Remix Culture

The U.S. Digital Millennium Copyright Act (DMCA) criminalizes decryption of "copy protected" digital content, even if the decryption itself serves lawful purposes that do not infringe on copyright. However, temporary exemptions to this prohibition are granted triennially if communities of practice can demonstrate that the encryption ban adversely affects noninfringing uses. This study explores to what degree members of communities with existing exemptions for audiovisual work (1) are aware of the DMCA ban on encryption and (2) are aware of the relevant exemptions, and (3) whether they believe they can use the exemptions with confidence. We find that existing knowledge of DMCA exemptions is low, but that creators may employ the exemption reliably if given the exemption language. This empirical evidence demonstrates creative and productivity costs of narrow exemptions, as well as the importance of education. Results are relevant to discussions about international treaty intellectual property discussions, about the function of exemptions in intellectual property law, and about the consequences of criminalizing decryption.

This study surveys theoretical justifications for copyright and considers the implications of the notion of cultural democracy in regard to copyright law and policy. In doing so, the study focuses on the first sale doctrine and advocates for the doctrine's expansion to digital goods based on a discussion of the doctrine's policy implications and a review of the arguments for and against a digital first sale doctrine. The study argues that democratic copyright theories, in general, and the notion of cultural democracy, in particular , can and should guide copyright reforms in conjunction with a digital first sale doctrine. This study contributes to the growing discussions about the democratic theories of copyright by demonstrating their applicability to copyright policy and doctrine.

In this Essay, I sketch out some First Amendment and Due Process issues that arise from recent efforts by the World Intellectual Property Organization (“WIPO”) to revise U.S. copyright law. My focus will be on the WIPO Treaty on Audiovisual Performances (the “AV Treaty” for short). The AV Treaty expands upon other efforts to make it unlawful to reproduce or use nonliteral material having substantial value to another author; display or perform fragmentary content having substantial value to a record company or movie studio; or make a movie or YouTube video by transforming, recasting, or adapting information having substantial value to a corporation. Under WIPO's leadership, U.S. copyright law is moving to transfer more of the social value associated with copyrighted work to the copyright owner, and away from subsequent authors and consumers.

The Essay describes WIPO and its role in expanding copyright-like rights via the AV Treaty and statutes such as the Digital Millennium Copyright Act (“DMCA”). It analyzes key provisions of the AV Treaty for whether they change U.S. law, or merely globalize its existing rules. Article 5 of it states that independently of any economic rights, and even after the transfer of them, a performer has a right as to his or her fixed, live performances, to object to any distortion, mutilation or other modification of his performances that would be prejudicial to his reputation, taking due account of the nature of audiovisual fixations. Article 6 seems to grant a broad new right to restrict the “communication” of unfixed performances not already broadcast, to which right some exceptions “may” be granted, but do not have to be granted. Article 12 contemplates additional royalties to be paid to performers; irrespective of existing contracts relating to performances embodied in movies, songs, television shows, or video games. Article 15 of the AV Treaty could provide legal reinforcement to efforts to utilize digital rights management and technological protection measures so as to restrict the fair use of performances. Article 16 of the AV Treaty requires parties to provide civil remedies against those who negligently facilitate the availability or distribution of a performance, knowing or having reason to know that the credits or terms of use have been omitted.

The Essay describes the threat posed to the First Amendment by the AV Treaty’s proposed changes to U.S. law. The AV Treaty alters the traditional contours of copyright in the United States by introducing moral rights, and outlawing the making available of performances even without distributing them. The Essay analyzes these First Amendment threats using the rubric provided by Eldred v. Ashcroft. It also outlines the Due Process concerns that arise from the AV Treaty’s vague language and arbitrary distinctions. The statutory damages that may be available under U.S. law if ordinary copyright remedies are extended to performance rights will threaten the Excessive Fines Clause of the Eighth Amendment, as well as Due Process. Moreover, the Essay points out that the Trans-Pacific Partnership Agreement may multiply all of the censorial provisions of the AV Treaty, by stating that criminal copyright infringement shall include instances of related rights infringements that have no direct or indirect motivation of financial gain. The AV Treaty may also interact with proposals such as the Stop Online Piracy Act, which would make it easier for corporations or executive agencies to seize web sites that do not themselves infringe copyrights, but that might facilitate acts of infringement.

World Intellectual Property Organization, WIPO, audiovisual, performances, treaty, WCT, WPPT, phonograms, fixation, unfixed, authorship, copyright, fair use, First Amendment, Due Process, YouTube, Facebook, Pinterest, Twitter, eBay, Amazon.com, Google, Yahoo!, Flava, SOPA, moral rights

Turntables and Tropes is the first book to address remix from a communicative perspective, examining its persuasive dimensions by locating its parallels with classical rhetoric. Through identifying, recontextualizing, mashing up, and applying rhetorical tropes to contemporary digital texts and practices, this groundbreaking book presents a new critical vocabulary that scholars and students can use to analyze remix. Building upon scholarship from classical thinkers such as Isocrates, Quintilian, Nāgārjuna, and Cicero and contemporary luminaries like Kenneth Burke, Richard Lanham, and Eduardo Navas, Scott Haden Church shows that an understanding of rhetoric offers innovative ways to make sense of remix culture.

Durant les années 2006-2007 et 2007, Eva et Franco Mattes explorent les lieux populaires du monde virtuel multiparticipatif Second Life à la recherche des avatars les plus glamours. Ils conçoivent ainsi la série de portraits 13 Most Beautiful Avatars présentée à Ars Virtua en 2007, clin d'œil aux projets de Warhol intitulés 13 Most Beautiful Boys (1964) et 13 Most Beautiful Women (1964), qui ont vu le jour à la fameuse Factory quelque quarante années plus tôt. L'exposition des Mattes se manifeste une seconde fois deux semaines plus tard dans la salle bien réelle de la Italian Academy of Columbia University à New-York. Contrairement à ce que pourrait laisser croire l'ordre chronologique des deux événements, la salle virtuelle d'Ars Virtua a été conçue d'après celle de la Columbia University. Nous avons toutefois l'impression que l'exposition est passée de la virtualité à la tangibilité.
http://ciac.ca/documents/magazine/no_31/oeuvre4.htm

The thesis of this essay can be stated quite directly: Slavoj Žižek, despite having little to say about mashup and remixing in any direct way, engages this new media phenomena in both theory and practice, providing contemporary culture with both a conceptual understanding of the mashup and a carefully executed illustration of its methodology. The examination of this will proceed by way of two movements. The first investigates how Žižek's work, especially his general interest in "short circuiting," provides theoretical insight for understanding the mashup and its cultural significance. The second turns things around, demonstrating how the mashup explains and describes Žižek's own compositional practices. In other words, the first part explains the mashup by way of Žižek, while the second explains Žižek by way of the mashup.

Trolling has become an imperative feature of online communication. The boom of new media and innovative technologies has favoured this acceleration. Trolls hold an undeniable position in gauging public opinion and attitudes on almost every subject. With the advent of several Facebook troll communities, Malayalam speaking internet users have also started experimenting with this new genre of online communication. This study attempts to analyse the characteristics of Malayalam online troll communities. Troll posts from two popular Facebook groups are used for the purpose. The analysis has been done using both quantitative and qualitative content analysis, based on the form and content of the media texts produced by the trolls. It is seen that making use of unique production techniques and behavioural practices, trolls are developing themselves into a distinctive group of likeminded people. The trolls, in course of time, are evolving as a cyber-subculture over the networked societies of internet.

La presente tesis busca analizar el uso de la edición como técnica de reciclaje de material audiovisual, entendiendo la edición como el proceso donde se sintetizan todos los elementos que conforman el producto final. El proceso de investigación se divide en tres capítulos: La edición y el reciclaje de material audiovisual, el potencial de la reedición en la creación audiovisual y por último  análisis de casos pertinentes al tema. El propósito de este estudio es aplicar el conocimiento adquirido en la realización de un largometraje a partir de material preexistente de la serie televisiva Everything Sucks! (Ben York Jones, Michael Mohan, 2018).

Critical evaluations of audio mash-ups and remixes tend to congregate around two poles. On the one hand, these often clever recombinations of recorded music are celebrated as innovative and creative interventions in the material of bland commodity culture. On the other hand, they are often reviled as derivative, inauthentic, and illegal because they do nothing more than appropriate and reconfigure the intellectual property of others. This essay does not side with either position but identifies and critiques the common understanding and fundamental assumptions that make these two, opposed positions possible in the first place. The investigation of this matter is divided into two main parts. The first considers the traditional understanding of technologically enabled reproduction and the often unquestioned value it invests in the concept of originality. It does so by beginning with a somewhat unlikely source, Plato's Phaedrus—a dialogue that, it is argued, originally articulates the original concept of originality that both determines and is reproduced in the theories and practices of sound recording. The second part of the essay demonstrates how the audio mash-up deliberately intervenes in this tradition, advancing a fundamental challenge to the original understanding and privilege of originality. In making this argument, however, the essay does not endeavor to position the mash-up as anything unique or innovative. Instead, it demonstrates how mash-ups, true to their thoroughly derivative nature, plunder, reuse, and remix anomalies that are already available in and constitutive of
recorded music.

This chapter begins with the question: Is remix a monster, and digital humanities the means through which it is destined to bring down the old-fashioned, exclusionary, and hierarchical modes of humanities past? Using the metaphor of Frankenstein and his creature, I will stitch together theories of monstrosity and transgression from both literary and media studies to explore this question. The answer, I argue, is that the transgressive potential of remix and the digital humanities lies less in the form of these disciplines, and more in their practice: how they are allowed to intersect, evolve, and escape their traditional (anti)humanist foundations.

The practices and cultures of remix are often thought to emerge in opposition to cognitive capitalism. This is for a number of reasons:

As a practice that blends bottom-up circulation with new discursive practices, remix offers possibilities for forms of criticality in opposition to commercial mass media. More specifically, as it thrives on social production and the free exchange of information, knowledge and culture, remix presents a direct sabotage to an economy that extracts value from the enclosure of intellectual products. Finally, acts of circulation and attention involved in the production and dissemination of remixed artefacts are often thought to fall outside of traditional labour relations and as such are not conceived of as directly 'productive' in an economic sense.

Like much of the ideology of free culture, however, the emancipatory potential of remix is sometimes overstated.

Cognitive capitalism has re-qualified and recomposed labour in such a way that the activities associated with remix culture, far from operating in some constitutive outside are now central to the information economy. Forms of human attention, creativity and bottom-up circulation are the main sources of value for software companies, advertising agencies and crowdsourcing marketplaces. We can see this clearly where media conglomerates profit from advertising revenue on hosting sites through to the less obvious but more ubiquitous situations where acts of human creativity and distribution produce value through ranking algorithms and social network analysis. Furthermore, the figure of the ‘remixer’ as an artist, fan or playful individual engaged in the fullest exercise of self-expression is the ideal labouring subject of cognitive capitalism. This is a worker that does not recognise subjugation in their labour, but instead associates their activity with freedom, play and the hedonistic exercise of creativity, even as these activities produce economic value for others.

Proceeding from this dialectic, this essay will attempt to rethink the labour of remix and explore the politics of various networked tools and platforms in the enclosure of remix cultures.

From Teaching Tech-Savvy Kids: Bringing Digital Media Into the Classroom, Grades 5-12:

Students are plugged in, powered up, and connected. Are you?

The author gives teachers a deeper understanding of the dynamic potential for increasing student learning through digital media. Based on a three-year study of youth and their use of new media, this teacher-friendly resource includes:

Descriptions of digital tools such as social networking platforms, YouTube, Wikipedia, virtual worlds, digital music, and more
Vignettes about how young people use digital media
Sidebars debunking common myths about technology
Advice about navigating digital media for both novice and expert teachers
Pedagogical implications and practices, including sample activities

One doesn’t need to look far to find examples of contemporary locations of cultural opposition. Digital piracy, audio mashups, The Onion and Wikipedia are all examples of transgression in our current mediascape. And as digital age transgression becomes increasingly essential, it also becomes more difficult to define and protect.

The contributions in this collection are organized into six sections that address the use of new technologies to alter existing cultural messages, the incorporation of technology and alternative media in transformation of everyday cultural practices and institutions, and the reuse and repurposing of technology to focus active political engagement and innovative social change.

Bringing together a variety of scholars and case studies, Transgression 2.0 will be the first key resource for scholars and students interested in digital culture as a transformative intervention in the types, methods and significance of cultural politics.

Appropriation, transformation and remix are increasingly recognized as significant aspects of digital literacy. This article considers how one form of digital remix – the video remix – might be used in classrooms to introduce critical conversations about representation, appropriation, creativity and copyright. The first half of the article explores the opportunities that remix presents to reflect on mainstream media ideologies, emerging modes of collaborative creativity, and the complexities of intellectual property. The second half illustrates this potential by examining the use of one popular video remix, Buffy vs. Edward, in a secondary school English class and an undergraduate popular culture course. Throughout, the article argues that critical discussion of digital texts and practices opens up the possibilities for students to analyze their everyday lived media experience. This is an important undertaking in a context in which young people's identities and world views are increasingly shaped through digital texts and interactions.

This article explores new forms of serial structure found in transmedia story worlds, with particular attention to the innovations of amateur transmedia works.  Although the term transmedia has most often been associated only with corporate media at the center, taking amateur works as the paradigmatic example produces new insights into the affordances of digital technology, beyond the industry’s limitations, namely how transmedia creativity can function in the absence of the need to remain marketable, to maintain a coherent brand, and to work within a corporate family of conglomerated media companies.  This study thereby focuses on fan fiction, art, and “vids”, a form of remix video collage, to demonstrate how contemporary amateur production interacts with professional content, but also produces its own type of complex narration through unique forms, aesthetics, and story structures, likewise encouraging alternate reception practices as a result.  This article identifies at least three types of transmedial seriality elucidated by studying amateur fan media.  First, fan works emphasize the increasingly complex nature of seriality in all transmedia and the way in which serial effects do not vanish, but increasingly depend upon the viewer’s choices. Secondly, fan works create their own kind of flexible and multiple serial effects wherein meaning does not depend on consuming a specific sequence of narratives, but instead upon reading any collection of narratives within larger cycles or tropes to assemble a sense of flowing norms, genres, and preferences. Finally, fan works also uniquely analyze and reconfigure the serial effects of tropes found not only across the transmedia components of individual stories, but also across the breadth of popular culture. By remixing and reimagining repeated structures of representation, fan works often call attention to latent forms of seriality within popular culture as a collective whole.

“There’s only here, and now, and light.”

This line is taken from Arseny Tarkovsky’s poem, Life, Life, and was incorporated into the script of the show Afterlife: an audiovisual performance. Alongside this Film & New Media Capstone research paper on phantasmagoria shows and VJing, Afterlife was a production I devised with an outstanding group of collaborators. It was part of the NYU Abu Dhabi Theater Capstone Festival and premiered on 30th March 2018 at the NYUAD Arts Center.

Between the pages, are digitally created illustrations; visuals that were created during the process of experimenting with content creation, or used in the final show. Though this paper will not address the production, the visuals here serve as a trace – a memory – of Afterlife.

This paper argues that VJing and audiovisual (AV) performance today are descendants of magic lantern phantasmagoria shows of the 19th century. As live performances that involved the real-time manipulation of images, phantasmagoria shows created a sensorial, immersive experience through the use of projections. The discussion centers on phantasmagoria shows and VJing as visual spectacle, as framed through film historian Tom Gunning’s concept of the “cinema of attractions” described in his paper, “Cinema of Attractions: Early Film, Its Spectators, and the Avant-Garde.”

The paper will firstly provide context on the history of the magic lanterns and the phantasmagoria shows that were to emerge a hundred years later. This will also include a description of the dramaturgy of the phantasmagoria shows of two showmen in particular, Philidor and Robertson. I will then proceed to make a comparison between VJing and contextualize the form as existing in a tradition of the creation of visual experiences, touching on examples that pay particular attention to the relationship between sound and visuals. The importance of light as a medium to work with, will also be analyzed with examples of audiovisual performances that have revolved around light. The relationship between live cinema and VJing will be briefly discussed, addressing ideas of realtime performance. Lastly, characteristics of VJing will be examined specifically as a remnant of the phantasmagoria shows.

How did we get from Hollywood to YouTube? What makes Wikipedia so different from a traditional encyclopedia? Has blogging dismantled journalism as we know it?

Our media landscape has undergone a seismic shift as digital technology has fostered the rise of "participatory culture," in which knowledge is originated, created, distributed, and evaluated in radically new ways. The Participatory Cultures Handbook is an indispensable, interdisciplinary guide to this rapidly changing terrain. With short, accessible essays from leading geographers, political scientists, communication theorists, game designers, activists, policy makers, physicists, and poets, this volume will introduce students to the concept of participatory culture, explain how researchers approach participatory culture studies, and provide original examples of participatory culture in action. Topics include crowdsourcing, crisis mapping, grid computing, digital activism in authoritarian countries, collaborative poetry, collective intelligence, participatory budgeting, and the relationship between video games and civic engagement.

Contributors include: Daren Brabham, Helen Burgess, Clay Calvert, Mia Consalvo, Kelly Czarnecki, David M. Faris, Dieter Fuchs, Owen Gallagher, Clive Goodinson, Alexander Halvais, Cynthia Hawkins, John Heaven, The Jannissary Collective, Henry Jenkins, Barry Joseph, Christopher Kelty, Pierre Lévy, Sophia B. Liu, Rolf Luehrs, Patrick Meier, Jason Mittell, Sarah Pearce, W. James Potter, Howard Rheingold, Suzanne Scott, Benjamin Stokes, Thomas Swiss, Paul Taylor, Will Venters, Jen Ziemke

Edited by Aaron Delwiche and Jennifer Jacobs Henderson

El presente trabajo supone una aproximación a las nuevas formas de producción, distribución y consumo emergentes en la industria musical. Bien visto como amenaza o como oportunidad, Internet ha revolucionado (o evolucionado) la manera en que la música es creada, comercializada, distribuida y consumida. A partir de la revisión de conceptos clave en la cultura audiovisual digital - la hipertextualidad, la narrativa transmedia y las prácticas de remix como fandom – se analizará el modelo de negocio del músico Trent Reznor. Músico, compositor, mult-instrumenista y productor de Nine Inch Nails, es conocido en la industria por el uso innovador de las tecnologías digitales. Una aproximación a dos case study nacidos a la luz de sus últimas producciones dará cuenta de ello: la transmedialidad de la obra Year Zero (2007), y la apertura parcial en el proceso de producción y control sobre los contenidos (a partir del desarrollo de las comunidades de remixes www.NINremixes.com y www.remix.nin.com).

A través de ellos profundizaremos en sus vías alternativas de comercialización, utilizadas para esquivar los canales tradicionales de la industria, la convergencia mediática, y, sobre todo, la relación casi horizontal entablada con su comunidad de fans, a favor del proceso creativo libre y colaborativo que permite la red. Un caso paradigmático dentro de la industria, innovador y visionario, que da cuenta de las nuevas prácticas culturales surgidas en torno a la industria musical digital.

La lettura è sempre stata un’attività allo stesso tempo individuale e sociale; l’evoluzione di tale peculiarità ha condotto alla formazione di eterogenei contesti di condivisione; tra questi vi sono i gruppi di lettura, i quali, grazie all’introduzione delle tecnologie 2.0, si sono recentemente spostati online, dando vita al fenomeno del social reading.
Remixare e condividere sono i due comportamenti che contraddistinguono l’era postmediale; ma per destreggiarsi all’interno dello sterminato materiale a disposizione è necessario acquisire delle competenze specifiche, al fine di filtrare e interpretare al meglio l’informazione. La didattica ha quindi il compito di trasformare le modalità d’insegnamento tradizionali per adattarle alle innovazioni tecnologiche e digitali e di sfruttare gli strumenti del web 2.0.
In particolare, per quanto riguarda la promozione della lettura a scuola, i docenti possono trarre vantaggio dal social reading, del quale sono da considerare con attenzione pregi e difetti, e le relative piattaforme online.
Esempio di social reading è il metodo TwLetteratura, che consiste nel leggere un testo tramite la riscrittura e la condivisione su Twitter. Il recente progetto #MattiaTw, realizzato con la collaborazione della Fondazione Cariplo, ha previsto una fase di monitoraggio, che ha consentito un’osservazione approfondita dei risultati. In tal modo è stato possibile individuare in modo oggettivo le potenzialità e gli svantaggi del metodo.
Obiettivo della didattica è quello di usare i mezzi tecnologici e digitali per migliorare e innovare i metodi di insegnamento. Occorre quindi impegnarsi nel riproporre gli aspetti positivi dei metodi già sperimentati e cercare di superarne limiti e difetti.
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Reading has always been an individual and social activity at the same time; the evolution of this peculiarity has led to the formation of heterogeneous contexts of sharing; among them, there are the reading groups, which have recently moved online thanks to the introduction of 2.0 technologies, giving life to the social reading phenomenon.
Remixing and sharing are the two behaviors that characterize the postmedial age; but to maneuver in the endless material available, it is necessary to acquire specific skills in order to better filter and interpret the information. Therefore, teaching has the duty to transform traditional teaching methods, in order to adapt them to technological and digital innovations, and to exploit the tools of web 2.0.
In particular, with regard to the promotion of reading at school, teachers can take advantage of social reading, which is to be considered carefully for its qualities and lacks, and the respective online platforms.
Example of social reading is the TwLetteratura method, which consists in reading a text through rewriting and sharing on Twitter. The recent project #MattiaTw, realized with the collaboration of the Cariplo Foundation, included a monitoring phase, which allowed a deep observation of the results. In this way, the potential and disadvantages of the method were objectively identified.
The objective of the teaching is to use technological and digital means to improve and innovate the teaching methods. Therefore, we have to undertake to re-propose the positive aspects of the methods already tested and to try to overcome their limitations and deficiencies.

#Musica_Dispersa
Rubén López Cano
Editorial: Musikeon Books (Barcelona)
Año de publicación. 2018
ISBN:  978-84-945117-1-4
http://rlopezcano.blogspot.com.es/2018/04/musica-dispersa-apropiacion-influencias.html

Palabras clave:
Identidad y modos de existencia de las piezas musicales. Apropiación. Reciclaje musical. Intertextualidad. Préstamos e influencia. Reutilización. Plagio. Música grabada. Autenticidad y discursos de legitimación. Covers y versiones. Remix. Sampleo. Mashup. Memes musicales. Escucha digital. Pacto perceptual.

Citas, alusiones, paráfrasis, apropiaciones, collages, arreglos, adaptaciones, covers, versiones, sampleos, remixes y memes; son formas de revisitar músicas preexistentes, apropiarse de algunos de sus elementos y reutilizarlos legítimamente o no, para producir más música. De Hildegard von Bingen a Dj Danger Mouse, todas las culturas musicales de todas las épocas han empleado estos recursos. Pero mientras sus procedimientos son unos cuantos y no han cambiado mucho a lo largo de la historia, su valoración y relación con ideales estéticos, principios legales y discursos de autenticidad y legitimidad artística, se han transformado radicalmente. Si para los compositores de las cortes de Aviñón o Milán del siglo XIV y XV citar ingeniosamente una y otra vez las canciones de los grandes maestros del pasado era un valor estético en sí mismo que les reportaba reconocimiento y prestigio, con las leyes de propiedad intelectual actuales, Beethoven, Schubert o Brahms no serían más que delincuentes comunes.

La escucha digital no se limita a la portabilidad, ubicuidad y recuperación inmediata de nuestros contenidos privados. Es también el acceso súbito, nunca antes visto, a una inconmensurable cantidad de músicas de tiempos y espacios distantes y dispersos. Es la posibilidad de la escucha en serie, casi simultánea, de varias interpretaciones, arreglos, versiones y variantes de la misma pieza y la percepción directa de parecidos y coincidencias entre músicas distintas cuya detección solía ser prerrogativa exclusiva de especialistas. Navegar por la red en busca de la canción, versión o interpretación adecuada, nos revela hasta qué punto las nociones de innovación y originalidad, la creación exnovo, el genio solitario que crea un universo personal sin deudas con su pasado o su entorno inmediato, constituye un ideal que a menudo colisiona con las prácticas reales.

Música dispersa muestra que la creación musical es menos una epifanía y más una conversación infinita entre creadores de todos los tiempos quienes con sus intercambios, apropiaciones y repeticiones, vertebran su propia civilización musical dotando de significado nuestras experiencias auditivas. Nos lleva de la mano por los entresijos de diversos procesos y registros de reciclaje; analiza críticamente los discursos de autenticidad que han mediado en nuestra relación con lo musical desde el papiro hasta el iPad o el móvil; detalla los diversos pactos perceptuales implícitos con los que "disculpamos" nuestros placeres con la música grabada; pasa lista a los vanos intentos por reducir la música a objetos cerrados, concluidos y completos y manejables; y propone que el desafío mayor de la reciente remezcla y reciclaje digital no es su aparente saqueo indiscriminado del descomunal archivo musical atesorado en dos mil años y que ahora parece que se nos viene encima, sino su diáfana capacidad para mostrarnos que la música es un fluir indómito cuyo poder y originalidad está mucho menos afincado en su materia física, sus estructuras o componentes, o incluso en la genialidad inconmensurable de creadores, compositores, productores y postproductores. Su valor emana fundamentalmente de nuestra íntima historia personal con cada pieza, obra o canción.

This article considers the ways in which metal has interacted with the aesthetics of electronic music since the 1980s, from its earliest exchanges with hip hop through to recent developments in the djent subgenre. It highlights the persistence of metal’s practitioners in adopting new technologies (including samplers, drum machines and Digital Audio Workstations) and the challenges that this has brought to established ideas of conventional metal music practice. Underlying the discussion is the notion of the ‘code’, a familiar term in metal music studies, which has been employed to articulate ideas of metal’s core musical attributes. In these terms, electronic music’s creative practices can be seen to have facilitated both the deconstruction and re-contextualization of metal’s code, enabling the genre to be re-imagined and ultimately enriched.

This paper focuses on chutney, a form of popular music in Trinidad with roots in prepartitioned North India, as an intriguing genre through which, culturally, to analyze Trinidadian social dynamics. It concentrates on developments during the Trinidad Carnival of 2009 to illustrate how chutney interrogates and confronts a variety of interrelated struggles over multiple identities—musical, socio-cultural and racial—in a bid to reinscribe broader definitions of Trinidadianness and challenge traditional notions of Indianness. Through lyrical, timbral, thematic, and performative analyses, the paper explores three popular chutney recordings of 2009—“Rum & Roti,” “Radica,” and “Jep Sting Naina”—to uncover the discursive and often discrepant complexities of Trinidadian culture.

This article examines how popular culture is remixed for the purposes of facilitating mystical experiences within a global electronic dance music culture. In particular, it investigates the sampling of space travel and alien contact narratives within psytrance, whose DJ-producers are like media shamans remixing fragments from cinema, TV series, documentaries, NASA’s lunar program and other popular cultural sources for gnostic purposes. I explore ways outer space travel becomes a narrative device for interior travels, the “hero’s journey,” and how the figure of the alien other allegorizes the potential for the discovery of the self. In the artifice of remixticism, the alien is a device for universal
consciousness and self-empowerment, a process I dub alienation.

Remix games are like remix videos, remix music, or remix images in that they are primarily comprised of sampled content. As a working definition, for the purposes of this chapter, remix games may be understood as games that are composed of previously published media elements, which have been appropriated, repurposed, and reconfigured in the creation of a new work that communicates different messages and meanings than the source material. This chapter has shown, the adoption of games as tools in digital humanities scholarship has been gradually increasing over the past decade, to the point where games have almost become an accepted form of academic publication in their own right. Finally, through a sample of global examples, this chapter highlights how remix games can be used to support existing practices within digital humanities scholarship, such as visualization, digital archiving, innovative pedagogy, and virtual simulation, while potentially enabling a range of new ones.

and Goals Audio and video remixes have emerged as one of today's most popular modes of expression. From DJ Spooky's "Rebirth of a Nation" to DJ Earworm's mash­up of the year's top pop music videos, remixes have the power to convey a multiplicity of meanings. In this class we will explore the discourse and practice of remix, paying close attention to those that successfully convey cultural critiques. We will trace the roots of remix to core concepts (e.g., imitatio and mimesis) and practices (e.g., film collage, plunderphonics, fan­vidding, dub, and hip hop). In parallel, students will examine and create remixes that critique normative notions of politics, race, gender, consumerism, and more. This work will be grounded in an exploration of audio/video portals and archives as sources for these remixes. Student remix projects will be screened at an open, end­of­the­quarter event, as well as archived in the UW Libraries' permanent collections. Goals and Learning Outcomes ­ Develop an understanding of remix culture and a familiarity with the field of remix studies. ­ Make remixes that employ radical juxtaposition and scholarly practices such as rhetoric, persuasion, and critique. ­ Create remixes that question and/or resist dominant paradigms and privileged narratives. ­ Analyze remixes, asking what they convey and what cultural critiques they deliver. ­ Critique media sources and archives as sites of privilege and control. ­ Develop audio/video/film editing skills and grasp of copyright law, especially fair use. ­ Present and archive student remixes in the UW Libraries. What to Expect Content and Flow: In keeping with the theme of the course, class time will be a mix of presentations, screenings, guest

During the 1990s, bossa nova was reborn through the millennial musical practices of sampling and remixing.  Dressed up in an array of new electronic guises, bossa gained new currency among cosmopolitan listeners throughout the U.S., Europe, Japan, and beyond. This chapter demonstrates how bossa’s late twentieth century rebirth was accompanied by the hopes, anxieties, and assumptions of the post-Cold War moment, a moment characterized by a faith in the redemptive power of circulation.

A perplexed analysis of three picturesque movies by which this paper’s author has had her vision restored. Apart from the multiple time layer shifts and twists in the deconstructed editing, illustration of poetic autobiographies, Mise-en-scène and surrealism, this report will also shed faded light on film genres, dreams and Remixability of images in the Lebanese movie industry.

In the twenty-first century, the remix, the mashup, and the reboot have come to dominate Western popular culture. Consumed by popular audiences on an unprecedented scale, but often derided by critics and academics, these texts are the ‘monsters’ of our age—hybrid creations that lurk at the limits of responsible consumption and acceptable appropriation. Like monsters, they offer audiences the thrill of transgression in a safe and familiar format, mainstreaming the self-reflexive irony and cultural iconoclasm of postmodern art. Like other popular texts before them, remixes, mashups, and reboots are often read by critics as a sign of the artistic and moral degeneration of contemporary culture. This is especially true within the institutions such remixes seem to attack most directly: the heritage industry, high art, adaptation studies, and copyright law.
With this context in mind, in this thesis I explore the boundaries and connections between remix culture and its ‘others’ (adaptation, parody, the Gothic, Romanticism, postmodernism), asking how strong or tenuous they are in practice. I do so by examining remix culture’s most ‘monstrous’ texts: Frankenfictions, or commercial narratives that insert fantastical monsters (zombies, vampires, werewolves, etc.) into classic literature and popular historical contexts. Frankenfiction is monstrous not only because of the fantastical monsters it contains, but because of its place at the margins of both remix and more established modes of appropriation. Too engaged with tradition for some, and not traditional enough for others, Frankenfiction is a bestselling genre that nevertheless remains peripheral to academic discussion. This thesis aims to address that gap in scholarship, analysing Frankenfiction’s engagement with monstrosity (chapter one), parody (chapter two), popular historiography (chapter three), and models of authorial originality (chapter four). Throughout this analysis, Mary Shelley’s 1818 novel Frankenstein remains a touchstone, serving as an ideal metaphor for the nature of contemporary remix culture.

How do social meanings and general associations attached to certain musical genres come into play when classical music meets disco, hip-hop meets the symphony or heavy metal meets the opera? How do artistic or commercial concepts and communication strategies affect composers' techniques of mixing genres? This study observes musical exchange between western art music and various forms of popular music with regard to intra- and extra-musical aspects. The examination of crossing over within popular music focuses on jazz fusion, progressive rock, classical-crossover and mashup. Analyses of chosen works from Gentle Giant, Liquid Tension Experiment, Kutiman, and of popular adaptations of Vivaldi´s “Four Seasons” help illuminate characteristics of different sub-categories of “crossing over”. Qualitative interviews with current international genre-mixing composers expand the scope of the study. The exploration and systematization of a wide range of crossover phenomena reveals that different types of background motivations, such as marketing concerns of record companies or the experimenting attitudes of musicians, can result in highly dissimilar pieces being labelled generally as Crossover.

La musica, in quanto forma testuale, non è sfuggita ai processi d’ibridazione permessi dalla tecnologia digitale, anzi l’estrema facilità di appropriazione, manipolazione, rielaborazione e mescolanza è forse l’aspetto che più di altri contraddistingue il testo musicale digitale.

Critical Remix Video (CRV) is an emerging form of experimental video art activism that uses as raw materials previously published, often copyrighted audio-visual content in order to critique perceived wrongs and injustices or make political statements. In many cases, CRVs seek to expose dominant ideologies embedded in mainstream media messages, for example authoritative journalism, persuasive advertising or political broadcasts. This paper uses Visual Semiotics to analyse a representative CRV (I Am Not Moving) and shows how this critical video is equally susceptible to ideological influence by revealing the alternative or oppositional ideologies embedded within it. The following questions are addressed: which version of events is the more accurate representation of reality – the narratives presented by mainstream media or the deconstructed versions presented by CRVs? To what extent are the critical messages presented by CRVs diluted by the ideological biases to which they too are subject? How long can Critical Remix survive as a form of alternative artistic practice before being completely subsumed by mainstream media - a trend we can already see happening today? Despite such shortcomings, CRVs represent an opportunity for grassroots activists to have their voices heard on a global stage, utilizing the full potential of digital networking and mobile technologies as well as spreadable media content.

Found Footage denomina el tipo de cine realizado con material de archivo como un objeto encontrado: películas caseras, históricas de archivo, anuncios, películas pornográficas, reportajes, documentales, programas de televisión... que se remonta, remezcla e incluso distorsiona, con el fin de generar una nueva obra audiovisual. Su apropiación es significativa en las películas de collage o cine reciclado, los documentales, y, actualmente, en otras obras como los videoclips y las sesiones de vjs. Sus orígenes se remontan a los años 50, sin embargo, en una época en la que es posible hacer películas con un teléfono móvil o a partir de imágenes tomadas de YouTube, una de las tendencias de mayor crecimiento en el ámbito cinematográfico es el metraje encontrado. En este artículo se analizará cómo las nuevas posibilidades de apropiación de metraje en Internet, así como las nuevas tecnologías digitales de distribución, exhibición, y (post) producción, propician el desarrollo continuo y la revitalización de este tipo de cine, para aportar, además, sus propias contribuciones estéticas.