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Remix is now considered by many to be a form of derivative work,
but such generalizations have resulted in numerous non-commercial
remixes being wrongfully accused of copyright infringement.
Gallagher argues, however, that remix is a fundamentally
transformative practice. The assumption that cultural works should
be considered a form of private property is called into question in
the digital age; thus, he proposes an alternative system to balance
the economic interests of cultural producers with the ability of
the public to engage with a growing intellectual commons of
cultural works. Multimodal analyses of both remixed and non-remixed
intertextual work, with a particular focus on examples of critical
remix video, fuel the discussion, synthesizing a number of
investigative methods including semiotic, rhetorical and
ideological analysis.
The Routledge Companion to Remix Studies comprises contemporary
texts by key authors and artists who are active in the emerging
field of remix studies. As an organic international movement, remix
culture originated in the popular music culture of the 1970s, and
has since grown into a rich cultural activity encompassing numerous
forms of media. The act of recombining pre-existing material brings
up pressing questions of authenticity, reception, authorship,
copyright, and the techno-politics of media activism. This book
approaches remix studies from various angles, including sections on
history, aesthetics, ethics, politics, and practice, and presents
theoretical chapters alongside case studies of remix projects. The
Routledge Companion to Remix Studies is a valuable resource for
both researchers and remix practitioners, as well as a teaching
tool for instructors using remix practices in the classroom.
Remix is now considered by many to be a form of derivative work,
but such generalizations have resulted in numerous non-commercial
remixes being wrongfully accused of copyright infringement.
Gallagher argues, however, that remix is a fundamentally
transformative practice. The assumption that cultural works should
be considered a form of private property is called into question in
the digital age; thus, he proposes an alternative system to balance
the economic interests of cultural producers with the ability of
the public to engage with a growing intellectual commons of
cultural works. Multimodal analyses of both remixed and non-remixed
intertextual work, with a particular focus on examples of critical
remix video, fuel the discussion, synthesizing a number of
investigative methods including semiotic, rhetorical and
ideological analysis.
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 the 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, epistemology, gaming, generative
art, hacking, pedagogy, sound, and VR, among other subjects 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 digital media studies.
Keywords in Remix Studies consists of twenty-four chapters authored
by researchers who share interests in remix studies and remix
culture throughout the arts and humanities. The essays reflect on
the critical, historical and theoretical lineage of remix to the
technological production that makes contemporary forms of
communication and creativity possible. Remix enjoys international
attention as it continues to become a paradigm of reference across
many disciplines, due in part to its interdisciplinary nature as an
unexpectedly fragmented approach and method useful in various
fields to expand specific research interests. The focus on a
specific keyword for each essay enables contributors to expose
culture and society's inconclusive relation with the creative
process, and questions assumptions about authorship, plagiarism and
originality. Keywords in Remix Studies is a resource for scholars,
including researchers, practitioners, lecturers and students,
interested in some or all aspects of remix studies. It can be a
reference manual and introductory resource, as well as a teaching
tool across the humanities and social sciences.
Keywords in Remix Studies consists of twenty-four chapters authored
by researchers who share interests in remix studies and remix
culture throughout the arts and humanities. The essays reflect on
the critical, historical and theoretical lineage of remix to the
technological production that makes contemporary forms of
communication and creativity possible. Remix enjoys international
attention as it continues to become a paradigm of reference across
many disciplines, due in part to its interdisciplinary nature as an
unexpectedly fragmented approach and method useful in various
fields to expand specific research interests. The focus on a
specific keyword for each essay enables contributors to expose
culture and society's inconclusive relation with the creative
process, and questions assumptions about authorship, plagiarism and
originality. Keywords in Remix Studies is a resource for scholars,
including researchers, practitioners, lecturers and students,
interested in some or all aspects of remix studies. It can be a
reference manual and introductory resource, as well as a teaching
tool across the humanities and social sciences.
The Routledge Companion to Remix Studies comprises contemporary
texts by key authors and artists who are active in the emerging
field of remix studies. As an organic international movement, remix
culture originated in the popular music culture of the 1970s, and
has since grown into a rich cultural activity encompassing numerous
forms of media. The act of recombining pre-existing material brings
up pressing questions of authenticity, reception, authorship,
copyright, and the techno-politics of media activism. This book
approaches remix studies from various angles, including sections on
history, aesthetics, ethics, politics, and practice, and presents
theoretical chapters alongside case studies of remix projects. The
Routledge Companion to Remix Studies is a valuable resource for
both researchers and remix practitioners, as well as a teaching
tool for instructors using remix practices in the classroom.
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