Browsing by Subject "Remix"
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Item ccMixter : creative commons in action(2011-08) Dunham, Ian Paul; Erlmann, Veit; Slawek, StephenccMixter.org, an online remix community that uses Creative Commons licenses to protect and promote their work, is a unique site of musical activity whose discourse is shaped by an egalitarian ideology. However, simultaneously exists a hierarchical structure in which some remixes are considered better than others. This report explores the coexistence of these two paradigms, and seeks to frame the discussion within the context of current IP policy politics, the open source movement, and fundamental shifts that the Internet has caused in communication.Item DimensionalTelephone : remix, iteration, and originality(2021-05-11) Smith, Logan, M.F.A.; Bloodgood, William; Ortel, SvenPeople are creative. We shape the world around us and then share that with others. While people are creative, I would posit that people are not original. I believe that what we call originality is, in fact, when we create new, novel ideas from old ideas. The term remix follows an equivalent definition, utilizing what came before to create something new. This is how we create; we remix. Though this seems straightforward, we as a society have a continuous link to Romanticism. The artistic movement from the 18th century emphasizes inspiration, subjectivity, and individuality. In other words, originality is divined upon an individual, not through outside influence. Modern copyright law is this link to romanticism in our common era. The law causes tension with creatives stating that one’s works and ideas are properties that are not to be shared. Though copyright law’s initial intention is to protect a creator's work so that the creator can profit for a period of time, copyright law has instead evolved to protect corporate assets, locking out works from the public domain well over the lifespan of the average person. However, there are guidelines and affordances embedded within copyright law called fair use. The fair use doctrine is a set of guidelines written in a revision of copyright law in 1978 for creators to claim originality in their work and defend themselves from litigation. Inspired by the work of filmmaker, writer, and speaker Kirby Ferguson, I wanted to see if there was a way to practically test his three-part philosophy of remix and arrive at the romantic ideal of originality while only utilizing the work of others. His philosophy states that every creative work is a remix following the steps of ‘copying, transforming, and combining old works and ideas into a new creation. The result of this inspiration became my thesis project dubbed DimensionalTelephone, where 15 artists and I created works of art in a sequence, each iterating from the previous work. I hope to show you through this process that originality can come from what came before, giving you a new perspective on the term remix and what it can mean for creativity going forward.Item Take me in, I am no one(2020-07-24) Calloway, Carolyn Gage; Hubbard, Teresa, 1965-My practice is centered around poetry, installation, sculpture, printmaking, computer programming, and time-based media. My multimedia installations allow for moments of self-reflection, mirroring the feeling of physical disassociation and social detachment we experience online. Having both a dark sensibility and a subtly humorous sincerity, my kinetic sculptures, print, and time-based installations remove common objects, language, sounds, and symbols (i.e. traffic signs, building material, furniture, commercial prints, and technology) from their traditional contexts. This allows viewers to reconsider the ways these elements affect their emotional landscape, speaking directly to the disconnect between the mind and the body.