Remix culture

This is primarily done in the form of digital rights management (DRM), which imposes largely arbitrary restrictions on usage.

Digital technologies provide the tools for reviving RW culture and democratizing production, sometimes referred to as Web 2.0.

The third layer added bots that analyzed the relationship between various websites by counting the clicks between them and, thus, organizing a database of preferences.

While there is no doubt many amateur online publications cannot compete with the validity of professional sources, the democratization of digital RW culture and the ecosystem of reputation provides a space for many talented voices to be heard that was not available in the pre-digital RO model.

[4] US media scholar Professor Henry Jenkins argued that "the story of American arts in the 19th century might be told in terms of the mixing, matching and merging of folk traditions taken from various indigenous and immigrant populations."

Another historical example of remixing is Cento, a literary genre popular in Medieval Europe consisting mainly of verses or extracts directly borrowed from the works of other authors and arranged in a new form or order.

Notable events are the invention of book printing press and the analog Sound recording and reproduction leading to severe cultural and legal changes.

Analog devices for consumers for low prices, lacking the capability of writing and creating, spread out fast: Newspapers, Jukebox, radio, television.

This new business model, an Industrial information economy, demanded and resulted in the strengthening of the exclusive copyright and a weakening of the remix culture and the Public domain in throughout the 19th and 20th century.

The broad diffusion of the Internet and of the Web in the late 1990s and early 2000s created a highly effective way to re-implement a "remix culture" in all domains of art, technology and society.

Unlike TV and radio, with a unidirectional information transport (producer to consumer), the Internet is inherently bidirectional, enabling a peer-to-peer dynamic.

Internet memes are Internet-specific creative content which are created, filtered and transformed by the viral spreading process made possible by the web and its users.

[22][23] On the other hand, fair-use does not address a wide enough range of use-cases and its borders are not well established and defined, making usage under "fair use" legally risky.

Lessig argues that there needs to be a change in the current state of copyright laws to legalize remix culture, especially for fair-use cases.

The artist would cite the intellectual property she sampled which would give the original creator the credit, as is common with literature references.

[25][26] Other copyright scholars, such as Yochai Benkler and Erez Reuveni,[27] promulgate ideas that are closely related to remix culture.

[75] An idea of remixing dated back to the Quakers who would interpret the scripture and create a biblical narrative by using their own voices, which went against the "read-only" practice that was more common.

A book was published in 2013 by Henry Jenkins called "Reading in a Participatory Culture" which focuses on his technique of remixing the original story Moby-Dick to make it a new and fresh experience for students.

This form of teaching enforces the correlation between participatory and remix culture while highlighting its importance in evolving literature.

According to an article from Popular Music and Society, the idea of remix culture has become a defining characteristic of modern day technology which has incorporated all forms of digital media where the consumers are also the producers.

Artists participating in remix culture can potentially suffer consequences for violating copyright or intellectual property law.

English rock band The Verve were sued over their song "Bittersweet Symphony" sampling an arrangement of The Rolling Stones' "The Last Time.

"[77] The Verve were court-ordered to pay 100% of the song's royalties to The Rolling Stones' publishers and to give writing credit to Jagger and Richards.

(See Memes in "Reception and Impact") Meanwhile, despite the legal complexities of copyright protections, remixed works continue to be popular in the mainstream.

Rapper Lil Nas X's "Old Town Road," released in 2018, includes a sample by the industrial metal band Nine Inch Nails, while also blending the genres of hip-hop and country music.

"Old Town Road" was a smash hit, setting a record of 19 weeks at number one on the Billboard Hot 100 Chart.

[79] Four official remixes of "Old Town Road" were released, the first of which featured country singer Billy Ray Cyrus.

[81] So long as the copyrighted material is obtained in the legal way, the exemption allows for it to be remixed to help to be accessible to anyone disabled.

[86] Author Apryl Williams asserts that #LivingWhileBlack memes helped the Black Lives Matter movement raise awareness of issues and shift the cultural narrative.

Building blocks icon as symbol for remixing , proposed by Creative Commons and derived from FreeCulture.org . [ 1 ]
Remix: Making Art and Commerce Thrive in the Hybrid Economy by Lawrence Lessig in 2008 describes the remix culture. The book itself is open for remix [ 7 ] due to its availability under a CC BY-NC license. [ 8 ]
IBM Personal Computer XT in 1988, a digital remixing enabling prosumer device, affordable for the masses.
Creative Commons license spectrum between public domain (top) and all rights reserved (bottom). On the left side the permitted use cases, on the right side the license components. Remixing is permitted in the two green license groups.
An illustration from a 1354 Syrian edition of the Panchatantra , an ancient Indian collection of animal fables . The original work is believed to be composed around the 3rd century BCE, [ 29 ] [ 30 ] Translator's introduction, quoting Hertel: "the original work was composed in Kashmir, about 200 B.C. At this date, however, many of the individual stories were already ancient." based on older oral traditions, including "animal fables that are as old as we are able to imagine". [ 31 ]
Various "remixed" Free Beer variants in recipe and label artwork, created since the first release in 2005 under a Creative Commons license .
Graffiti in Tehran by a1one
This illustration references the fair-use claim at the root of Shepard Fairey's "Hope" poster controversy. As cited here, this is an unabashedly derivative work based on Cliff from Arlington VA's photograph and, of course, Fairey's own illustration (rights of which are currently in dispute). Illustration by David Owen Morgan (faunt) Toronto ON, 2009, on the occasion of Fairey's publicly admitting to falsifying evidence in the fair-use dispute.
Illustration of Shepard Fairey by David Owen Morgan, critiquing Fairey's claims of Fair Use.
Wikimedia logo mosaic to commemorate the one millionth file at Wikimedia Commons. Remixed from the contributed images on the Wikimedia commons.
An Apple laptop computer decorated with Creative Commons stickers and the phrase "culture is not a crime." A small black and white CC sticker is placed on the upper left back of the computer that reads "Creative Commons. Some Rights Reserved."
An Apple laptop computer decorated with Creative Commons stickers and the phrase "culture is not a crime." A small black and white CC sticker is placed on the upper left back of the computer that reads "Creative Commons. Some Rights Reserved."
Kirby Ferguson 's description of the creative process for all original ideas — copy, transform, and combine [ 88 ] — presented in a 2012 TED talk. [ 89 ]