The Cultural Logic Of The Remix
Upcoming SlideShare
Loading in...5
×
 

Like this? Share it with your network

Share

The Cultural Logic Of The Remix

on

  • 1,787 views

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

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

Statistics

Views

Total Views
1,787
Views on SlideShare
1,566
Embed Views
221

Actions

Likes
2
Downloads
17
Comments
0

8 Embeds 221

http://kirakiraka.blogspot.jp 127
http://kirakiraka.blogspot.com 71
http://sunspace.sunderland.ac.uk 9
http://www.slideshare.net 7
http://webcache.googleusercontent.com 3
http://vista.sunderland.ac.uk 2
http://sunspace.sunderland.ac.uk:80 1
http://kirakiraka.blogspot.kr 1
More...

Accessibility

Categories

Upload Details

Uploaded via as Microsoft PowerPoint

Usage Rights

© All Rights Reserved

Report content

Flagged as inappropriate Flag as inappropriate
Flag as inappropriate

Select your reason for flagging this presentation as inappropriate.

Cancel
  • Full Name Full Name Comment goes here.
    Are you sure you want to
    Your message goes here
    Processing…
Post Comment
Edit your comment

The Cultural Logic Of The Remix Presentation Transcript

  • 1. MAC351 [email_address]
  • 2.
    • Web 2.0 and ‘remix culture’
    • The origins of the remix
    • Creativity or piracy? A war of words
    • The ‘mash-up’
    • Legal threats
  • 3.
    • harness/exploit the collective wisdom and effort of their users
    • trust and respect users; treat them as co–developers rather than consumers
    • are open to — and encourage — remixing, hacking and sharing, with permissive licensing, open standards and programming languages, freely available application programming interfaces (APIs) etc
      • (O’Reilly cited in Allen, 2008)
  • 4. Democratising tools which throw the old rules into disarray (Lasica, 2005: 2)
  • 5.
    • D e mographic born between 1977-1996
    • First to ‘ grow up in a digital age … bathed in bits ’
      • (Tapsoctt & Williams, 2008: 47)
    • Driven by a desire ‘ for choice, convenience, customization and control by designing, producing and distributing products themselves ’
      • (ibid: 52)
  • 6.
    • ‘ 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’
      • (Tapscott & Williams, 2008: 52)
  • 7.
  • 8.
  • 9.
  • 10.
    • 19% of online teens
    • 18% of online adults
    • remixed content gathered from other sources into a new creation
      • (Lenhart and Madden, 2005)
  • 11.
    • Film
    • The Phantom Edit
    • Raiders of the Lost Ark: The Adaptation
    • Fan-made trailers?
  • 12.
    • Fashion
  • 13.
    • Art
    Nick Út Banksy
  • 14.
    • Video Games
  • 15.
    • Pro-sumers (Toffler, 1980)
    • User Generated Content
      • Mash-up/mix compilations?
      • Blog posts?
      • Presentations?
      • Photos?
      • Machinima?
      • Video?
  • 16.
  • 17. See also M a tt Mason, 2008, The Pirate’s Dilemma for details
  • 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.
    • 1962 – Jamaican independence
    • 1964 – Reid built recording studio
    • 1967 – The Paragons
    Rudolph ‘Ruddy’ Redwood & Byron Smith
  • 20.
    • 1972 – Botel club, Fire Island, New York
  • 21.
    • 1967 – Clive Campbell arrives in the Bronx
    • AKA DJ Kool Herc
    http://www.youtube.com/watch?v=Qjnc-X-Vfyg
  • 22.
  • 23.
  • 24.
  • 25.
  • 26.
  • 27.
  • 28.
  • 29.
  • 30.
  • 31.
    • John Shiga, 2007, ‘Copy and Persist’
    • Good Copy, Bad Copy (2007, Denmark)
      • http://www.goodcopybadcopy.net/
  • 32.
  • 33.
    • The ‘cult of the amateur’ (Carr, 2005)
    • “ mass culture provides the building blocks for the stuff we create” (Lessig in Lasica, 2005)
  • 34.
    • ‘ a culture of contempt for intellectual property’
    • IFPI (2007): cost to the US music industry = $12.6 billion
  • 35.
    • lobbying for legislative changes
    • court actions
    • education and propaganda campaigns
    • technological means
    • For more info see Allen (2008) and L e ssig (2004)
  • 36. Copyright Term Extension Act
  • 37.
  • 38. http://www.youtube.com/watch?v=VlPkIS-uNMk
  • 39.
  • 40.
  • 41.
  • 42.
  • 43.
    • Less than 2% of works have any continuing commercial value (Lessig, 2004)
    • CTEA = Mickey Mouse act?
    • ‘ Rent-seeking’?
    • Stifling creativity?
  • 44.
    • Is the remix a cultural norm and if so, is it under threat?
    • Is there any value or significance to the remix as a cultural practice?
    • Does existent copyright law restrict creativity?
    • Does copyright law go far enough?
  • 45.
    • 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
    • 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
    • N. Carr, 2005. “The amorality of Web 2.0,” Rough Type, http://www.roughtype.com/archives/2005/10/the_amorality_o.php
    • Jeff Chang, 2005, Can’t Stop Won’t Stop: A History of the Hip-Hop Generation , St. Martin's Press
    • J. D. Lasica, 2005, Darknet: Hollywood’s war against the digital generation, Hoboken, N.J.: Wiley.
    • Lawrence Lessig, 2004, Free Culture: The nature and future of creativity, London: Penguin, http://www.free-culture.cc/freeculture.pdf
    • 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
    • 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
    • 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
    • Simon Reynolds, 2006, Rip It Up & Start Again , London: Faber
    • Barry Sandywell & David Beer, 2005, ‘Stylistic Morphing: Notes on the Digitisation of Contemporary Music Culture’, Convergence , Vol 11, No 4.
    • 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
    • Don Tapscott & Anthony D Williams, 2008, Wikinomics: How mass collaboration changed everything , London: Atlantic Books
    • A l vin Toffler, 1980, The Third Wave , Morrow.