the cultural logic of the remix
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Web 2.0 and ‘remix culture’ The origins of the remix Creativity or piracy? A war of words The ‘mash-up’ Legal threats
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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)
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Democratising tools which throw the old rules into disarray(Lasica, 2005: 2)
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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)
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‘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)
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19% of online teens 18% of online adults
remixed content gathered from other sources into a new creation (Lenhart and Madden, 2005)
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Film The Phantom Edit Raiders of the Lost Ark: The Adaptation Fan-made trailers?
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Fashion
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Art
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Nick Út Banksy
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Video Games
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Pro-sumers (Toffler, 1980) User Generated Content
Mash-up/mix compilations?Blog posts?Presentations?Photos?Machinima?Video?
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See also Matt Mason, 2008, The Pirate’s Dilemma for details
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‘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).
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1962 – Jamaican independence 1964 – Reid built recording studio 1967 – The Paragons
Rudolph ‘Ruddy’ Redwood& Byron Smith
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1972 – Botel club, Fire Island, New York
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1967 – Clive Campbell arrives in the Bronx
AKA DJ Kool Herc
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http://www.youtube.com/watch?v=Qjnc-X-Vfyg
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John Shiga, 2007, ‘Copy and Persist’
Good Copy, Bad Copy (2007, Denmark)http://www.goodcopybadcopy.net/
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The ‘cult of the amateur’ (Carr, 2005) “mass culture provides the building
blocks for the stuff we create” (Lessig in Lasica, 2005)
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‘a culture of contempt for intellectual property’
IFPI (2007): cost to the US music industry = $12.6 billion
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lobbying for legislative changes court actions education and propaganda campaigns technological means
For more info see Allen (2008) and Lessig (2004)
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Copyright Term Extension Act
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http://www.youtube.com/watch?v=VlPkIS-uNMk
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Less than 2% of works have any continuing commercial value (Lessig, 2004)
CTEA = Mickey Mouse act? ‘Rent-seeking’? Stifling creativity?
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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?
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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. John 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 Alvin Toffler, 1980, The Third Wave, Morrow.
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