What can we take away from this transversal reading of feminist new materialism, critical and media theory, and remix studies, with respect to cutting as an affirmative material-discursive practice—especially where this reading concerns how remix and the cut can performatively critique the established humanist notions such as authorship, authority, quality and fixity underlying scholarly book publishing? How can this reading trigger alternatives to the political economy of book publishing, with the latter’s current focus on ownership and copyright and the book as a consumer object? This (re-)reading of remix might pose potential problems for our idea of critique and ethics when notions of stability, objectivity and distance tend to disappear. The question is, then: how can we make ethical, critical cuts in our scholarship whilst at the same time promoting a politics of the book that is open and responsible to change, difference and the inevitable exclusions that result?
To read more, go to: On Liquid Books and Fluid Humanities (part III)