Some flying lotusFlying Lotus, aka Steven Ellison, is known for his elaborate experimentations with sound and genius remixology. Tidbit: Flying Lotus is the grand-nephew of Alice Coltrane and husband John Coltrane, first cousin to Ravi Coltrane, and grandson of Marilyn McLeod, who wrote "love Hangover" performed by Diana Ross. I got that from Wikipedia!
Process: I've generated the following introduction to Banks' Digital Griots with the help of a randomizer (Random.oirg), ultimately carrying lines of speaking notes into new possible directions through remix. —S
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Meet Dr. Adam J. Banks
Banks is from Cleveland. He studied at Cleveland State University and Penn State University, the latter for an MA and a PhD. He used to be at Syracuse. Then he spent some time at U. Kansas, at the U. Kentucky on their Digital Media faculty, and now teaches at Stanford U. He also wrote Race, Rhetoric, and Technology: Searching for Higher Ground (2005). I took this information from his website, but he suggests resistance to a "bio" of official-like sorts—I encourage you to read what he actually wrote here.
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intersectionality. “beware the manipulation of the funk.” eBlack. bonding time. multimodalities Kathleen Yancey remix as concept. instruction that accommodates for constant shifts and disruptions in technologies. “DJs are not mere ventriloquists.” skills to produce. the college as-it-is, a source of strife. Toni Morrison rememory or remembering to remember. who’s conception of internet design, internet standards. re-mix, re-vision. “Saying that the Digital Divide is closing because minorities have greater access to computers is like saying minorities have a stake in the automobile industry because they drive cars—Dr. Mark Dean. fuck monolithic content make the mixtape.
Beloved Community. Afrodigitized. Questlove holds a party for his new job at NYU, free champagne and students are given front row seats told to “take notes.” a nearly free space for the imagination to encode itself. move the crows. mixtape as anthology. Afrika Bambaataa criticises new hip hop generation for prioritizing capital over resistance. Chuck D: hip hop is black people’s CNN. canon formation. the griot as vocal instrument of history. locating one’s self in a digital community. Afrofuturism beyond the “utopian/dystopian polemic.” “without taking refuge in nostalgia.” to be or not to be your avatar. digital divide 2.0, Stephanie Vie.
Geoffrey Sirc on mixtape culture performance function of digital literacy. DJing is writing. Michael Jackson write the soundtrack to Sonic 3. keeping culture, telling stories. to “wiki with the audience.” the internet, assemblage. not best practices best mix. DJing is writing. copright or copyleft. mixtape as textbook. “animation is ‘built on plagiarism’” what is important enough to loop. juke joint community education. Bronx 1973. “an intellectual honesty that demands self-critique as well as systemic critique.” DJing is writing. the black techno-dialogic, Dinerstein and Weheliye. to “lower ourselves more deeply” shoutout. synchronize. crate-digging as research. Writing is Djing.
Writing is Djing. what is originality? to demo an idea. the what it is as opposed to the what it ought to be. Digital Millennium Copyright Act 1998 kills local radio DJ. de-systematize. “don’t let the market economy live in us.” layered connective humanistic inquiry. a collage of wants. radical democracy. destabilize Hush Harbor rhetoric. hybridize King/Malcolm ideologies. Writing is Djing. plagiarism double-standards amongst professional writers. “P-Funk gets sampled in gospel music.” the argument from “old school,” rummaging for history, a remix of memory. Kanye West renaming renaming everything no one knows what his album is called even after arrives, what’s on it or where to find it, deemed madman instead of culturally relevant by many, Tweets white critics should just leave hip hop alone. remix culture.
Beloved Community. Afrodigitized. Questlove holds a party for his new job at NYU, free champagne and students are given front row seats told to “take notes.” a nearly free space for the imagination to encode itself. move the crows. mixtape as anthology. Afrika Bambaataa criticises new hip hop generation for prioritizing capital over resistance. Chuck D: hip hop is black people’s CNN. canon formation. the griot as vocal instrument of history. locating one’s self in a digital community. Afrofuturism beyond the “utopian/dystopian polemic.” “without taking refuge in nostalgia.” to be or not to be your avatar. digital divide 2.0, Stephanie Vie.
Geoffrey Sirc on mixtape culture performance function of digital literacy. DJing is writing. Michael Jackson write the soundtrack to Sonic 3. keeping culture, telling stories. to “wiki with the audience.” the internet, assemblage. not best practices best mix. DJing is writing. copright or copyleft. mixtape as textbook. “animation is ‘built on plagiarism’” what is important enough to loop. juke joint community education. Bronx 1973. “an intellectual honesty that demands self-critique as well as systemic critique.” DJing is writing. the black techno-dialogic, Dinerstein and Weheliye. to “lower ourselves more deeply” shoutout. synchronize. crate-digging as research. Writing is Djing.
Writing is Djing. what is originality? to demo an idea. the what it is as opposed to the what it ought to be. Digital Millennium Copyright Act 1998 kills local radio DJ. de-systematize. “don’t let the market economy live in us.” layered connective humanistic inquiry. a collage of wants. radical democracy. destabilize Hush Harbor rhetoric. hybridize King/Malcolm ideologies. Writing is Djing. plagiarism double-standards amongst professional writers. “P-Funk gets sampled in gospel music.” the argument from “old school,” rummaging for history, a remix of memory. Kanye West renaming renaming everything no one knows what his album is called even after arrives, what’s on it or where to find it, deemed madman instead of culturally relevant by many, Tweets white critics should just leave hip hop alone. remix culture.
Seth Graves is a Ph.D. student in English at the Graduate Center, City University of New York, and teaches at Pace University and John Jay College of Criminal Justice. His journalism, poetry and reviews have appeared most recently in Boog City, Bort Quarterly; H_NGM_N; Barrow Street; No, Dear; and The Boiler Journal. He is Associate Editor of Coldfront Magazine.
