ABSTRACT
The realpolitik of the conjugations of remix is especially problematic in terms of the temporal vectors of consumption previously described, of when, if at all, we encounter any cultural text. Navas is an apologist for a synchronic theory of remix that is at odds with the 'pure and unrelated presents in time' that Jameson has articulated in the name of postmodernity. Navas's 'recognition of a pre-existing cultural code' is an implied idealism, a textual hypermnesia that simulates omniscience in the inhuman time of the archive and artificial memory. In an age of media superfluity, do-it-yourself (DIY) prowess and anything instantly, this troubled and troublesome specter of ventriloquism makes it difficult to know what is the mix and what is the remix. But more troubling than a conjugation of tense, the anachronistic practice of remix is more akin to time travel and haunting.
