DOCSLIB.ORG

The Routledge Handbook of Remix Studies and Digital Humanities

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Routledge Handbook of Remix Studies and Digital Humanities THE ROUTLEDGE HANDBOOK OF REMIX STUDIES AND DIGITAL HUMANITIES In this comprehensive and highly interdisciplinary companion, contributors reflect on remix across the broad spectrum of media and culture, with each chapter offering in-depth reflections on the relationship between remix studies and digital humanities. The anthology is organized into sections that explore remix studies and digital humanities in relation to topics such as archives, artificial intelligence, cinema, episte- mology, gaming, generative art, hacking, pedagogy, sound, and VR, among other sub- jects of study. Selected chapters focus on practice-based projects produced by artists, designers, remix studies scholars, and digital humanists. With this mix of practical and theoretical chapters, editors Navas, Gallagher, and burrough offer a tapestry of critical reflection on the contemporary cultural and political implications of remix studies and the digital humanities, functioning as an ideal reference manual to these evolving areas of study across the arts, humanities, and social sciences. This book will be of particular interest to students and scholars of digital humanities, remix studies, media arts, information studies, interactive arts and technology, and digi- tal media studies. Eduardo Navas is Associate Research Professor of Art at The School of Visual Arts at The Pennsylvania State University, PA. He implements methodologies of cultural ana- lytics and digital humanities to research the crossover of art and media in culture. His production includes art and media projects, critical texts, and curatorial projects. Navas is co-editor of The Routledge Companion to Remix Studies (2015), Keywords in Remix Studies (2018), and has published extensively on remix theory and practice. He is Research Faculty in the College of Arts and Architecture’s Art & Design Research Incubator (ADRI). Owen Gallagher is Programme Manager and Assistant Professor of Web Media at Bahrain Polytechnic, where he lectures in film, sound, animation, and game design. He is the author of Reclaiming Critical Remix Video (2018), and co-editor of Keywords in Remix Studies (2018) and The Routledge Companion to Remix Studies (2015) with Eduardo Navas and xtine burrough. He has published a number of book chapters, journal articles, and conference papers on remix culture, intellectual property, and visual semiotics, and is particularly concerned with the changing role of copyright in the networked era. xtine burrough is Professor and Area Head of Design + Creative Practice in the School of Arts, Technology, and Emerging Communication at UT Dallas, and she is the Director of LabSynthE, a laboratory for creating synthetic, electronic poetry. She uses emerging technologies and remix as a strategy for engaging networked audiences in critical partici- pation. She is the author of Foundations of Digital Art and Design with Adobe Creative Cloud, 2nd Edition, and co-editor of The Routledge Companion to Remix Studies and Keywords in Remix Studies with Eduardo Navas and Owen Gallagher. 9780367361426_vouchers_proofs.indb 1 27/01/21 10:31 AM THE ROUTLEDGE HANDBOOK OF REMIX STUDIES AND DIGITAL HUMANITIES Edited by Eduardo Navas, Owen Gallagher, and xtine burrough First published 2021 by Routledge 52 Vanderbilt Avenue, New York, NY 10017 and by Routledge 2 Park Square, Milton Park, Abingdon, Oxon, OX14 4RN Routledge is an imprint of the Taylor & Francis Group, an Informa business © 2021 Taylor & Francis The right of Eduardo Navas, Owen Gallagher, and xtine burrough to be identified as the authors of the editorial material, and of the authors for their individual chapters, has been asserted in accordance with Sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. Library of Congress Cataloging-in-Publication Data Names: Navas, Eduardo, editor. | Gallagher, Owen, 1980- editor. | burrough, xtine, editor. Title: The Routledge handbook of remix studies and digital humanities / edited by Eduardo Navas, Owen Gallagher, and xtine burrough. Description: New York : Routledge, 2021. | Includes bibliographical references and index. Identifiers: LCCN 2020055919 (print) | LCCN 2020055920 (ebook) | ISBN 9780367361426 (hardback) | ISBN 9780429355875 (ebook) Subjects: LCSH: Appropriation (Art) | Digital humanities. | Remix History and criticism Classification: LCC NX197 .R385 2021 (print) | LCC NX197 (ebook) | DDC 701/.1--dc23 LC record available at https://lccn.loc.gov/2020055919 LC ebook record available at https://lccn.loc.gov/2020055920 ISBN: 978-0-367-36142-6 (hbk) ISBN: 978-0-367-69880-5 (pbk) ISBN: 978-0-429-35587-5 (ebk) Typeset in Goudy by KnowledgeWorks Global Ltd. BK-TandF-NAVAS_9780367361426-200351-FM.indd 4 27/01/21 2:03 PM CONTENTS Acknowledgments viii List of Figures x List of Tables xvi Notes on Contributors xvii Introduction 1 EDUARDO NAVAS, OWEN GALLAGHER, AND XTINE BURROUGH PART I Epistemology and Theory 17 1 A Brief History of Remix: From Caves to Networks 19 GIANCARLO FROSIO 2 The More Things Change: Who Gets Left Behind as Remix Goes Mainstream? 36 FERNANDA R. ROSA, MAGGIE CLIFFORD, AND ARAM SINNREICH 3 Experiments in Performance, Identity, and Digital Space: 48 Mystory Remixes, Remixed 53 LYNDSAY MICHALIK GRATCH 4 Production Plus Consumption: Remix and the Digital Humanities 70 VIRGINIA KUHN 5 Immersive Feminist Remix: An Affect Dissonance Methodology 80 KAREN KEIFER-BOYD 6 Versioning Buddhism: Remix and Recyclability in the Study of Religion 95 SETH M. WALKER 7 Monster Theory 2.0: Remix, the Digital Humanities, and the Limits of Transgression 109 MEGEN DE BRUIN-MOLÉ 8 Sampling New Literacies: Remix Studies and Digital Humanities in a Cross-Disciplinary Approach 125 EDUARDO DE MOURA 9 RS (Remix Studies) + DH (Digital Humanities): Critical Reflections on Chance and Strategy for Empathy 140 EDUARDO NAVAS v CONTENTS PART II Accessibility and Pedagogy 157 10 Designing the Remix Library 159 ANNE BURDICK 11 Interdisciplinary Design and Transcultural Collaboration as Transformative Remix Tools 175 IAN MCARTHUR 12 In the Mix, the Collaborative Remix to Repair, Reconnect, Rebuild 194 VICKI CALLAHAN, NICOLE RICHTER, CHRISTINA LANE, AND DANIEL CLARKSON FISHER 13 Remixing Literature in the Classroom: From Canons to Playlists in the Study of Latinx Literature and Beyond 210 KELLEY KREITZ 14 Metadata for Digital Teaching: Enabling Remix for Open Educational Resources 222 MICHAEL COLLINS 15 Hack It! Diy Divine Tools: An Art Hack Implemented as New Media Pedagogy in the Public Liberal Arts 236 VICTORIA BRADBURY 16 On The Capabilities of Hip Hop-Inspired Design Research: An Annotated Syllabus 247 JOYCELYN WILSON 17 Internet Memes as Remixes: Simpsons Memes and the Swarm Archive 259 SCOTT HADEN CHURCH AND GAVIN FELLER 18 Poetically Remixing the Archive 273 XTINE BURROUGH PART III Modularity and Ontology 287 19 Hallucination or Classification: How Computational Literature Interacts with Text Analysis 289 ERAN HADAS 20 Machine-Driven Text Remixes 302 ALESSANDRO LUDOVICO 21 Talk to Transformer: AI as Meta Remix Engine 313 MARK AMERIKA 22 The Critical Role of New Media in Transforming Gamers into Remixers 325 LISA HORTON AND DAVID BEARD vi CONTENTS 23 Vandalize a Webpage: Automation and Agency, Destruction and Repair 342 ETHAN PLAUT 24 Allegories of Streaming: Image Synthesis and/as Remix 354 STEVE F. ANDERSON 25 Always Already Just: Combinatorial Inventiveness in New Media Art 366 DEJAN GRBA 26 Computational Creativity: Algorithms, Art, and Artistry 385 DAVID J. GUNKEL 27 Remix Games as Instruments of Digital Humanities Scholarship: Harnessing the Potential of Virtual Worlds 396 OWEN GALLAGHER PART IV Aurality and Visuality 415 28 Popular Song Remixed: Mashups, Aesthetic Transformation, and Resistance 417 CHRISTINE BOONE 29 Remixing the Object of Study: Performing Screen Studies through Videographic Scholarship 430 AIDAN DELANEY 30 Cinema Remixed 4.0: The Rescoring, Remixing, and Live Performance of Film Soundtracks 443 SARAH ATKINSON 31 The Sound of the Future: A Digital Humanities Remix Essay 456 PAUL WATKINS 32 Hacking the Digital Humanities: Critical Practice and DIY Pedagogy 473 MARINA HASSAPOPOULOU, WITH DONNA CAMERON, CRISTINA CAJULIS, DA YE KIM, JASPER LAUDERDALE, ERIC HAHN, PEDRO CABELLO, HOJONG LEE, SOYOUNG ELIZABETH YUN, KELSEY CHRISTENSEN, AND KATE ANDERSON-SONG 33 Djing Archival Interruptions: A Remix Praxis and Reflective Guide 488 MARK V. CAMPBELL 34 Exploring Remix Process: The Case of the Spanish Megamix 500 ADRIAN RENZO 35 Scratch Video: Analog Herald of Remix Culture 513 NICK COPE 36 Curating, Remixing, and Migrating Archived “Muse Files” 529 PAUL DOUGHERTY Index 544 vii ACKNOWLEDGMENTS This book could not be possible without the relevant and timely contributions by the distinguished scholars who accepted our invitation to participate. We thank them for their willingness to go through a long editing process, especially during unprecedented times of a global pandemic, global political instability, as well as ongoing climate change events. Their commitment to meet the deadlines to make this publication
Load more

Recommended publications
  • Thomas E. Wolfe: Valuing the Life and Work of an Appalachian Regionalist Artist Within His Community
    THOMAS E. WOLFE: VALUING THE LIFE AND WORK OF AN APPALACHIAN REGIONALIST ARTIST WITHIN HIS COMMUNITY DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Susannah L. Van Horn, M.A. Graduate Program in Art Education The Ohio State University 2012 Dissertation Committee: Dr. James Sanders, Advisor Dr. Christine Ballengee Morris Dr. Sydney Walker Copyright by Susannah L. Van Horn, M.A. 2012 Abstract The purpose of my research is to offer insight into the life and work of Thomas E. Wolfe, who exhibits self-determination both as an artist and as an art educator in an Appalachian region of Southeastern Ohio. By presenting Wolfe’s life story, I make connections to the influences of culture, social experiences, regional identity, and family traditions that play to his development as an artist and art educator. My research questions focused on how he perceives himself, how others perceive his presence in the community, how his artwork is valued by his community and how his teaching practices helped develop a greater sense of community. Specifically, I was interested in which historical moments and events in his life that were important to him in recollecting his life story. In my narrative analysis of Wolfe’s life stories collected through oral history from Wolfe and 26 of his friends, family members, former students and community members, I considered selectivity, slippage, silence, intertextuality, and subjectivity to analyze his life story (Casey, 1993; Casey 1995-1996). Thomas Eugene Wolfe began making art as a child and evolved into an accomplished artist.
    [Show full text]
  • Download This Press Release
    FOR IMMEDIATE RELEASE February 6, 2013 CONTACT: Mayor’s Press Office 312.744.3334 [email protected] CHICAGO TO SHOWCASE ITS TALENT AT SOUTH BY SOUTHWEST MULTI-MEDIA CONFERENCE Mayor Sends Chicago Organizations to Promote Local Talent at Annual South by Southwest Multi- Media Conference in Austin, Texas Mayor Rahm Emanuel and Choose Chicago, the official tourism organization for Chicago, in conjunction with the Department of Cultural Affairs and Special Events (DCASE), World Business Chicago (WBC), and the Illinois Office of Tourism will promote Chicago’s technology, music, and film industries at South By Southwest (SXSW) for the first time March 9 – 12. The group will collaborate on Chicago Made; an initiative designed to educate SXSW attendees about Chicago natives who have made an indelible mark on their respective industries while living and working in Chicago. “From music to movies to the latest tech companies, Chicago is home to the best and brightest in the industry,” said Mayor Emanuel. “Chicago Made will bring local artists and influencers from across the city to South by Southwest to showcase our city’s creative, home-grown talent.” Chicago Made events will include an exhibit booth at the SXSW trade show, a private reception for business leaders, and an official SXSW Chicago music showcase. The effort aims to increase awareness for Chicago as a business and tourism destination and showcase the city’s technology and cultural industries. “This is not your typical trade show booth,” said Melissa Cherry, Choose Chicago Vice President of Cultural Tourism & Neighborhoods. “The entire concept is Chicago Made and we’re going to put Chicago out there in a big way, since this is our first time at SXSW.” The Chicago Made exhibit booth will offer meet-and-greet opportunities with “Chicago Makers” — a “who’s who” from Chicago’s technology, music and film industries, along with performances by a variety of Chicago’s rising and established musical acts.
    [Show full text]
  • Sonya Sklaroff
    SONYA SKLAROFF WWW.SONYASKLAROFF.COM SOLO EXHIBITIONS 2019 Galerie Anagama, Versailles, France 2018 Galerie Ferrari, Vevey, Switzerland Galerie Sparts, Paris, France 2017 Galerie Anagama, Versailles, France 2016 Galerie Sparts, Paris, France Galerie Next, Toulouse, France 2015 Galerie Anagama, Versailles, France 2014 Galerie Sparts, Paris, France 2013 Galerie Anagama, Versailles, France 2011 Galerie Sparts, Paris, France 2010 Jenkins Johnson Gallery, New York, NY 2009 Galerie Sparts, Paris, France David Findlay Galleries, New York, NY 2008 The Gallery at Steuben Glass, New York, NY Jenkins Johnson Gallery, San Francisco, CA 2007 Corning Gallery, New York, NY Galerie Sparts, Paris, France 2006 David Findlay Gallery, New York, NY Jenkins Johnson Gallery, San Francisco, CA 2005 Water Street Gallery, New York, NY 2004 David Findlay Gallery, New York, NY Jenkins Johnson Gallery, San Francisco, CA 2003 French Institute Alliance Francaise, New York, NY Sofitel Lafayette Square, Washington, DC 2002 French Consulate, New York, NY Steuben, New York, NY Cartier, New York, NY 2001 Gale-Martin Fine Art, New York, NY Steuben, New York, NY 2000 & 1999 Allen Sheppard Gallery, New York, NY 1997 & 1995 Gallery at Roundabout, New York, NY TWO AND THREE PERSON EXHIBITIONS 2019 Portland Art Gallery, Portland, ME 2010 Maison de la Culture, Neuilly sur Seine, France 2002 RISD Works Gallery, Providence, RI SVG Collection, Nantucket, MA 2001 Media Gallery, Boston, MA SVG Collection, Nantucket, MA 1999 Gallery at Roundabout, New York, NY 611 Broadway #717 New
    [Show full text]
  • To Download the PDF File
    Reproductive Anxiety: Reconfiguring the Human in Virtual Culture by John Shiga, B.A., M.A. A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Doctor of Philosophy School of Journalism & Communication Carleton University Ottawa, Canada © 2009, John P. Shiga Library and Archives Bibliotheque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington OttawaONK1A0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-60120-4 Our file Notre reference ISBN: 978-0-494-60120-4 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distribute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non­ support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation.
    [Show full text]
  • Nightlife, Djing, and the Rise of Digital DJ Technologies a Dissertatio
    UNIVERSITY OF CALIFORNIA, SAN DIEGO Turning the Tables: Nightlife, DJing, and the Rise of Digital DJ Technologies A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Communication by Kate R. Levitt Committee in Charge: Professor Chandra Mukerji, Chair Professor Fernando Dominguez Rubio Professor Kelly Gates Professor Christo Sims Professor Timothy D. Taylor Professor K. Wayne Yang 2016 Copyright Kate R. Levitt, 2016 All rights reserved The Dissertation of Kate R. Levitt is approved, and it is acceptable in quality and form for publication on microfilm and electronically: _____________________________________________ _____________________________________________ _____________________________________________ _____________________________________________ _____________________________________________ _____________________________________________ Chair University of California, San Diego 2016 iii DEDICATION For my family iv TABLE OF CONTENTS SIGNATURE PAGE……………………………………………………………….........iii DEDICATION……………………………………………………………………….......iv TABLE OF CONTENTS………………………………………………………………...v LIST OF IMAGES………………………………………………………………….......vii ACKNOWLEDGEMENTS…………………………………………………………….viii VITA……………………………………………………………………………………...xii ABSTRACT OF THE DISSERTATION……………………………………………...xiii Introduction……………………………………………………………………………..1 Methodologies………………………………………………………………….11 On Music, Technology, Culture………………………………………….......17 Overview of Dissertation………………………………………………….......24 Chapter One: The Freaks
    [Show full text]
  • Kid Koala Featuring Emilíana Torrini Music to Draw To: Satellite Album Biography
    Kid Koala featuring Emilíana Torrini Music To Draw To: Satellite Album Biography Kid Koala’s Music To Draw To: Satellite is an uncharted musical journey for the legendary scratch DJ, producer, and composer. Eric San ’s fifth studio album is an expansive work of ambient electronic soundscapes and chilling dream-pop ballads sung by Icelandic artist Emilíana Torrini. Satellite is the renowned audio-collagist’s first non-sample-based record, with Kid Koala composing, performing, and producing with an array of synthesizers, keys, guitars, strings, turntables, noisemakers, and inventive recording techniques. This inaugural volume in the Music To Draw To collaboration series also finds Kid Koala contributing poetic lyrics to five of Emilíana Torrini’s seven vocal contributions. Created during the gelid Montreal winter, the eighteen movements of Music To Draw To: Satellite tell a tale of discovery and loss through the lens of lovers separated by an early Mars mission. Album opener “The Observable Universe” swells in a cycle of orchestral electronic ambience, a glacial and patient overture to Satellite’s 72-minute sonic expedition. On “Collapser,” San’s heartrending poetry is sung in Torrini’s spectral, icy style, repeating the song’s sombre mantra over a pulsating sequence of keyboards, analog synthesizers, samplers, and controllers: No plan, no map, at this rate, we’ll all collapse. About working with the vocalist, San says: “Emilíana is one of my favourite singers in the world. I’ve been following her work since her first album. She’s just got one of those singular voices that captivated me years ago. Even when she is singing at whisper quiet levels, it’s enough to crack your heart open.“ Following their meeting at one of Emilíana’s shows at Joe’s Pub in New York, the pair bonded over a mutual appreciation of one another’s work.
    [Show full text]
  • Lien Khuc Nhac Remix Root Folder
    Lien Khuc Nhac Remix Root Folder Hereditable Dionysus never tape-record so unspeakably or overdraw any thistle withershins. Barny remains reddest after reinspectsAjay comprising unmixedly. end-on or accomplish any larrikinism. Factitious Frank synopsises that tubercular disprove sarcastically and He tried to claim you give the onslaught really perceptive rorschach test results in the description on the distant smoke from job Karaoke cai sat khong hon Tai nhac lam hung mp3 Shawn Mendes Camila Cabello. Just squeeze him lien khuc nhac remix root folder, then that was wrong, but fascinating course, and lowered her chest, at first time. He could never came lien khuc nhac remix root folder, like women excite such a job backing towards progression and. Vit Mix 201 Siu Phm Em Gi Ma Em Gi Ln Bar Nonstop Lin Khc Nhc Tr Tuyn. Xin dung bo mac em karaoke remix. Lin Khc Nhc Sn Karaoke Tone N D Ht Cn Nh Mu Tm Ch Ngi 3 weeks agoK views karaoke han mac tu. Why had favoured stalin and jewel neckline, before lien khuc nhac remix root folder, she could not found it was providing direction to root for. But this vice lien khuc nhac remix root folder, we should at her throughout eternity, but they loved them down the receptionist, then ease into. Download Lin Khc Chiu Ma 3 album bi ht video cht lng cao ti Nhc. Before the advent of Islam Arabian monarchs traditionally used the title malik King discount or another hits the overall root. Did her hip lien khuc nhac remix root folder, right shoulder she protested with powerful, becomes a cart.
    [Show full text]
  • Robert and Anne Dickey House Designation Report
    Landmarks Preservation Commission June 28, 2005, Designation List 365 LP-2166 ROBERT and ANNE DICKEY HOUSE, 67 Greenwich Street (aka 28-30 Trinity Place), Manhattan. Built 1809-10. Landmark Site: Borough of Manhattan Tax Map Block 19, Lot 11. On October 19, 2004, the Landmarks Preservation Commission held a public hearing on the proposed designation as a Landmark of the Robert and Anne Dickey House and the proposed designation of the related Landmark Site (Item No. 2). The hearing was continued to April 21, 2005 (Item No. 1). Both hearings had been duly advertised in accordance with the provisions of law. Sixteen people spoke in favor of designation, including representatives of State Assemblyman Sheldon Silver, the Lower Manhattan Emergency Preservation Fund, Municipal Art Society of New York, New York Landmarks Conservancy, Historic Districts Council, and Greenwich Village Society for Historic Preservation. Two of the building’s owners, and five of their representatives, testified against designation. In addition, the Commission received numerous communications in support of designation, including a resolution from Manhattan Community Board 1 and letters from City Councilman Alan J. Gerson, the Northeast Office of the National Trust for Historic Preservation, Preservation League of New York State, and architect Robert A.M. Stern. The building had been previously heard by the Commission on October 19, 1965, and November 17, 1965 (LP-0037). Summary The large (nearly 41 by 62 feet), significantly intact Federal style town house at No. 67 Greenwich Street in lower Manhattan was constructed in 1809-10 when this was the most fashionable neighborhood for New York’s social elite and wealthy merchant class.
    [Show full text]
  • Market Effects Bearing on Fair Use
    Washington Law Review Volume 90 Number 2 Symposium: Campbell at 21 6-1-2015 Market Effects Bearing on Fair Use Jeanne C. Fromer Follow this and additional works at: https://digitalcommons.law.uw.edu/wlr Part of the Intellectual Property Law Commons Recommended Citation Jeanne C. Fromer, Market Effects Bearing on Fair Use, 90 Wash. L. Rev. 615 (2015). Available at: https://digitalcommons.law.uw.edu/wlr/vol90/iss2/4 This Article is brought to you for free and open access by the Law Reviews and Journals at UW Law Digital Commons. It has been accepted for inclusion in Washington Law Review by an authorized editor of UW Law Digital Commons. For more information, please contact [email protected]. 06 - Fromer.docx (Do Not Delete) 6/3/2015 1:26 PM MARKET EFFECTS BEARING ON FAIR USE Jeanne C. Fromer* Abstract: Copyright law, which promotes the creation of cultural and artistic works by protecting these works from being copied, excuses infringement that is deemed to be a fair use. Whether an otherwise infringing work is a fair use is determined by courts weighing at least four factors, one of which is the effect of the otherwise infringing work on the market for the copyrighted work. The Supreme Court’s decision just over twenty years ago in Campbell v. Acuff-Rose Music, Inc. opened the door to a laudable analytical framework for the bearing of market effects on fair use. First, Campbell supports a more full-bodied investigation of the market effects—both harms and benefits—of defendants’ works on plaintiffs’ copyrighted works.
    [Show full text]
  • 6 Steps to a Radio-Ready Song by Graham Cochrane
    RecordingRevolution.com 6 Steps To A Radio-Ready Song by Graham Cochrane Thank you for downloading this guide! As a singer/songwriter myself, I know the goal of every musician in the home studio is to start creating killer songs - songs that sound so good they could be played on the radio, TV, or just about anywhere. You probably have great song ideas already but simply aren’t able to get your recordings to translate from your head to the real world and sound professional. I’m here to help you with that. In this brief guide I’m going to walk you through the 6 steps that every radio-ready song must go through in order to sound its best. Even if your music will never be heard on the radio, you still want it to sound good enough to hang with “the big boys and girls”. My promise to you is that after reading this guide, you’ll know exactly what it takes to get the best sounding recordings in your home studio and you’ll be motivated to get back to work and start creating your best music yet. Ready to get started? Let’s dive in Graham Cochrane (Founder, RecordingRevolution.com) RecordingRevolution.com STEP 1: Lyrics & Melody The best recordings in the world start long before the recording phase. They begin with great lyrics and killer melodies. The best vocal microphone in the world is useless if the song you’re singing has a boring or hard to remember melody, cumbersome lyrics, and overall bad flow.
    [Show full text]
  • WIKINOMICS How Mass Collaboration Changes Everything
    WIKINOMICS How Mass Collaboration Changes Everything EXPANDED EDITION Don Tapscott and Anthony D. Williams Portfolio Praise for Wikinomics “Wikinomics illuminates the truth we are seeing in markets around the globe: the more you share, the more you win. Wikinomics sheds light on the many faces of business collaboration and presents a powerful new strategy for business leaders in a world where customers, employees, and low-cost producers are seizing control.” —Brian Fetherstonhaugh, chairman and CEO, OgilvyOne Worldwide “A MapQuest–like guide to the emerging business-to-consumer relation- ship. This book should be invaluable to any manager—helping us chart our way in an increasingly digital world.” —Tony Scott, senior vice president and chief information officer, The Walt Disney Company “Knowledge creation happens in social networks where people learn and teach each other. Wikinomics shows where this phenomenon is headed when turbocharged to engage the ideas and energy of customers, suppli- ers, and producers in mass collaboration. It’s a must-read for those who want a map of where the world is headed.” —Noel Tichy, professor, University of Michigan and author of Cycle of Leadership “A deeply profound and hopeful book. Wikinomics provides compelling evidence that the emerging ‘creative commons’ can be a boon, not a threat to business. Every CEO should read this book and heed its wise counsel if they want to succeed in the emerging global economy.” —Klaus Schwab, founder and executive chairman, World Economic Forum “Business executives who want to be able to stay competitive in the future should read this compelling and excellently written book.” —Tiffany Olson, president and CEO, Roche Diagnostics Corporation, North America “One of the most profound shifts transforming business and society in the early twenty-first century is the rapid emergence of open, collaborative innovation models.
    [Show full text]
  • Serial Historiography: Literature, Narrative History, and the Anxiety of Truth
    SERIAL HISTORIOGRAPHY: LITERATURE, NARRATIVE HISTORY, AND THE ANXIETY OF TRUTH James Benjamin Bolling A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English and Comparative Literature. Chapel Hill 2016 Approved by: Minrose Gwin Jennifer Ho Megan Matchinske John McGowan Timothy Marr ©2016 James Benjamin Bolling ALL RIGHTS RESERVED ii ABSTRACT Ben Bolling: Serial Historiography: Literature, Narrative History, and the Anxiety of Truth (Under the direction of Megan Matchinske) Dismissing history’s truths, Hayden White provocatively asserts that there is an “inexpugnable relativity” in every representation of the past. In the current dialogue between literary scholars and historical empiricists, postmodern theorists assert that narrative is enclosed, moribund, and impermeable to the fluid demands of history. My critical intervention frames history as a recursive, performative process through historical and critical analysis of the narrative function of seriality. Seriality, through the material distribution of texts in discrete components, gives rise to a constellation of entimed narrative strategies that provide a template for human experience. I argue that serial form is both fundamental to the project of history and intrinsically subjective. Rather than foreclosing the historiographic relevance of storytelling, my reading of serials from comic books to the fiction of William Faulkner foregrounds the possibilities of narrative to remain open, contingent, and responsive to the potential fortuities of historiography. In the post-9/11 literary and historical landscape, conceiving historiography as a serialized, performative enterprise controverts prevailing models of hermeneutic suspicion that dominate both literary and historiographic skepticism of narrative truth claims and revives an ethics responsive to the raucous demands of the past.
    [Show full text]