Types of Plagiarism & Unoriginal Work
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Remix Survey 7-6-2010-2
Remix Culture Survey Instrument Which of the following do you currently own? (check all that apply) • High-definition television set • DVD Player • Personal Video Recorder (e.g. TiVo) • Cable/Satellite television connection • Video Game console (e.g. XBOX, PlayStation) • Portable video game device (e.g. Nintendo DS, PSP) • High-speed internet connection (e.g. DSL, cable modem) • Stereo system or portable CD player • Portable MP3 player (e.g. iPod) • Satellite radio (XM, Sirius) • Turntables • Video camera • E-book reader (e.g. Kindle) • Tablet computer (e.g. iPad) • Smartphone (e.g. iPhone, Blackberry, Droid) • A non-smartphone mobile phone (phone calls and text but doesn’t have more advanced features like video and web) How often have you done the following activities in the past month? Never Rarely Sometimes Often Daily or more • Watched TV shows or movies on a TV set (not computer) • Played non-online games on a console (e.g. XBOX, PlayStation) • Played non-online games on a computer • Listened to CDs • Listened to digital music (e.g. MP3s) • Listened to the radio • Read books • Read newspapers or magazines • Download or streamed a movie, television show, or video clip online. • Played a game online • Downloaded or streamed music online For the remainder of this survey, please consider the following definitions: Sample-based media: Creating something different using elements of preexisting media (pieces of music, games, shows, video, text, or photos). There are two specific subgenres of sample based media: • Remix: Adding, taking out, mixing, combining or editing your own elements or effects with preexisting media (e.g. film, music, video games) to produce something different • Mash-up: Combining only elements of preexisting media together (e.g. -
Garage Zine Scionav.Com Vol. 3 Cover Photography: Clayton Hauck
GARAGE ZINE SCIONAV.COM VOL. 3 COVER PHOTOGRAPHY: CLAYTON HAUCK STAFF Scion Project Manager: Jeri Yoshizu, Sciontist Editor: Eric Ducker Creative Direction: Scion Art Director: malbon Production Director: Anton Schlesinger Contributing Editor: David Bevan Assistant Editor: Maud Deitch Graphic Designers: Nicholas Acemoglu, Cameron Charles, Kate Merritt, Gabriella Spartos Sheriff: Stephen Gisondi CONTRIBUTORS Writer: Jeremy CARGILL Photographers: Derek Beals, William Hacker, Jeremy M. Lang, Bryan Sheffield, REBECCA SMEYNE CONTACT For additional information on Scion, email, write or call. Scion Customer Experience 19001 S. Western Avenue Company references, advertisements and/ Mail Stop WC12 or websites listed in this publication are Torrance, CA 90501 not affiliated with Scion, unless otherwise Phone: 866.70.SCION noted through disclosure. Scion does not Fax: 310.381.5932 warrant these companies and is not liable for Email: Email us through the contact page their performances or the content on their located on scion.com advertisements and/or websites. Hours: M-F, 6am-5pm PST Online Chat: M-F, 6am-6pm PST © 2011 Scion, a marque of Toyota Motor Sales U.S.A., Inc. All rights reserved. Scion GARAGE zine is published by malbon Scion and the Scion logo are trademarks of For more information about MALBON, contact Toyota Motor Corporation. [email protected] 00430-ZIN03-GR SCION A/V SCHEDULE JUNE Scion Garage 7”: Cola Freaks/Digital Leather (June 7) Scion Presents: Black Lips North American Tour The Casbah in San Diego, CA (June 9) Velvet Jones -
1 the Versions Project: Exploring
THE VERSIONS PROJECT: EXPLORING MASHUP CULTURE By FRANCESCA LYN SUPERVISORY COMMITTEE: Benjamin DeVane, CHAIR Melinda McAdams, MEMBER James Oliverio, MEMBER A PROJECT IN LIEU OF THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF 1 MASTER OF ARTS UNIVERSITY OF FLORIDA 2011 2 ©2011 Francesca Lyn To everyone who has encouraged me to never give up, this would have never happened without all of you. 3 ACKNOWLEDGMENTS It is a pleasure to thank the many people who made this thesis possible. Thank you to my thesis chair Professor Ben DeVane and to my committee. I know that I was lucky enough to be guided by experts in their fields and I am extremely grateful for all of the assistance. I am grateful for every mashup artist that filled out a survey or simply retweeted a link. Special thanks goes to Kris Davis, the architect of idealMashup who encouraged me to become more of an activist with my work. And thank you to my parents and all of my friends. 4 TABLE OF CONTENTS page ACKNOWLEDGEMENTS……………………………………………………………………….4 ABSTRACT……..………………………………………………………………………………...6 INTRODUCTION..……………………………………………………………………………….7 Remix Culture and Broader Forms………………………………………………………………..9 EARLY ANTECEDENTS………………………………………………………………………10 Hip-hop…………………………………………………………………………………………..11 THE MODERN MASHUP ERA………………………………………………………………..13 NEW MEDIA ARTIFACTS…………………………………………………………………….14 The Hyperreal……………………………………………………………………………………15 Properties of New Media………………………………………………………………………...17 Community……………………………………………………………………………...…18 -
Audiences, Gender and Community in Fan Vidding Katharina M
University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 2011 "Veni, Vidi, Vids!" audiences, gender and community in Fan Vidding Katharina M. Freund University of Wollongong, [email protected] Recommended Citation Freund, Katharina M., "Veni, Vidi, Vids!" audiences, gender and community in Fan Vidding, Doctor of Philosophy thesis, School of Social Sciences, Media and Communications, Faculty of Arts, University of Wollongong, 2011. http://ro.uow.edu.au/theses/3447 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] “Veni, Vidi, Vids!”: Audiences, Gender and Community in Fan Vidding A thesis submitted in fulfilment of the requirements for the award of the degree Doctor of Philosophy From University of Wollongong by Katharina Freund (BA Hons) School of Social Sciences, Media and Communications 2011 CERTIFICATION I, Katharina Freund, declare that this thesis, submitted in fulfilment of the requirements for the award of Doctor of Philosophy, in the Arts Faculty, University of Wollongong, is wholly my own work unless otherwise referenced or acknowledged. The document has not been submitted for qualifications at any other academic institution. Katharina Freund 30 September, 2011 i ABSTRACT This thesis documents and analyses the contemporary community of (mostly) female fan video editors, known as vidders, through a triangulated, ethnographic study. It provides historical and contextual background for the development of the vidding community, and explores the role of agency among this specialised audience community. Utilising semiotic theory, it offers a theoretical language for understanding the structure and function of remix videos. -
Video Essay, Mashup, Copy Right
Referencing in Academia: Video Essay, Mashup, Copy right Eckart Voigts, Katerina Marshfield 1. Introduction: Producing and Podcasting Videographic Material Digital media have established a remix and mashup machine that has generated a rich range of recombinant appropriations (Voigts 2017)— compiled videos, samplings, remixes, reboots, mashups, short clips, and other material involving text, sound, and image — typically found (and lost) on web-based video databases. These remix practices raise ques- tions about referencing and copy right in academic teaching, learning and researching environments that have yet to be fully addressed. Five years ago, in their introduction to Transgression 2.0, Ted Gournelos and David Gunkel pointed out that mashup culture tends to operate in a murky, transgressive legal situation: [...] mashup and remixing are patently and unapologetically ille- gal. Produced by appropriating, decontextualizing, and recombin- ing the creative material of others, the mashup is a derivative ‘com- position’ that violates the metaphysical concept of originality, the cultural status of the author and the authority of authorship, and every aspect of intellectual property law and copy right (Gunkel/ Gournelos 2012: 11). In this paper, we will provide a tentative view of the current situation that has grown from a teaching project entitled ‘Producing and Podcast- ing Film Analytical Audio Commentaries’. We will proceed by providing Media in Action | Issue 2/2017 | http://mediainaction.uni-siegen.de 114 Thematic Focus : Copy right Law a short portrait of the project, before focussing on the issues of evaluat- ing and referencing videographic material, remixes and mashups. The aim of the ‘Audio Commentaries’ project was to develop student cultural techniques (in German ‘Kulturtechniken’). -
Found Footage Experience. Pratictices of Cinematic Re-Use and Forms of Contemporary Film
Found Footage Experience. Pratictices of cinematic re-use and forms of contemporary film edited by Rossella Catanese (University of Udine) and Giacomo Ravesi (Roma Tre University) In contemporary visual culture, the polysemy of cinematographic language finds its emblematic manifestation in the various paradigms of image re-use, which contextualises and relocates their functions in new interpretative formulas. The practice of found footage consists of the cinematographic, videographic and artistic practice of appropriation, re-elaboration and re- assembly of pre-existing images retrieved from heterogeneous media archives: from photography to stock footage and from home-movies to TV documentation and the web. One of the attractions of postmodern culture as a form of recycling, re-use and combination of different materials recovered from a past interpreted as a vast reservoir of imagery, found footage keeps its interest alive even in the epistemological trajectories of the so-called “new realism,” where a “society of recording” emerges (Ferraris 2011) in which everything must leave a trace and be archived. Moreover, deconstructionist thought has shown how inheritance should be understood not as a datum but always as a task, since archiving also responds to the need for regulation: preserving documents means imposing an order and establishing control through safeguarding and cataloguing devices. At the same time, audiovisual consumption practices have today become complex and composite forms of reception which rewrite the spectatorial experience and the uses and habits of accessibility, availability and relationship with films and audiovisual materials. The history of cinema is configured as a “visual deposit” (Bertozzi 2012) at the origin of the development of new formal writings and metaphorical processes. -
In Your Dreams
Core Apprenticeship Library Apprenticeship Sector: Arts & Culture Unit Guide: In Your Dreams In Your Dreams The In Your Dreams unit is a series of inquiry-driven lessons designed to boost students’ sophistication as nonfiction readers. The culminating zine project requires students to integrate information from multiple sources, selecting details to support a central idea. Students will also gain vocabulary skills, including the use of word roots and affixes and an awareness of words’ connotations. Students will learn to “read like writers,” which requires thinking about the choices authors have made in terms of content, format, and word choice. Unit Standards and Objectives Standard #1: Citizen Schools students will prepare a clear written communication. Standard #2: CCSS.RI.6.1: Cite textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text. Standard #3: CCSS.RI.6.2: Determine a central idea of a text and how it is conveyed through details. Standard #4: CCSS.RI.6.4: Determine the meaning of words and phrases as they are used in a text, including figurative, connotative, and technical meanings Standard #5: CCSS.RI.6.6: Determine an author’s point of view or purpose in a text and explain how it is conveyed in the text. Lesson Objectives: ● SWBAT identify the big idea of a text. ● SWBAT identify two details that support the big idea of a text. ● SWBAT provide a brief summary of the text. ● SWBAT read like a writer by thinking about why the author made the choices s/he did, and what the author is trying to get the reader to think, feel, or understand while they are reading. -
Adult Fiction
Adult Fiction Heroes of the Frontier The Woman in Cabin 10 Dave Eggers Ruth Ware When travel journalist Lo Blacklock is Josie is on the run with her invited on a boutique luxury cruise children. She's left her husband, around the Norwegian fjords, it seems her failing dental practice, and the like a dream job. But the trip takes a rest of her Ohio town to explore nightmarish turn when she wakes in Alaska in a rickety RV. the middle of the night to hear a body being thrown overboard. With his trademark insight, humor, and pathos, Dave Eggers explores Brit Ruth Ware has crafted her second this woman's truly heroic gripping, dark thriller in the Christie adventure, all the while exploring tradition. This page-turner toys with the concept of heroism in general. the classic plot of "the woman no one Brilliant, unpretentious, and highly would believe" with incredible language readable. and fun twists. Also a terrific, ~Alan’s and Leslie’s pick unabridged audiobook. ~Alan’s pick They May Not Mean To, But Barkskins They Do Annie Proulx Cathleen Schine Spanning hundreds of years, this When Joy Bergman's husband dies, ambitious work tells the often brutal her children are shocked that she story of the Canadian and New doesn't agree with their ideas for England lumber industry and all her. The book's title is from a those whom it enriched or displaced. Philip Larkin poem, and this funny and compassionate look at the Annie Proulx’s writing never ceases Bergman family brings Larkin's to thrill me. -
Parody and Pastiche
Evaluating the Impact of Parody on the Exploitation of Copyright Works: An Empirical Study of Music Video Content on YouTube Parody and Pastiche. Study I. January 2013 Kris Erickson This is an independent report commissioned by the Intellectual Property Office (IPO) Intellectual Property Office is an operating name of the Patent Office © Crown copyright 2013 2013/22 Dr. Kris Erickson is Senior Lecturer in Media Regulation at the Centre ISBN: 978-1-908908-63-6 for Excellence in Media Practice, Bournemouth University Evaluating the impact of parody on the exploitation of copyright works: An empirical study of music (www.cemp.ac.uk). E-mail: [email protected] video content on YouTube Published by The Intellectual Property Office This is the first in a sequence of three reports on Parody & Pastiche, 8th January 2013 commissioned to evaluate policy options in the implementation of the Hargreaves Review of Intellectual Property & Growth (2011). This study 1 2 3 4 5 6 7 8 9 10 presents new empirical data about music video parodies on the online © Crown Copyright 2013 platform YouTube; Study II offers a comparative legal review of the law of parody in seven jurisdictions; Study III provides a summary of the You may re-use this information (excluding logos) free of charge in any format or medium, under the findings of Studies I & II, and analyses their relevance for copyright terms of the Open Government Licence. To view policy. this licence, visit http://www.nationalarchives.gov. uk/doc/open-government-licence/ or email: [email protected] The author is grateful for input from Dr. -
We Have Always Had Mashups, Or Mashing up Transmediality George P
We Have Always Had Mashups, or Mashing Up Transmediality George P. Landow Brown University, USA doi: 10.7358/ijtl-2015-001-land [email protected] ABSTraCT After examining the intertwined concepts of media, information technology, and mash- ups, this essay draws upon examples from ancient Greek literature based upon orality, Latin scribal culture, and printed poetry to demonstrate that the practice of mash-up is central to our understanding of both media and transmediality. Translating texts originally created in another language and verse form exemplifies one major instance of transmediality, and the way Elizabethan English poets self-consciously borrow, rewrite, and challenge Catullus provide far more wonderfully outrageous examples of mash-up than modern musical ones. Keywords: mashup; medium; transmediality; literary tradition; transliterality; Catullus; poems. The term mashup originally comes from British-West Indies slang meaning to be intoxicated, or as a description for something or someone not functioning as intended. In recent English parlance it can refer to music, where people seamlessly combine audio from one song with the vocal track from another-thereby mashing them together to create something new. – Wikipedia 1. MASHUP, MEDIUM, AND ‘TraNSMEDia’ LITEraCY According to Wikipedia, that wonderful example of text-and-image mashups in a digital, networked environment, a mashup – or mash up or mash-up – “is a song or composition created by blending two or more pre-recorded songs, usually by overlaying the vocal track of one song seamlessly over the instru- International Journal of Transmedia Literacy – 1.1 - December 2015 http://www.ledonline.it/transmedialiteracy/ 67 George P. Landow mental track of another.” According to the Wikipedia article, which contains a useful list of examples, “The original manifestation of mashups in the 2000s was putting an a cappella against a completely different backing track, in order to make a “third song”. -
Andrea Lunsford Videos Plagiarism in the Remix Culture Lunsford Handbooks (Boston: Bedford/St. Martin's). 1/2 00:05
Andrea Lunsford Videos Plagiarism in the Remix Culture 00:05 ["Mark Herrera, Sustainability Major" onscreen] HERRERAR: You've got to give credit where it's due, and I think that you can't just steal people's ideas. 00:13 [ONSCREEN] Plagiarism in the Remix Culture 00:15 LUNSFORD: We do live in a remix culture. 00:17 ["Andrea A. Lunsford, Stanford University" onscreen] LUNSFORD: There's a war going on out there about who's going to have control over this cultural material. Do you want to be a victim of this war, or do you want to get in there and be one of the protagonists or antagonists in this? So I want you to think really carefully about how you are using the work of others. And if you want to pull a clip from a song and you want to mix it in with something you are writing, I want you to think about all of the ethical implications, and I want you to be ready to stand up and say "I'm taking responsibility for this, and I think I should be allowed to do this and here's why." If you can't do that, you'd better not. 01:02 ["Eder Diego, Communication Design Major" onscreen] DIEGO: In the future, I think I could see the paper as being a multimedia thing. When you turn in something, if the professor asks you to do something more than just the paper, you can have your paper and then have some kind of link to a video you might do on that topic. -
Mashup Contest: Student Created Video Parodies Mashup Contest
Mashup Contest: Student created video parodies Anu Vedantham, Director, Weigle Information Commons Dr. Peter Decherney, Assistant Professor, English and Cinema Studies University of Pennsylvania Description: We will showcase digital media success stories in undergraduate classrooms at the University of Pennsylvania that have emerged from the first year of the Weigle Information Commons at the Penn Libraries. We will focus on the creation, organization and results of the 2007 Mashup Contest. Building on the common freshman reading of Lawrence Lessig’s book “Free Culture”, the contest brought together several entities around campus. Students created original video and mashups of commercial video to parody well-known movies. We will show award winning entries and discuss interesting classroom assignments that have emerged. Student-created video is an interesting undergraduate assignment option at Penn, in some cases as an alternative to traditional research papers. Creative video assignments can engage students in high-level critical thinking, writing, planning, scripting and group collaboration tasks. Creative use of space, technology and collaborative assignments can engage students in new ways of acquiring knowledge. Mashup Contest Basics Website: http://wic.library.upenn.edu/workshops/mashup.html Students created a four-minute video parody of a well-known film. Three faculty judges chose the winning entries with a grand prize of a digital videocamera. Spin-off effects have included several faculty incorporating video assignments into