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"Chance is the providence of adventurers."
 
- Napoleon Bonaparte -
    Vannevar "Mixmaster Memex" Bush
Ask DJ Van B!
 
  Bush's 'trail' functions as an associative thread. In his era, the idea of interconnecting ideas within a machine which could be shared across a network with others interested in similar ideas, or trails of subject matter, was an unrealized, but desirable potential. Circa 2003, to a large extent the Web-and-PC duality serve this purpose. But not to an entirely satisfactory end - otherwise postmodern tendencies would cease to attempt to force together things of seemingly disparate meaning (or at least to personalize) in order to cull a new conversation between elements somehow inter-connected via previously unseen themes.  
  The mash-ups, or the practice of pairing elements of a song or entire songs together to create a third 'new song', prove this point. Ideas exist in community, and postmodern human beings find themselves regularly fiddling with objects which typically seem fixed or static in order to make them fluid again. Mash-ups in and of themselves are audio art objects generated as response to a current trend whose ambition is to make 'bastard pop', rather than compelling, enduring work of 'high-theoretical' importance. But the intention and drive which motivates this process stems from a higher critical view which observes the pattern versus the sequence - which takes a static object's parts and foresees their interplay within a larger continuous whole which can be edited, remixed, annotated...  
  Sitting in a chair with a pair of headphones, listening to a collection of mash-ups maintains a finite trajectory of interest. Passive interactivity is also not interesting - checking a box and clicking "render" and getting the same or very similar results as everyone else dampens excitement about engaging in so-called interactive interfaces. Active-response artwork and web interface interaction, coupled with an impetus to personalize and create trails, is far more compelling and enduring; communal, personalized, yet public trails offer an opportunity for fascinating responses. But the key underlying element still must be a process which causes a shift in perception thus affecting how the mind responds to itself and to its own individualized trails of associative patterning.
  Getting one's awareness into the mash-up state helps to synthesize artistic sensibilities, emotions, reflections and psychological impulses and to view the fragmented pieces as part of a larger pattern. Thomas de Quincy found his mash-up equivalent in the liberal use of opium, and began to map the inter-relationship between seemingly disparate elements while under the influence of the substance. The use of opium helped De Quincy to perceive events as they emerged through the patterning evidenced by the mediating agent (opium) which enabled him to see events differently, as though they possessed inherent interweavings in a labyrinth of sense data, and thereby he found meaning in his activity.  
  A mediated act doesn't necessarily have to communicate meaning - it can be solely for one's own pleasure - preferably as long as this action is perceived as a mediating agent, a reflective tool which comes between perception-arousing events, not to be confused with 'art for art's sake'. For as Hakim Bey explains, "literal art for art's sake would produce nothing but impotence and nullity. . . . The idea that art can be voided of political meaning appeals now only to those literal cretins who wish to excuse 'pornography' or other forbidden aesthetic games on the grounds that 'it's only art' and hence can change nothing. (I hate these assholes worse than Jesse Helms; at least he still believes that art has power!)"