One of the hallmarks of a good Web 2.0 site is one that hands over non-essential control to users, letting them contribute content, participate socially, and even fundamentally shape the site itself. The premise is that users will do a surprising amount of the hard work necessary to make the site successful, right down to creating the very information the site offers to its other users and even inviting their friends and family members to use it. Web 2.0 newcomers MySpace and YouTube have shown how this can be done on a mass scale surprisingly quickly, and of course older generation successes like eBay and craigslist have been doing this for years.
There’s little question that the Web is increasingly turning into a sort of online Home Depot with its shelves lined with thousands of useful, off-the-shelf parts of every description and utility.As part of this, users are getting increasingly accustomed to the ease of which they can customize their own corners of the Internet, whether it’s a blog, profile page, Web site or even Web application. While skinning and customizable layouts have been with us on the Web for a long time, increasingly users want to share — or particularly important to this discussion — even repurpose the content and services they find on the Web in locations and forms of their choosing.
Text source: Creative Commons Radio
The Creative Remix, with host Benjamen Walker, is an hour-long “lawyer free” examination of the art, culture, and history of the remix. The hour kicks off with a musical analysis of DJ Dangermouse’s infamous remix of the Beatles and Jay-Z. Then we go back in time to check out the ancient Roman art of the poetry mash-up, or the Cento. Then we rewind to the 18th century to check out the birth of copyright and how it effected writers like Alexander Pope; and the early 20th century when the visual artist Marcel Duchamp used the remix to reinvent everything. We also take a field trip to the Mass Mocca museum of modern art to check out the exhibit “Yankee Remix.” Walker brings along a few grad students and a pair of curmudgeonly New England antique collectors to investigate different attitudes towards remixing.
The School of Visual Arts (SVA) presents Digital Diving: A “Cut and Paste†Update. Moderated by Suzanne Anker, chair of the BFA Fine Arts Department at SVA, the symposium will explore the uses and abuses of digital technologies as they effect knowledge acquisition and its manipulation. “New media†models of the visual and alterations in community configurations will be the focus of the discussion . The panelists are Lauren Cornell, Joseph Nechvatal, Judith Solodkin, Bruce Wands and McKenzie Wark. The event takes place Tuesday, February 27, 7pm at School of Visual Arts, 209 East 23rd Street, New York City. Admission is free. (more…)
Can I Get An Amen? is an audio installation that unfolds a critical perspective of perhaps the most sampled drum beat in the history of recorded music, the Amen Break. It begins with the pop track Amen Brother by 60’s soul band The Winstons, and traces the transformation of their drum solo from its original context as part of a ‘B’ side vinyl single into its use as a key aural ingredient in contemporary cultural expression. The work attempts to bring into scrutiny the techno-utopian notion that ‘information wants to be free’- it questions its effectiveness as a democratizing agent. This as well as other issues are foregrounded through a history of the Amen Break and its peculiar relationship to current copyright law.
The commons movement may be groundbreaking and innovative but as it hurtles towards a global model, it risks the privatisation of culture and a disregard for national boundaries, says David M Berry. (more…)
Lulu.tv made recent news with their new video sharing service which has a unique business model. Bob Young the head of Lulu.tv and founder of the self publishing service Lulu.com also founded Red Hat, which commercially sells open source software. He has been doing interesting experiments in creating business that harness the creative efforts of people.
The new revenue sharing strategy behind Lulu.tv is fairly simple. Anyone can post or view content for free, as with Google Video or YouTube. However, it offers a “pro” version, which charges users to post video. 80% of the fees paid by goes to an account and the money is distributed each month based on the number of unique downloads to subscribing members.
1. “Help Me Help Me” – AllThatFall
2. “If You Make Your Bed in Heaven” – Roddy Schrock
3. “Leftover Secrets to Tell” – Pocka
4. “Secret Life Remix” – Stephane Leonard
5. “The Black Isle (Byrne/Eno Remix)” – (dj) morsanek
6. “Hit Me Somebody (Help Me Somebody Remix)” – MrBiggs
7. “Being and Nothingness (A Secret Life Remixed)” – john kannenberg
8. “Somebody Help Us” – My Fun
9. “Hey” – Mark Rushton
10. “My Bush in the Secret Life of Ghosts” – Prehab
11. “Not Enough Africa” – Ego Response Technician
12. “Helping (Help Me Somebody Remix)” – doogie (more…)
Today we stand surrounded by a range and density of cultural materials. There are multiple sites of production of texts, images and sounds. These circulate with velocity through expanding and intricate networks of transmission. What is our relationship with this world of images and sounds; and what are the forms and practices that can bring us to appropriate and regenerate our own moments of insertion into these networks? What do we infringe on when we start inserting ourselves into these networks, and what possibilities do we create? Do we need remix?
Note from source: This email is part of a weekly series written by Lawrence Lessig and others about the history and future of Creative Commons.
Creative Commons is a young organization. And while we’ve been more successful than I ever imagined we’d be, we’ve also made mistakes. Some of these mistakes we’ve corrected. Some I hope to persuade us to correct. But throughout the three years since our launch, we have worked hard to build a solid and sustainable infrastructure of freedoms for creators.
Along the way, we have picked up some critics. I don’t have the space here to address every criticism. In this email, I’ll talk about just two — one directed at our NonCommercial license option, and the other at two of CC’s non-core licenses. But I’ll continue this discussion next year in a new forum that we’ll launch just for this purpose. Mark Shuttleworth is my model here, and I will be a part of that discussion whenever I can.
Latterrell defined her role in the panel by explaining her presentation is a collage and sampling of other voices so it is about remix as much as it is a remix. “Remix” is a modern metaphor for revision. She colored this point with examples of customized sneakers, the tuxedo t shirt, the tangelo, sprite remix, and my personal favorite, labradoodles. She then paired a quote by Emerson on quotation and originality with a remix of President Bush’s State of the Union address that reversed his intended meanings. The collage of images and quotes continues with animation of Office Space meets Super Friends in which Superman, Green Lantern, Batman and Robin talk about memos and office procedures in what Latterell called a “classic mash up” or sampling. Next she showed DJ Spooky’s “Rebirth of a Nation” which spoofed D.W. Griffith’s Birth of a Nation by showing clansmen almost dancing to the technorhythms from both soundtrack and visual beats. Sampling, Latterell asserts, implies breakdown. Then she quoted Johndan Johnson-Eilola from his book, Datacloud: Toward a New Theory of Online Work where he asserts breakdown and further discussion as the essence of remix. Latterell concluded with the idea that Lawrence Lessig asserted at last year’s conference—everything in life is remix.
James Porter, “Forget Plagiarism, Teach Filesharing and Fair Use”
