ABSTRACT
This introduction presents an overview of the key concepts discussed in the subsequent chapters of this book. The book focuses on medium specificity, arguing for the specificity of remix in relation to other forms of intertextual media. It discusses the visual semiotic capabilities of remix in relation to non-remixed content and how the presence of sampled material alters the process of perception. The book deals with the potential of remix to function as a form of visual argumentation, situating the analysis within the discourse of visual rhetoric. It also focuses on the use of Critical remix videos (CRVs) as ideology critique, promoting a social libertarian worldview, while considering the limitations of cultural artifacts that succumb to ideological contradictions. The book explores the nature of CRVs through the lens of medium specificity and considers definitions, taxonomies, and aesthetic concerns, extending the discourse on video art in the digital age to include remix.
