Mash-Up, Remix: New Languages for New Technologies
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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. -
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. -
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. -
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’). -
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. -
Workshop of Potential Scholarship: Manifesto for a Parametric Videographic Criticism
EUROPEAN JOURNAL OF MEDIA STUDIES www.necsus-ejms.org Workshop of Potential Scholarship: Manifesto for a parametric videographic criticism Alan O’Leary NECSUS 10 (1), Spring 2021: 75–98 URL: https://necsus-ejms.org/workshop-of-potential-scholarship- manifesto-for-a-parametric-videographic-criticism/ Abstract This article sets out the rationale for a videographic scholarship (the audiovisual study of screen media) that adopts constraint-based or ‘parametric’ procedures, and concludes with a short manifesto com- posed according to the simple constraint of division into ten equal segments of 50 words each. The article situates a parametric practice in relation to OuLiPo (a group founded in the early 1960s to explore constraint-based approaches to writing), to pataphysics (an absurdist branch of knowledge concerned with what eludes understanding by conventional means), to themes in the digital humanities, and to the posthuman. And it issues a call to forge an ‘agonistic society’ of vide- ographic scholars who goad each other to greater achievement through the conspicuous and wasteful expenditure of resources of knowledge. Keywords: constraints, cyborg, Donna Haraway, enactment, OuLiPo, pataphysics, posthuman, potlatch, video essay Introduction: OuScholPo This essay proposes a rationale for a constraint-based or ‘parametric’ practice of videographic scholarship and is followed by a 500-word manifesto com- posed according to the simple constraint of division into ten equal segments of 50 words each. My title alludes to OuLiPo, short for Ouvroir -
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. -
Film Culture in Transition
FILM CULTURE IN TRANSITION Exhibiting Cinema in Contemporary Art ERIKA BALSOM Amsterdam University Press Exhibiting Cinema in Contemporary Art Exhibiting Cinema in Contemporary Art Erika Balsom This book is published in print and online through the online OAPEN library (www.oapen.org) OAPEN (Open Access Publishing in European Networks) is a collaborative in- itiative to develop and implement a sustainable Open Access publication model for academic books in the Humanities and Social Sciences. The OAPEN Library aims to improve the visibility and usability of high quality academic research by aggregating peer reviewed Open Access publications from across Europe. Sections of chapter one have previously appeared as a part of “Screening Rooms: The Movie Theatre in/and the Gallery,” in Public: Art/Culture/Ideas (), -. Sections of chapter two have previously appeared as “A Cinema in the Gallery, A Cinema in Ruins,” Screen : (December ), -. Cover illustration (front): Pierre Bismuth, Following the Right Hand of Louise Brooks in Beauty Contest, . Marker pen on Plexiglas with c-print, x inches. Courtesy of the artist and Team Gallery, New York. Cover illustration (back): Simon Starling, Wilhelm Noack oHG, . Installation view at neugerriemschneider, Berlin, . Photo: Jens Ziehe, courtesy of the artist, neugerriemschneider, Berlin, and Casey Kaplan, New York. Cover design: Kok Korpershoek, Amsterdam Lay-out: JAPES, Amsterdam isbn e-isbn (pdf) e-isbn (ePub) nur / © E. Balsom / Amsterdam University Press, Amsterdam All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of both the copyright owner and the author of the book. -
Volume 40 Number 2
Manulaclurer of Maynard F. Ayhr, '+5, Geologist for Denver"Sub-A" The California Company, has been trans Ffoiaiion /Machines... ferred to their Denver office in the U. S. Standard the National Bank Building, Plis new mailing address is Box 780, Denver 1. World Over Byro7i B. Boalrighl, '22, Vice-President of Conroe Drilling Company, is addressed Box 755, Austin, Texas. Martin P. Brown, '36, has been trans ferred from Bremerton, Washington, to China Lake, California, with address Box 303. He is Civil Engineer for Navai Ship Standard-Reliable—Efficient yard. Thomas L. Chapman, '06, has recentlj' Equipment for Flotation, moved to Redwood City, California, where he is addressed 1893 Bay Shore Highway. Cyanidation, Amalgamation, fVai Siiey Chin, '+9, is taking graduate work in Chemical Engineering at the Uni Gravity Concentration versity of Texas and resides at 1909 Red River, Apt. 5, Austin, Texas. Barton E. Coles, Jr., '49, Reservoir Engi "7^ -^inftt iAat ttut^ied 4tA ^wSeWd •^ftfifice^. /ietiitAi&t. and ineaiiAien.' neer for the Atlantic Refining Company, has a new residence address, 66ll Ken- well Street, Dallas 9, Texas. DENVER EQUIPMENT COMPANY Haskell R. Collins, '39, is Product Con P.O. BOX 5268 • DENVER 17, COLORADO troller, Carrier Corporation, residing at D!HVFR n, CaLORtDS: P.O. So 52Eg roanHlB, BKTARIS: 4S SictaDEid SIfdl WISHSdN. m. ENGtlKD: Siilitiiry Hoiise 114 Fordam Road, Syracuse, N. Y. HEW mt cm I, ".Y.: 4114 lw\\\t Stitt Ui.ViUiCQSVEH , B. C: ]Di Credit fsnclE; JDHtXKESBURE, S. ATRIEA: 8 «flljj[c Roid J. IV. R. Crawford, III, '+8, Field Geol MFXICS, S. V, tdlliclD fEdio de Ginle, GanlRIEHMOKSi 7 , «iiS!Rlt!i: S3D Vktoili Sliiet ogist for The Caiifornia Company, is at present in Casper, Wyoming, with ad dress Box 837. -
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. -
Types of Plagiarism & Unoriginal Work
TYPES OF PLAGIARISM & UNORIGINAL WORK The following information was taken from The Plagiarism Spectrum found at turnitin.com Click to Begin #1 CLONE Submitting someone else’s work, word-for-word, as your own. Previous Next CLONE From a survey of 900 secondary and higher education instructors, on a scale of 1-10, cloning ranks 9.5 and is both the most common and most severe type of plagiarism. Frequency 0 1 2 3 4 5 6 7 8 9 10 Previous Next Cloning is intentional plagiarism and includes: using a friend’s paper from a previous class, purchasing a paper from a paper-mill, downloading a paper you found online, and other instances in which you turn in someone else’s work, unaltered, and claim it as your own. Previous Next #2 CTRL-C Containing significant portions of text from a single source with alterations. Previous Next CTRL-C From a survey of 900 secondary and higher education instructors, on a scale of 1-10, Ctrl-c ranks 8.9 and is the second most common type of plagiarism. Frequency 0 1 2 3 4 5 6 7 8 9 10 Previous Next Ctrl-c is a common process in which although you have written some of the assignment and included your own thoughts, there are still significant portions that match up word-for-word to another person’s writing, without citation. This occurs often when you cull “research” from various sources, when in fact all you are doing is cutting- and-pasting various sentences from various sources to create paragraphs.