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Nigel Robertson on 18 Aug 12

Article from John Egenes at Otago Uni on remix culture. "The internet and our digital convergence are rapidly transforming long-held views regarding the traditional relationship between performer and audience ("creator" / "consumer"). This change is giving a new voice to the audience, literally bringing them into the mix. With unprecedented access to the creative process, and with an audience for their creations, consumers of music are also its producers, and are reshaping concepts of creativity, individuality, and intellectual property. This paper examines fundamental shifts in the way the "Folk Process" works within this context. Remix culture, once a bastion of beat-driven dance mashups, is expanding to include all styles of music, film, theatre and art. I will argue that its long-term significance lies in the notion that it blurs lines between the traditionally separate roles of creator and consumer, and challenges long-held concepts of intellectual property and copyright. Over the protests of many traditional folk musicians and devotees, folk music is entering this new digital arena, where the Folk Process is changing from gradual to immediate, from slow to rapid, adapting to fit the new digital paradigm."

<div class="cArrow"> </div><div class="cContentInner">Article from John Egenes at Otago Uni on remix culture. "The internet and our digital convergence are rapidly transforming long-held views regarding the traditional relationship between performer and audience ("creator" / "consumer"). This change is giving a new voice to the audience, literally bringing them into the mix. With unprecedented access to the creative process, and with an audience for their creations, consumers of music are also its producers, and are reshaping concepts of creativity, individuality, and intellectual property. This paper examines fundamental shifts in the way the "Folk Process" works within this context. Remix culture, once a bastion of beat-driven dance mashups, is expanding to include all styles of music, film, theatre and art. I will argue that its long-term significance lies in the notion that it blurs lines between the traditionally separate roles of creator and consumer, and challenges long-held concepts of intellectual property and copyright. Over the protests of many traditional folk musicians and devotees, folk music is entering this new digital arena, where the Folk Process is changing from gradual to immediate, from slow to rapid, adapting to fit the new digital paradigm."</div>

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