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Jill Walker Rettberg

Remix Theory » Archivio » WHAT COMES AFTER REMIX? by Lev Manovich - 0 views

remixtheory.net/?p=169

remix definition history art Manovich

shared by Jill Walker Rettberg on 10 Sep 09 - Cached
  • officially accepted
    • Jill Walker Rettberg
      Jill Walker Rettberg on 10 Sep 09
       
      Hm, that doesn't seem to fit with Lessig and others' arguments about the music industry suing people who use remix?
  • “appropriation” never completely left its original art world context where it was coined.
  • I think that “remixing” is a better term anyway because it suggests a systematic re-working of a source, the meaning which “appropriation” does not have
  • ...10 more annotations...
  • The other older term commonly used across media is “quoting” but I see it as describing a very different logic than remixing. If remixing implies systematically rearranging the whole text, quoting refers inserting some fragments from old text(s) into the new one.
  • “montage” and “collage”
  • three differences.
  • we can say that if modernist collage always involved a “clash” of element, electronic and software collage also allows for “blend.
    • Jill Walker Rettberg
      Jill Walker Rettberg on 10 Sep 09
       
      This is really interesting!! Consider in relation to our discussions about film theory and editing - Kuleshov, Eisenstein and more.
  • database of culture
  • Remixing originally had a precise and a narrow meaning that gradually became diffused
  • If post-modernism defined 1980s, remix definitely dominates 2000s
  • Wired magazine devoted its July 2005 issue to the theme Remix Planet.
  • In his book DJ Culture Ulf Poschardt singles out different stages in the evolution of remixing practice
  • Around the turn of the century (20tth to 21st) people started to apply the term “remix” to other media besides music: visual projects, software, literary texts
  • Jill Walker Rettberg on 10 Sep 09
     
    Useful short article by Lev Manovich, who is a prominent scholar of digital culture, about the history of remix and its relationship to other related practices in art and literature (appropriation, quoting, montage, etc). Read this!
Elisabeth Nesheim

RiP: A Remix Manifesto - 0 views

films.nfb.ca/rip-a-remix-manifesto

remix culture copyright manifest

shared by Elisabeth Nesheim on 25 Aug 09 - Cached
  • Elisabeth Nesheim on 25 Aug 09
     
    RiP: A remix manifesto is a documentary film about copyright and remix culture.
  • Michal Pavlinsky on 26 Aug 09
     
    amazing video, amazing guy this girl talk, love his works
Thais B.

Total Recut Educational Recuts - 0 views

www.totalrecut.com/talrecutgalleryeducational.php

remix culture video political

shared by Thais B. on 20 Aug 09 - Cached
  • Thais B. on 20 Aug 09
     
    A great remix culture video: Appropriation & Culture Jamming. titalrecut.com is a web page full of great remix culture videos about political issues, education, advertising and so on.
Jill Walker Rettberg

reuse (re)create remix - 3 views

reuseremix.tumblr.com

remix

shared by Jill Walker Rettberg on 10 Nov 09 - Cached
  • Jill Walker Rettberg on 10 Nov 09
     
    Resources for remix culture collected by students in a Remix Culture Seminar in Amsterdam.
Sissel Lenvik

Total Recut Contest Results - The Winners! - 0 views

www.totalrecut.com/contest-winners.php

Remix videos Lessig Jenkins challenge

shared by Sissel Lenvik on 01 Sep 09 - Cached
  • Congratulations to all of our winners! After a gruelling public vote and an even more intense celebrity judging round, the winners of the 2008 Total Recut Video Remix Challenge have finally been determined.
    • Sissel Lenvik
      Sissel Lenvik on 01 Sep 09
       
      Video challenge "What is Remix Culture?". Including alot of interesting movies.
  • Sissel Lenvik on 01 Sep 09
     
    Video challenge including ten videos on the theme "What is Remix Culture?"
Elisabeth Nesheim

remix aesthetics, a short primer on taxonomies of re-intrepreted musics - 0 views

thames2thayer.com/...omies-of-re-intrepreted-musics

remix taxonomy extension translation mashup abstraction

shared by Elisabeth Nesheim on 31 Aug 09 - Cached
  • Elisabeth Nesheim on 31 Aug 09
     
    Reflections from the US based Zachary Mccune, a BA-student of Modern Culture and Media at the Brown University who looks into the taxonomy of remix
Thais B.

Remix Culture: (They say) Fair Use is Your Friend (Lessig Blog) - 0 views

www.lessig.org/..._culture_they_say_fair_us.html

remix culture fair use Lessig

shared by Thais B. on 30 Aug 09 - Cached
  • Thais B. on 30 Aug 09
     
    Great video about Remix Culture and the fair use that I found at Lessig blog.
Jill Walker Rettberg

What is an Author? - Mark Tribe - Brown University Wiki - 0 views

wiki.brown.edu/...viewpage.action

shared by Jill Walker Rettberg on 21 Sep 09 - No Cached
  • in a civilization like our own there are a certain number of discourses that are endowed with the 'author function:' while others are deprived of it. A private letter may well have a signer- it does not have an author; a contract may well have a guarantor - it does not have an author. An anonymous text posted on a wall probably has a writer - but not an author. The author function is therefore characteristic of the mode of existence, circulation, and functioning of certain discourses within a society.
    • Jill Walker Rettberg
      Jill Walker Rettberg on 21 Sep 09
       
      Neva noted in her reading reflections post on this that this is important for our understanding of remix culture and anonymous or collaborative art - do mashups and remix culture have an author function?
  • In our culture, how does one characterize a discourse containing the author function?
  • four different characteristics.
  • ...39 more annotations...
  • First of all, discourses are objects of appropriation.
  • authors became subject to punishment
  • discourse was not originally a product, a thing, a kind of goods; it was essentially an act
  • The author function does not affect all discourses in a universal and constant way, however. This is its second characteristic
  • it has not always been the same types of texts which have required attribution to an author
  • There was a time when the texts that we today call 'literary' (narratives, stories, epics, tragedies, comedies) were accepted, put into circulation, and valorized without any question about the identity of their author; their anonymity caused no difficulties since their ancientness, whether real or imagined, was regarded as a sufficient guarantee of their status
    • Jill Walker Rettberg
      Jill Walker Rettberg on 21 Sep 09
       
      An alternative to the author function: ancientness.
  • Scientific discourses began to be received for themselves, in the anonymity of an established or always re-demonstrable truth; their membership in a systematic ensemble, and not the reference to the individual who produced them, stood as their guarantee
    • Jill Walker Rettberg
      Jill Walker Rettberg on 21 Sep 09
       
      Another alternative to the author function: - re-demonstrable truth (as in science) - membership in a system (e.g. professor at X University)
  • literary discourses came to be accepted only when endowed with the author function
  • literary anonymity is not tolerable
  • The third characteristic of this author function is that it does not develop spontaneously as the attribution of a discourse to an individual.
  • It is, rather, the result of a complex operation which constructs a certain rational being that we call 'author'.
  • directly derived from the manner in which Christian tradition authenticated (or rejected) the texts at its disposal
  • trying to prove the value of a text by its author's saintliness
  • the author is therefore defined as a constant level of value
  • the author is thus defined as a field of conceptual or theoretical coherence
  • the author is here conceived as a stylistic unity
  • the author is here seen as a historical figure at the crossroads of a certain number of events)
  • The author is also the principle of a certain unity of writing
  • The author also serves to neutralize the contradictions that may emerge in a series of texts
  • signs referring to the author. These signs, well known to grammarians, are personal pronouns, adverbs of time and place, and verb conjugation. Such elements do not play the same role in discourses provided with the author function as in those lacking it
    • Jill Walker Rettberg
      Jill Walker Rettberg on 21 Sep 09
       
      Do we see such signs in remix?
  • Everyone knows that, in a novel narrated in the first person, neither the first-person pronoun nor the present indicative refers exactly either to the writer or to the moment in which he writes, but rather to an alter ego whose distance from the author varies, often changing in the course of the work. It would be just as wrong to equate the author with the real writer as to equate him with the fictitious speaker; the author function is carried out and operates in the scission itself, in this division and this distance.
  • all discourses endowed with the author function do possess this plurality of self.
  • (1) the author function is linked to the juridical and institutional system that compasses, determines, and articulates the universe of discourses; (2) it does not affect all discourses in the same way at all times and in all types of civilization; (3) it is not defined by the spontaneous attribution of a discourse to its producer, but rather by a series of specific and complex operations; (4) it does not refer purely and simply to a real individual, since it can give rise simultaneously to several selves, to several subjects - positions that can be occupied by different classes of individuals.
  • in the sphere of discourse one can be the author of much more than a book - one can be the author of a theory, tradition, or discipline in which other books and authors will in their turn find a place
  • transdiscursive
  • 'founders of discursivity
  • They have produced something else: the possibilities and the rules for the formation of other texts.
  • The relationship (or non-relationship) with an author and the different forms this relationship takes, constitute - in a quite visible manner - one of these discursive properties.
  • First, there are theoretical reasons. On the one hand, an analysis in the direction that I have outlined might provide for an approach to a typology of discourse.
  • an introduction to the historical analysis of discourse
  • modes existence
  • re-examine the privileges of the subject
  • Second, there are reasons dealing with the 'ideological' status of the author
  • How can one reduce the great peril, the great danger with which fiction threatens our world? The answer is: one can reduce it with the author. The author allows a limitation of the cancerous and dangerous proliferation of significations within a world where one is thrifty not only with one's resources and riches, but also with one's discourses and their significations. The author is the principle of thrift in the proliferation of meaning.
  • the author is not an indefinite source of significations which fill a work; the author does not precede the works; he is a certain functional principle by which, in our culture, one limits, excludes, and chooses; in short, by which one impedes the free circulation, the free manipulation, the free composition, decomposition, and re-composition of fiction
  • It would be pure romanticism, however, to imagine a culture in which the fictive would operate in an absolutely free state, in which fiction would be put at the disposal of everyone and would develop without passing through something like a necessary or constraining figure
  • I think that, as our society changes, at the very moment when it is in the process of changing, the author function will disappear, and in such a manner that fiction and its polysemous texts will once again function according to another mode, but still with a system of constraint -one which will no longer be the author, but which will have to be determined or, perhaps, experienced.
  • We would no longer hear the questions that have been rehashed for so long: Who really spoke? Is it really he and not someone else? With what authenticity or originality? And what part of his deepest self did he express in his discourse?
  • What are the modes of existence this discourse? Where has it been used, how can it circulate, and who can appropriate it for himself? What are the places in it where there is room for possible subjects? Who can assume these various subject functions? And behind all these questions, we would hear hardly anything but the stirring of an indifference: What difference does it make who is speaking?
Cecilie wIan

Culture jamming - Wikipedia, the free encyclopedia - 0 views

en.wikipedia.org/...Culture_jamming

remix culture jamming

shared by Cecilie wIan on 08 Sep 09 - Cached
  • Cecilie wIan on 08 Sep 09
     
    Remixes is often this.
  • Cecilie wIan on 08 Sep 09
     
    This relates to remix how?
Jill Walker Rettberg

The Anxiety of Influence - Wikipedia, the free encyclopedia - 0 views

en.wikipedia.org/...The_Anxiety_of_Influence

Harold Bloom remix originality wikipedia

shared by Jill Walker Rettberg on 15 Aug 09 - Cached
  • Jill Walker Rettberg on 15 Aug 09
     
    Harold Bloom argued in his book by this titled that truly great poets wrote original poetry unfettered by the influence of other poets - whereas regular poets could not escape being influenced by others. Does remix culture reject originality altogether?
Thais B.

Freedom of Speech on the Internet - Part 1: Remix Culture - Feross.org - 2 views

www.feross.org/ix-culture-part-1-introduction

shared by Thais B. on 06 Oct 09 - Cached
  • mash-up culture
    • Thais B.
      Thais B. on 06 Oct 09
       
      Maties' project is gonna be about this issue
  • But freedom on the Internet is at risk.
  • The Internet has been such a powerful force in the world for freedom of thought, freedom of information, and freedom of expression.
  • ...1 more annotation...
  • You should read:
    • Thais B.
      Thais B. on 06 Oct 09
       
      Do it because is it really interesting to our course!
Jill Walker Rettberg

Richard Dawkins: "Memes, The New Replicators'' (chapter 11 of The Selfish Gene) - 0 views

www.rubinghscience.org/...dawkinsmemes.html

dawkins meme memetics

shared by Jill Walker Rettberg on 21 Sep 09 - Cached
  • qualities that make for high survival value among memes.  But in general they must be the same as those discussed for the replicators of Chapter 2: longevity, fecundity, and copying-fidelity
    • Jill Walker Rettberg
      Jill Walker Rettberg on 21 Sep 09
       
      Qualities that make for high survival value among memes: - longevity - fecundity - copying-fidelity (Same as for genes)
  • copying-fidelity.  Here I must admit that I am on shaky ground
  • It looks as though meme transmission is subject to continuous mutation, and also to blending. 
  • ...3 more annotations...
  • An `idea-meme' might be defined as an entity that is capable of being transmitted from one brain to another.
  • The human brain, and the body that it controls, cannot do more than one or a few things at once.  If a meme is to dominate the attention of a human brain, it must do so at the expense of `rival' memes. 
  • I have been dissatisfied with explanations that my fellow-enthousiasts have offered for human behaviour.  They have tried to look for `biological advantages' in various attributes of human civilization
  • Jill Walker Rettberg on 21 Sep 09
     
    This is the article that introduces the concept "meme", and required reading for Thursday's Remix Culture class.
Thais B.

Political Remix Video: Transforming Mass Media and Pop Culture - 1 views

www.politicalremixvideo.com

shared by Thais B. on 27 Aug 09 - Cached
  • We Are Creators Too
  • Jill Walker Rettberg on 27 Aug 09
     
    Blog which does nothing but post examples of political remix videos, with useful commentary and links. A gem if you're interested in this genre!
Thais B.

YouTube - The Child - 0 views

www.youtube.com/watch

shared by Thais B. on 23 Sep 09 - Cached
  • Thais B. on 23 Sep 09
     
    A great video. A world made only with typographics. Is that a remix culture? I hope you like it!
  • Jill Walker Rettberg on 24 Sep 09
     
    Oh, I love this. I'm not sure whether it's remix - that would depend on your definition. It certainly repurposes letters/words in an interesting way. I'm intrigued by whether or not this is "literature", too. The story itself is rather simplistic, but it's so beautiful to watch, almost more visual art/poetry/music than narrative, although there IS a narrative there. Interesting too that it's made "for a DJ". That suggests that the music and the FEELING are the focus here? Thanks, Thais!
Jill Walker Rettberg

Edwards/Tryon: Political video mashups as allegories of citizen empowerment - 0 views

firstmonday.org/...2305

political remix video analysis scholarly

shared by Jill Walker Rettberg on 14 Oct 09 - Cached
  • Subsequently, inspired after watching another user’s mashup, still more users may choose to participate directly in remix culture, and produce their own video mashups. In terms of empowerment, these further acts of participation are crucial because they signify how users can become more active and more media literate with the online and off–line information they are consuming on a daily basis [4].
  • Just as in the case of a video camera in the hands of a video activist at a street rally, engaged online users can produce mashups as a means for political advocacy (tool), political protest (weapon), and political observation (witness).
  • Jill Walker Rettberg on 14 Oct 09
     
    Scholarly article analysing three political video mashups: "When the viral video "Vote Different" broke into the mainstream media in March 2007, the political video mashup became a notable media phenomenon. User-generated mashups threatened to cut through the U.S. news clutter that typically shapes election discourse. In this paper, political video mashups are examined as allegories of citizen empowerment during the 2008 U.S. presidential election. Political video mashups can act as tools of political advocacy, forms of political protest, and modes of political commentary. Finally, though they are already being co-opted by mainstream political campaigns, the paper addresses the potential of mashups to re-interpret political messages in ways that may encourage the active re-framing of political issues among twenty-first century citizens."
Jill Walker Rettberg

Folk Cultures and Digital Cultures | MIT World - 0 views

mitworld.mit.edu/462

remix gutenberg parenthesis history elizabethan

shared by Jill Walker Rettberg on 19 Aug 09 - Cached
  • Jill Walker Rettberg on 19 Aug 09
     
    Tom Pettitt's brief talk explaining the Gutenberg Parenthesis is available as a video from the keynote at Media in Transition conference in 2007 at MIT. Pettitt starts speaking around 36:50 minutes in. You may be interested in the other speakers too.
Jill Walker Rettberg

Confessions of an Aca/Fan: Archives: "Why So Socialist?": Unmasking the Joker - 0 views

henryjenkins.org/...unmasking_the_joker.html

obama politics photoshopping mashup remix

shared by Jill Walker Rettberg on 15 Aug 09 - Cached
  • Jill Walker Rettberg on 15 Aug 09
     
    Essay by PhD student Whitney Phillips on the origins and meanings and interpretations of an image of Obama as Heath Ledger's Joker, with the word "Socialism" below it. Shows a number of variants of the photoshopped image, along with other mashups of Obama and popular culture images.
Jill Walker Rettberg

Digital Culture Adventure - 2 views

digitalcultureadventure.wordpress.com

shared by Jill Walker Rettberg on 15 Oct 09 - Cached
  • Political remix video not criticize the way that mass media work, but it used them to send messages totally different from that which the media want to launch.
    • Jill Walker Rettberg
      Jill Walker Rettberg on 15 Oct 09
       
      Good point.
    • Jill Walker Rettberg
      Jill Walker Rettberg on 15 Oct 09
       
      Or at least an interesting assertion - I wonder if it's completely true? Probably?
  • the usage of  material that is already familiar to the public and has a certain amount of built in cultural meaning helps to create a more close relation with the public
  • Dennis G. Jez, a teacher from Pennsylvania
    • Jill Walker Rettberg
      Jill Walker Rettberg on 15 Oct 09
       
      If you call him "an American academic" or "a scholar who" or something like that it makes him sound more authoritative - and it's true, he's a researcher/academic at a university or college. Teacher sounds a bit like he's a high school teacher rather than a researcher. Also, his last name is Jerz, not Jez :)
Jill Walker Rettberg

Gisle Hannemyr: Lommejuss omkring digitale medier - 0 views

hannemyr.com/legal_dm09.shtml

remix culture copyright Norwegian norsk Norway

shared by Jill Walker Rettberg on 21 Sep 09 - Cached
  • Natur og Ungdoms satiriske bearbeidelse av Jens-portrettet fra filmplakaten til filmen «Olje­berget»
  • en kunsthistorisk tradisjon som i det minste tolerererer denne typen gjenbruk av vernede verk i satirisk og politisk øyemed
  • det burde være rom i opphavsrettslovgivningen (de lege ferenda) for at denne typen satiriske og kritiske ytringer skal være tillatt.
  • Jill Walker Rettberg on 21 Sep 09
     
    Overview of Norwegian copyright law (in Norwegian...) Særlig interessant for oss er avsnittene om sitatrett og appropriasjonskunst.
  • Jill Walker Rettberg on 21 Sep 09
     
    Overview of Norwegian copyright law as it concerns digital media written by Gisle Hannemyr.
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