreds of articles about relationship advice, love and marriage, I realized that everything related to love has an answer online. So many aspects of love and a relationship, especially in the age of social media, seem to be fake, from posting couples pictures to gestures of affection to the set course of a relationship from crush to dating to engaged to marriage. It seemed to me that every advice column and magazine offered exactly the same advice, and that a relationship could be reduced to actions and stages. In my eyes, the two individuals in a relationship should be the priority.

I tried to show this contrast between “real” and fake” in a relationship by using real elements, such as flowers (from an actual Valentine’s bouquet), polaroids, and romantic music on a real wedding portrait, although in the end it still is just a portrait and not a real relationship. I also tried to incorporate symbolism, from hot and cold (demonstrated by burnt polaroids and matches and paint dripping down from the music), to advice leading to the downfall of a relationship (article titles cut up to have a different meaning).

In the end, I really enjoyed this project and being able to express myself through a remixed piece.

mis(s)representation – final project // Ewa Oberska

Mis(s)representation is a visual project that aims at bringing attention to the different ways in which males and females are represented across visuals in advertising campaigns and throughout popular media.

The project consists of two parts – the main one which comprises of a series of combined images where gender roles have been switched, and the second part that shows the original images as a point of reference and a way to emphasize how differently we perceive female and male roles.

The Process

Research: The process towards creating the series started by conducting a vast research online on the problem of sexism in advertising and popular media. The country that truly stood out in terms of the ‘casual’ sexism featured in media turned out to be the USA. Therefore, all original images come from American websites and focus on the image of women in the American culture.
Two specific companies that I found to be ‘outstanding’ in how they systematically represent women as submissive and as sexual objects are American Apparel and Tom Ford, both being fashion companies. I made sure to include images coming from these companies in my project.

Pre-manufacturing & gathering assets: Gathering sexist visuals of women in American media was only a part of my research, in fact, the easiest one. In order to Photoshop these images to switch the gender roles that they represent I also needed to collect photographs of men in similar poses as the depicted women. Needless to say, it was an extremely time-absorbing process, as there are not nearly as many images of naked men in explicit bodily poses available online as those of women. The solution I finally found was that in order to ‘build’ one male body, I would download multiple images of males and combine their body parts to make the ‘final man’. In some cases, I had to use as many as 5 different images of different males to make one, comparable to his female counterpart.

Personal image use: Due to the nature of my project, before I started creating it, I decided not to use randomly found images of males found online. Original images are a great example of sexism and diminishing the role of women, found by many offensive. Therefore, since I had no permission to use the models’ images, especially to depict them in a very poor light, I wanted to avoid offending any of the males whose images I used. For that reason, every image of a face in my project consists of at least 2-3 photographs of different faces, photoshopped and combined together, so that the identities of the models are not recognizable.

Image manipulation techniques: To achieve my final effect, I worked in Adobe Photoshop. The goal was to make the ‘remixed’ images as similar to the originals as possible. That goal was sometimes very hard to achieve given the difficulties in finding proper images to photoshop, due to lighting used in original images which was hard to re-create in Photoshop, etc. Apart from merely combining multiple images together, all altered pieces also required some touch-ups, which I did using a drawing tablet. In a few cases, instead of importing an image of, for instance, a male arm, I made the male arm through blurring, smudging and stretching tools (mostly), and drawing the shadows on top of it, etc.

Presentation & user testing: Due to the nature of the project and the fact that it is strictly based on images already existing in media, the way in which the project is supposed to be presented is a crucial part of it and has a significant influence on how it is perceived by the audience.
Through user testing, I found that first showing the original images and then the remade ones the effect was quite unimpressive. The reaction I would get was ‘well yes, it’s a problem’. On the other hand, I started showing only the remixed images which invoked much stronger feelings. Without the point of reference,  without providing the originals, the audience was much more pushed towards understanding the purpose of the project on their own, analyzing it critically on their own. In other words, the project was much more surprising and stimulating to the public. Many of my viewers, however, mentioned that they wished that after viewing the remixed images, they could see the originals and compare them. Seeing their reactions I was satisfied to notice that they were actually actively analyzing the images, and the surprise effect was much larger than if they were shown the originals first. Therefore, the project primarily consists of the remade images, with an option to view the originals.

The Project

Here are some of the images featured in my project:

Original images:

Final Project Documentation – Cassie Ulvick

Project Description

When we send or collect postcards, the picture printed onto the postcard is usually one of the better, cleaner versions of the place depicted. With this project, I painted on top of several Monet painting postcards in order to depict the environmental degradation we wouldn’t normally expect to see on a postcard. By seeing an altered familiar painting, the viewer must consider what is happening to the environment. These are the original postcards and their respective remixes:

Poppies at Argenteuil:

(Removed trees, gray sky, factory)

Water Lilies 27:

(Bottles, cans)

The Manneport (I forgot to take a picture of the unaltered postcard, this is a version of the painting instead):

(Oil drills, trash on the shore)

Garden at Sainte Adresse:

(Face masks over the people, murky water, air pollution)

Luncheon on the Grass:

(Hazy sky, face masks)

Water Lily Pond:

(Oil can, dead fish, dead lilies, oil polluted water)


The back of each postcard also has the original glued in the stamp spot:

Connection to Research

In my research paper, I discussed Banksy’s use of remix in his work, examining his street art and “Crude Oils” exhibit in particular. With his “Crude Oils” exhibit, Banksy painted on top of copies of famous paintings in order to spread a particular message. One of the themes he covered included environmental degradation, polluting Monet’s “The Water Lily Pond” with shopping carts and traffic cones. I was inspired by this particular theme of environmental degradation, as well as the process of painting on top of famous paintings as a method of contemporary art remix.


I knew I wanted to have a theme of environmental degradation, but I couldn’t get a firm grasp on a plan until I found the source material I wanted to use. Thus, the first thing I did was hunt for source material. One weekend, I went to the art section of Shanghai Foreign Bookstore hoping to find some sort of poster or cheap book to cut art out of. I ended up finding a booklet of Monet postcards, which I thought was perfect because it included several natural landscapes, and Banksy also painted on top of a Monet painting. Since they were pretty small, I figured it would be better to do a series of remix paintings.

As for deciding what exactly to paint on each postcard, my process basically involved flipping through each postcard until I could think of an environmental degradation theme that would fit a particular postcard. As for material, I started off just using acrylic paint. Stylistically, I at first tried to stick to Monet’s impressionist style when adding the changes. After the project check-ins, however, it was evident that the changes to the postcards weren’t obvious enough. In an attempt to improve this issue, I added some pen work to the postcards to try and make the changes look more graphic rather than impressionist. My logic was that if the style of the change was different from Monet’s paintings, the change would stand out more.

As for the display, there were several ideas floating around. It was suggested during project updates that I could either treat the postcards more like classical paintings when displaying them (i.e.: gold frames), or capitalize on the fact that they are postcards. Making a decision about this kind of took me a while, but I was eventually inspired by my roommate Maya’s wall:

Lucky for me, she had some leftover string and clothespins, so I pinned my remixed Monet postcards to a line of string.


I think the key to whether or not this project is successful lies in whether or not the changes I made were obvious enough. I think these changes were definitely more obvious after adding pen rather than just acrylic paint, and deciding to make the changes in a more graphic rather than impressionist style. However, I’m still unsure whether or not “Garden at St. Adresse” had obvious enough changes.

Another factor of success is the “shock” factor the viewer experiences when they view each piece. I think that the more familiar the viewer is with the original piece, the more of a “shock” factor there would be when they view the remixed version, and therefore the more effective the remix would be. In this aspect, my project probably does not have much of a shock factor. While Monet is well-known, “The Water Lily Pond” and “Luncheon on the Grass” were the only pieces in there I previously recognized. If I had seen any other original, I probably could have guessed they were painted by Monet but I couldn’t confidently say I’ve seen them before.

Overall, however, I’m satisfied with this project. I genuinely enjoyed working on it, and could see myself trying to do it again with other themes and pieces.

Final Project Proposal (Roopa)

In my final project, I plan on exploring 3D and text-based remixes by remixing an old wedding portrait to illustrate how love degrades in a modern age. I’ll be using a 3-foot tall wedding portrait that I retrieved from the trash that already has both faces scratched out. I plan on painting the background around the couple in various colors that fade from bright at the top to somber and dark colors at the bottom of the portrait. Then, using Chinese and English magazines, I’m going to collect article titles that illustrate love and flirtation as well as the downgrade of a relationship, and arrange the words so that they fall around the couple and pile at their feet. Using the source material of an actual wedding portrait as well as various magazines, I hope to create a work that illustrates the potential downfalls in a couple’s relationship.

Tyler Roman- This is the Remix- Visual Art Think Piece (Vasudevan)

For the visual remix artist I chose the artist Mr. Brainwash, an artist discovered though a film made by Banksy (The famous, anonymous street artist we learned of last class), the title of the film was Exit Through the Gift Shop.

Mr. Brainwash uses a lot visual remix in that he takes established pieces or parts of pieces and recreates the in a street art/spray paint art style. For instance, in his piece, My Heart is Yours,  he takes a portrait of Marilyn Monroe and decorates the area around her visage with a blue and green Captain America and several splatters, drips, and dollops of vibrantly colored paint. The final piece evokes the sense that like how street art represents the people so to did Marilyn Monroe, she was a cultural icon and the art I think, pays homage to that.

Similarly, there is his piece Al Pacino that does a similar thing, it takes one still image of what I presume to be from that legendary scene, and adds flair, a flash and a splash of color beyond the red of spilled blood, but instead splats of yellow, pink, a blue, in the same area a mismatch of seemingly faded paint, Captain America, and the Campbells soup cans that seem to dot various spaces around his work.

Remix is integral to MBW’s pieces because he takes these cultural icons and seemingly seamlessly blends them together with the vibrant, pop, and life of street art. The stills he uses are almost always black and white, but then they are once again brought back to life with these random, yet beautiful splashes of life, color, and chaos. Though their time has long come and gone, the subjects he portrays remain cultural icons to this day and I believe that remix, through his work, embodies the life, color, and vibrancy that they once brought to the world.

Thinkpiece: Visual Artist using Remix (Roopa)

I chose to analyze Jenny Holzer’s installation “Projections,” inspired by the War on Terror, which shows her use of remixing text to present it in an original and moving way. Holzer combined poetry by Wislawa Szymborska with declassified government documents on the wars in Iraq and Afghanistan with personal letters from soldiers, hostages, torture victims and Iraqi and Afghan locals, creating a stunning and surprisingly holistic perspective. Her source materials may seem a bit obvious at first for her theme, but the specific words she chooses to present (or not present) show the thought and time that went into selecting the works to remix.


Pieces of poems are projected across the walls in giant, newspaper-ish lettering, projecting not blunt headlines but the emotion and hurt laden in the perspective of the poetry from someone who witnessed the violence. On the walls in the other part of the exhibit, her “Redaction” paintings cut stark images, each painting containing parts of declassified documents with some words that are visible and others that are blacked out with paint. The process of redaction and painted details highlight the most shocking and gruesome aspects of the war. From lists of torture methods the US army used on prisoners, to autopsy reports to descriptions of violence, Holzer blacks out her own words and redacts them to show the shocking truth hidden under official language. For autopsy reports, Holzer has pressed the outlines of various body parts to the declassified documents, such as hands and limbs, to bring the wording into reality.


Remix is an integral part of Holzer’s work because she seeks to show the facts and accounts that we have access to but often choose to ignore. All her source material is related in theme but shows different perspectives on a gruesome war Americans know well. The injustices become obvious when stated in the very words of the documents, letters and poems, and the missing words, blacked out sections and projected pieces make it only more striking by leaving some of it untold. Users are encouraged to actively imagine the rest of the documents and stories, where only the rawest and most brutal details are preserved.


Overall, I think Holzer’s installation is very effective. It challenges attendees to think deeper about the details we may ignore or “redact” ourselves because of the painfulness of the truth. Also, her painting, curation and projections artfully display these remixed texts in a way that encourages people to interact with official documents in a way they probably never would. Holzer’s work shows originality in the most dense official documents and vastly different personal accounts.

Cristia Tapia Remix Think Piece Doug Aitken

A unique remix artist that I recently discovered is Doug Aitken. His work has focused on visual remixes. In his remix he puts together different clips and displays them in his cinematic films. After every clip of his work he shows us familiar landscapes in a sequence that does not stop for a second.

One of the popular pieces Aitken created was hysteria. It focuses on clips of different rock concerts filmed throughout the 90s. These clips do not focus on the performance of rock concerts themselves, but instead they focus on the crowd and what is going on during the main performance. The crowd is an element that is often overlooked in a concert. Aitken turns them into a remix themselves. Aitken focuses on the crowd at these concerts and gets rid of the actual performance in its entirety. It features these fans in non stop motion enjoying themselves amongst each other.

Black mirror is another piece that is created by Doug Aitken. This piece primarily focuses on non stop motion. It involves remixes of artist singing, planes flying, boats moving. This is to represent the constant motion that occurs everyday around the world. There is a motion that is always present around us that we do not notice. His black mirror piece is similar to his hysteria piece that features this crowd of people rejoicing and constantly moving as they enjoy their concert. He utilizes all of these materials that can be found in clips that are easily accessible from online. He uses these clips of concerts, clips of artist singing, and puts them back to back in order to show us that movement is everywhere in our daily lives. Remix is an important part of his work as all of the different clips show the constant movement that occurs in the world. In order to deliver his message he needed to use familiar content that we as the audience are familiar with and can relate to.