Enthusiasm is infectious and as word of the first RMX project spread, we gathered together a troop of keen participants – this time from across the world – Switzerland, Sweden, Germany, Japan, Hong Kong, the US and the UK.
Players were required to work only in vectors (for infinite editing and scaling, and ease of emailing) and only use fonts designed by themselves (to encourage more illustrative responses). Without the advantage of meetings to enforce the weekly deadlines, it was simply the promise of being part of something bigger than one's self that kept the momentum charging. Again, players were not aware of who proceeded or followed them and the final pieces were only revealed at the end of the process.
This resulted in some serendipitous sequences. In "Bend Your Knees" Less Rain's car was pulled apart – vector piece by vector piece by Norm – and laid out systematically across the page. When Chris Rehberger received the file it was not at all obvious what had come before. And yet, satisfyingly, he fitted the puzzle pieces back together and the car re-emerged.
It's a game and interaction is key. The "best" remixes are often not necessarily the "best" outcome as a finished product but as part of the process they delight and entertain. As a result, viewing the sequences takes time and patience – flipping back and forth to ascertain exactly what happened at what point and pondering the role of the ego in creation.
Continuing the tradition of music remixing, visual remixers recorded a cheery "hello" and these formed the basis of the soundtrack for RMX: the sequel.