MAC351 [email_address]
<ul><li>Web 2.0 and ‘remix culture’ </li></ul><ul><li>The origins of the remix </li></ul><ul><li>Creativity or piracy? A w...
<ul><li>harness/exploit the collective wisdom and effort of their users </li></ul><ul><li>trust and respect users; treat t...
Democratising tools which throw the old rules into disarray (Lasica, 2005: 2)
<ul><li>D e mographic born between 1977-1996 </li></ul><ul><li>First to ‘ grow up in a digital age  … bathed in bits ’  </...
<ul><li>‘ The ability to remix media, hack products, or otherwise tamper with consumer culture is their birthright, and th...
<ul><li>19% of online teens </li></ul><ul><li>18% of online adults </li></ul><ul><li>remixed content gathered from other s...
<ul><li>Film </li></ul><ul><li>The Phantom Edit </li></ul><ul><li>Raiders of the Lost Ark: The Adaptation </li></ul><ul><l...
<ul><li>Fashion </li></ul>
<ul><li>Art </li></ul>Nick Út Banksy
<ul><li>Video Games </li></ul>
<ul><li>Pro-sumers (Toffler, 1980) </li></ul><ul><li>User Generated Content </li></ul><ul><ul><li>Mash-up/mix compilations...
See also M a tt Mason, 2008,  The Pirate’s Dilemma  for details
‘ All any prime minister had to do to gauge the winds was to listen closely to the week’s 45 rpm single releases; they wer...
<ul><li>1962  –  Jamaican independence </li></ul><ul><li>1964  –  Reid built recording studio </li></ul><ul><li>1967  –  T...
<ul><li>1972  –  Botel club, Fire Island, New York </li></ul>
<ul><li>1967  –  Clive Campbell arrives in the Bronx </li></ul><ul><li>AKA DJ Kool Herc </li></ul>http://www.youtube.com/w...
<ul><li>John Shiga, 2007, ‘Copy and Persist’ </li></ul><ul><li>Good Copy, Bad Copy  (2007, Denmark) </li></ul><ul><ul><li>...
<ul><li>The ‘cult of the amateur’ (Carr, 2005) </li></ul><ul><li>“ mass culture provides the building blocks for the stuff...
<ul><li>‘ a culture of contempt for intellectual property’ </li></ul><ul><li>IFPI (2007): cost to the US music industry = ...
<ul><li>lobbying for legislative changes </li></ul><ul><li>court actions </li></ul><ul><li>education and propaganda campai...
Copyright Term Extension Act
http://www.youtube.com/watch?v=VlPkIS-uNMk
<ul><li>Less than 2% of works have any continuing commercial value (Lessig, 2004) </li></ul><ul><li>CTEA = Mickey Mouse ac...
<ul><li>Is the remix a cultural norm and if so, is it under threat? </li></ul><ul><li>Is there any value or significance t...
<ul><li>B. Alexander, 2006. “Web 2.0: A new wave of innovation for teaching and Learning?”  EDUCAUSE Review , volume 41, n...
The Cultural Logic Of The Remix
Upcoming SlideShare
Loading in...5
×

The Cultural Logic Of The Remix

1,042

Published on

Lecture slides used from a presentation to Level 3 students on the Popular Music course as the University of Sunderland

Published in: Education, Technology
0 Comments
2 Likes
Statistics
Notes
  • Be the first to comment

No Downloads
Views
Total Views
1,042
On Slideshare
0
From Embeds
0
Number of Embeds
3
Actions
Shares
0
Downloads
18
Comments
0
Likes
2
Embeds 0
No embeds

No notes for slide

The Cultural Logic Of The Remix

  1. 1. MAC351 [email_address]
  2. 2. <ul><li>Web 2.0 and ‘remix culture’ </li></ul><ul><li>The origins of the remix </li></ul><ul><li>Creativity or piracy? A war of words </li></ul><ul><li>The ‘mash-up’ </li></ul><ul><li>Legal threats </li></ul>
  3. 3. <ul><li>harness/exploit the collective wisdom and effort of their users </li></ul><ul><li>trust and respect users; treat them as co–developers rather than consumers </li></ul><ul><li>are open to — and encourage — remixing, hacking and sharing, with permissive licensing, open standards and programming languages, freely available application programming interfaces (APIs) etc </li></ul><ul><ul><li>(O’Reilly cited in Allen, 2008) </li></ul></ul>
  4. 4. Democratising tools which throw the old rules into disarray (Lasica, 2005: 2)
  5. 5. <ul><li>D e mographic born between 1977-1996 </li></ul><ul><li>First to ‘ grow up in a digital age … bathed in bits ’ </li></ul><ul><ul><li>(Tapsoctt & Williams, 2008: 47) </li></ul></ul><ul><li>Driven by a desire ‘ for choice, convenience, customization and control by designing, producing and distributing products themselves ’ </li></ul><ul><ul><li>(ibid: 52) </li></ul></ul>
  6. 6. <ul><li>‘ The ability to remix media, hack products, or otherwise tamper with consumer culture is their birthright, and they won't let outmoded intellectual property laws stand in their way’ </li></ul><ul><ul><li>(Tapscott & Williams, 2008: 52) </li></ul></ul>
  7. 7.
  8. 8.
  9. 9.
  10. 10. <ul><li>19% of online teens </li></ul><ul><li>18% of online adults </li></ul><ul><li>remixed content gathered from other sources into a new creation </li></ul><ul><ul><li>(Lenhart and Madden, 2005) </li></ul></ul>
  11. 11. <ul><li>Film </li></ul><ul><li>The Phantom Edit </li></ul><ul><li>Raiders of the Lost Ark: The Adaptation </li></ul><ul><li>Fan-made trailers? </li></ul>
  12. 12. <ul><li>Fashion </li></ul>
  13. 13. <ul><li>Art </li></ul>Nick Út Banksy
  14. 14. <ul><li>Video Games </li></ul>
  15. 15. <ul><li>Pro-sumers (Toffler, 1980) </li></ul><ul><li>User Generated Content </li></ul><ul><ul><li>Mash-up/mix compilations? </li></ul></ul><ul><ul><li>Blog posts? </li></ul></ul><ul><ul><li>Presentations? </li></ul></ul><ul><ul><li>Photos? </li></ul></ul><ul><ul><li>Machinima? </li></ul></ul><ul><ul><li>Video? </li></ul></ul>
  16. 16.
  17. 17. See also M a tt Mason, 2008, The Pirate’s Dilemma for details
  18. 18. ‘ All any prime minister had to do to gauge the winds was to listen closely to the week’s 45 rpm single releases; they were like political polls set to melody and riddim’ (Jeff Chang, 2005: 31).
  19. 19. <ul><li>1962 – Jamaican independence </li></ul><ul><li>1964 – Reid built recording studio </li></ul><ul><li>1967 – The Paragons </li></ul>Rudolph ‘Ruddy’ Redwood & Byron Smith
  20. 20. <ul><li>1972 – Botel club, Fire Island, New York </li></ul>
  21. 21. <ul><li>1967 – Clive Campbell arrives in the Bronx </li></ul><ul><li>AKA DJ Kool Herc </li></ul>http://www.youtube.com/watch?v=Qjnc-X-Vfyg
  22. 22.
  23. 23.
  24. 24.
  25. 25.
  26. 26.
  27. 27.
  28. 28.
  29. 29.
  30. 30.
  31. 31. <ul><li>John Shiga, 2007, ‘Copy and Persist’ </li></ul><ul><li>Good Copy, Bad Copy (2007, Denmark) </li></ul><ul><ul><li>http://www.goodcopybadcopy.net/ </li></ul></ul>
  32. 32.
  33. 33. <ul><li>The ‘cult of the amateur’ (Carr, 2005) </li></ul><ul><li>“ mass culture provides the building blocks for the stuff we create” (Lessig in Lasica, 2005) </li></ul>
  34. 34. <ul><li>‘ a culture of contempt for intellectual property’ </li></ul><ul><li>IFPI (2007): cost to the US music industry = $12.6 billion </li></ul>
  35. 35. <ul><li>lobbying for legislative changes </li></ul><ul><li>court actions </li></ul><ul><li>education and propaganda campaigns </li></ul><ul><li>technological means </li></ul><ul><li>For more info see Allen (2008) and L e ssig (2004) </li></ul>
  36. 36. Copyright Term Extension Act
  37. 37.
  38. 38. http://www.youtube.com/watch?v=VlPkIS-uNMk
  39. 39.
  40. 40.
  41. 41.
  42. 42.
  43. 43. <ul><li>Less than 2% of works have any continuing commercial value (Lessig, 2004) </li></ul><ul><li>CTEA = Mickey Mouse act? </li></ul><ul><li>‘ Rent-seeking’? </li></ul><ul><li>Stifling creativity? </li></ul>
  44. 44. <ul><li>Is the remix a cultural norm and if so, is it under threat? </li></ul><ul><li>Is there any value or significance to the remix as a cultural practice? </li></ul><ul><li>Does existent copyright law restrict creativity? </li></ul><ul><li>Does copyright law go far enough? </li></ul>
  45. 45. <ul><li>B. Alexander, 2006. “Web 2.0: A new wave of innovation for teaching and Learning?” EDUCAUSE Review , volume 41, number 2, pp. 32–44 , http://www.educause.edu/ir/library/pdf/erm0621.pdf </li></ul><ul><li>Peter J Allen, 2008, ‘Rip, mix, burn … sue … ad infinitum: The effects of deterrence vs voluntary cooperation on non-commercial online copyright infringing behaviour’, First Monday , Vol 13, No 9, http://www.uic.edu/htbin/cgiwrap/bin/ojs/index.php/fm/issue/view/269 </li></ul><ul><li>N. Carr, 2005. “The amorality of Web 2.0,” Rough Type, http://www.roughtype.com/archives/2005/10/the_amorality_o.php </li></ul><ul><li>Jeff Chang, 2005, Can’t Stop Won’t Stop: A History of the Hip-Hop Generation , St. Martin's Press </li></ul><ul><li>J. D. Lasica, 2005, Darknet: Hollywood’s war against the digital generation, Hoboken, N.J.: Wiley. </li></ul><ul><li>Lawrence Lessig, 2004, Free Culture: The nature and future of creativity, London: Penguin, http://www.free-culture.cc/freeculture.pdf </li></ul><ul><li>J. Litman, 2000. “The demonization of piracy,” Proceedings of CFP 2000: Challenging the Assumptions. The Tenth Conference on Computers, Freedom & Privacy (6 April, Toronto, Canada), at http://www-personal.umich.edu/~jdlitman/papers/demon.pdf </li></ul><ul><li>Matt Mason, 2008, The Pirates Dilemma: How hackers, punk capitalists and graffiti millionaires are remixing our culture and changing the world , London: Allen Lane, http://thepiratesdilemma.com/download-the-book </li></ul><ul><li>T. O’Reilly, 2005. “What is Web 2.0? Design patterns and business models for the next generation of software, http://www.oreillynet.com/pub/a/oreilly/tim/news/2005/09/30/what-is-web-20.html </li></ul><ul><li>Simon Reynolds, 2006, Rip It Up & Start Again , London: Faber </li></ul><ul><li>Barry Sandywell & David Beer, 2005, ‘Stylistic Morphing: Notes on the Digitisation of Contemporary Music Culture’, Convergence , Vol 11, No 4. </li></ul><ul><li>žJohn Shiga, 2007, ‘Copy-and-Persist: The Logic of Mash-Up Culture’ in Critical Studies in Media Communication , Volume 24, Number 2, pp. 93-114 </li></ul><ul><li>Don Tapscott & Anthony D Williams, 2008, Wikinomics: How mass collaboration changed everything , London: Atlantic Books </li></ul><ul><li>A l vin Toffler, 1980, The Third Wave , Morrow. </li></ul>

×