Revised slides used in the third year music module

1. The cultural logic of the ‘remix’ MAC351 robert.jewitt@sunderland.ac.uk 1

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4. Overview Web 2.0 and ‘remix culture’ The origins of the remix Creativity or piracy? A war of words The ‘mash-up’ Legal threats 4

5. Essential reading 5

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7. harness/exploit the collective wisdom and effort of their users 7

8. harness/exploit the collective wisdom and effort of their users trust and respect users, and treat them as co–developers rather than consumers 8

9. harness/exploit the collective wisdom and effort of their users trust and respect users, and 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) 9

10. Web 2.0 10 Democratising tools which throw the old rules into disarray (Lasica, 2005: 2)

11. N-Geners Demographic 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) 11

12. N-Geners ‘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) 12

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17. US ‘remixers’? 19% of online teens 18% of online adults remixed content gathered from other sources into a new creation (Lenhart and Madden, 2005) 17

18. The remix as cultural norm Film The Phantom Edit Raiders of the Lost Ark: The Adaptation 18

19. The remix as cultural norm Fashion 19

20. The remix as cultural norm Art 20 Nick Út Banksy

21. The remix as cultural norm Video Games 21

22. The remix as cultural norm User Generated Content Mash-up/mix compilations? Blog posts? Presentations? Photos? Machinima? AMV? Video? 22

23. History: the origins of the remix 23

24. Part 1 – the ‘dub’ 24 See also Matt Mason, 2008, The Pirate’s Dilemma for details

25. ‘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). Arthur ‘Duke’ Reid: “King of Sound & Blues” 1956, 1957 and 1958 25

26. 1962 – Jamaican independence 1964 – Reid built recording studio 1967 – The Paragons Rudolph ‘Ruddy’ Redwood & Byron Smith 26

27. Part 2 – the ‘edit’ 1972 –Botel club, Fire Island, New York 27

28. Part 3 – the breakdown 1967 – Clive Campbell arrives in the Bronx AKA DJ KoolHerc 28

29. Creativity or piracy? A war of words 29

30. ‘‘We might anticipate a new music based on reworking MP3 recordings pulled from the Internet . . . . In this respect, the Internet is more than just a means of distribution, it becomes a raison d’eˆtre for a culture based on audio data’’ (Riddell, 2001, p.341 cited in Shiga, 2007: 94) 30

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32. Now? 32

33. The ‘mash-up’ 33

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35. http://www.myspace.com/djsunderlandhttp://www.mashuptown.com/2007/03/dj_sunderland_s.html 35

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37. On WebCT John Shiga, 2007, ‘Copy and Persist’ Good Copy, Bad Copy (2007, Denmark) 37

38. Legal threats 38

39. The ‘cult of the amateur’ (Carr, 2005) “mass culture provides the building blocks for the stuff we create” (Lessig in Lasica, 2005) 39

40. Fair use/dealing ‘a culture of contempt for intellectual property’ IPI (2007): cost to the US music industry = $12.6 billion 40

41. Industry response lobbying for legislative changes court actions education and propaganda campaigns technological means For more info see Allen (2008) and Lessig (2004, 2008) 41

42. Copyright Term Extension Act 42

43. ‘Piracy used to be about folks who made and sold large numbers of counterfeit copies. Today, the term “piracy” seems to describeany unlicensed activity, especially if the person engaging in it is a male teenager. The content industry calls some things that are unquestionably legal “piracy”’. Litman, 2000: 7-8 43

44. Original or derivative? 44

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46. http://remix.nin.com/ 46

47. http://www.djsasha.com/mailer/ 47

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51. Copyright law? Technological shifts Cultural shifts Legal shifts If you were sued every time you accidentally violated copyright law in a single day how much would you owe? DMCA Fair use/dealing Sonny Bono Copyright Term Extension Act 51

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53. Conclusion Less than 2% of works have any continuing commercial value (Lessig, 2004) CTEA = Mickey Mouse act? ‘Rent-seeking’? Stifling creativity? 53

54. Questions 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? 54

55. Sources 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, 2008, Remix: Making art and commerce thrive in the hybrid economy, London: Bloomsbury 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 William Patry, 2009, Moral Panics and the Copyright Wars, London: Oxford University Press Simon Reynolds, 2006, Rip It Up & Start Again, London: Faber 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 55

56. Check this out Larry Lessig, 2007, TED, http://www.ted.com/talks/larry_lessig_says_the_law_is_strangling_creativity.html Michael Masnick, 2009, MIDEM09, http://www.youtube.com/watch?v=Njuo1puB1lg 56