YouTube features a wide array of multimodal musical figurations including fan-made music
videos musical aestheticizations of pre-circulating content and musical self-performances.
Jonas Wolf explores open-ended forms of musical creative relay on YouTube delving into formal
imitative affective and (non-)institutional aspects of networked media remix and
(self-)aestheticisation. Beyond creating value for non-musical fields of discourse this study
is directed at filling a gap in a largely ocularcentric domain of study. It provides a concise
theory of vernacular composition within our time's total digital archive that accounts for
socio-aesthetic phenomena and their relation to systems of knowledge control and discourse.
