1. Mike Snider, “Maya Muscles its Way into Hollywood film awards”, USA Today, 25 March, 2003, (23 June, 2007) >http://www.usatoday.com/life/movies/movieawards/oscars/2003-03-19-maya_x.htm<
2. This is my own definition extending Lawrence Lessig’s definition of Remix Culture based on the activity of “Rip, Mix and Burn.” Lessig is concerned with copyright issues; my definition of Remix is concerned with aesthetics and its role in political economy. See Lawrence Lessig, The Future of Ideas (New York: Vintage, 2001), 12–15.
3. For some good accounts of DJ Culture see Bill Brewster and Frank Broughton, Last Night a DJ Saved my Life (New York: Grover Press, 2000); Ulf Poschardt, DJ Culture (London: Quartet Books, 1998), 193–194; Javier Blánquez, Omar Morera, Editors, Loops: Una historia de la música electrónica (Barcelona: Reservoir Books, 2002).
4. I use the term “spectacular” after Guy Debord’s theory of the Spectacle and Walter Benjamin’s theory of Aura. We can note that the object develops its cultural recognition, not on cult value, but exhibit value (following Benjamin), because it depends on the spectacle (following Debord) for its mass cultural contribution. See Guy Debord, The Society of the Spectacle (New York: Zone Books, 1995), 110–117; Walter Benjamin, “The Work of Art in the Age of Mechanical Reproduction”, Illuminations (New York, Schocken, 1968), 217–251.
5. Brewster, 2000, 178–79.