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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

About | Remixes, Mashups and Covers @ Remix.vg - 0 views

remix.vg/about

remix mashups examples

shared by Jill Walker Rettberg on 15 Aug 09 - Cached
  • Jill Walker Rettberg on 15 Aug 09
     
    Welcome to Remix.vg - one of the internet's very best go-to sources for Remixes, Mashups and Covers to which anyone and everyone can submit their work, or the work of others to be played and enjoyed by all.
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

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?
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
Jill Walker Rettberg

Lunatica Desnuda: The Many Incarnations of the Mona Lisa - From Dali to Banksy - 0 views

lunaticadesnuda.blogspot.com/...incarnations-of-mona-lisa.html

Mona Lisa remix mashup manipulation images examples

shared by Jill Walker Rettberg on 15 Aug 09 - Cached
  • Jill Walker Rettberg on 15 Aug 09
     
    Leonardo da Vinci's Mona Lisa is one of the most familiar paintings in the world, and of course, many artists have made their own versions of it. This blog post collects a couple of dozen examples, including Duchamp's famous one.
  • Jill Walker Rettberg on 15 Aug 09
     
    Lots of examples of remixed Mona Lisas.
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