The Living Thing / Notebooks :

Remix and copyright

Usefulness: 🔧
Novelty: 💡
Uncertainty: 🤪 🤪 🤪
Incompleteness: 🚧 🚧 🚧

“Everything is a remix”. The artistic side of intellectual property Dem bow, Amen break. Soundclash. Versioning. Detournement. Culture jamming. DRM, chip ownership. How to monetize your music.

Related: transcoding.

Aside collage artists I enjoy

Refs

Bown, Oliver, Alice Eldridge, and Jon Mccormack. 2009. “Understanding Interaction in Contemporary Digital Music: From Instruments to Behavioural Objects.” Organised Sound 14 (02): 188–96. http://journals.cambridge.org/abstract_S1355771809000296.

Etherington, Ben, and Jarad Zimbler. 2014. “Field, Material, Technique: On Renewing Postcolonial Literary Criticism.” The Journal of Commonwealth Literature, 0021989414538435. http://jcl.sagepub.com/content/early/2014/06/23/0021989414538435.abstract.

Hemphill, C. Scott, and Jeannie Suk. 2008. “Remix and Cultural Production.” Stan. L. Rev. 61: 1227. http://heinonlinebackup.com/hol-cgi-bin/get_pdf.cgi?handle=hein.journals/stflr61&section=36.

Henriques, Julian. 2008. “Sonic Diaspora, Vibrations, and Rhythm: Thinking Through the Sounding of the Jamaican Dancehall Session.” African and Black Diaspora: An International Journal 1 (2): 215–36. https://doi.org/10.1080/17528630802224163.

Lessig, Lawrence. 2004. “Free (Ing) Culture for Remix.” Utah L. Rev., 961. http://heinonlinebackup.com/hol-cgi-bin/get_pdf.cgi?handle=hein.journals/utahlr2004&section=43.

———. 2008. “In Defense of Piracy.” Wall Street Journal 11. http://www.physics.hmc.edu/~saeta/courses/h1/uploads/Main/Lessig.pdf.

Mann, Larisa. 2011. “Decolonizing Networked Technology - Learning from the Street Dance.” SSRN Scholarly Paper ID 1885777. Rochester, NY: Social Science Research Network. http://papers.ssrn.com/abstract=1885777.

Manuel, Peter, and Wayne Marshall. 2006. “The Riddim Method: Aesthetics, Practice, and Ownership in Jamaican Dancehall.” Popular Music 25 (03): 447–70. https://doi.org/10.1017/S0261143006000997.

Marshall, Wayne. 2006. “Bling-Bling for Rastafari: How Jamaicans Deal with Hip-Hop.” Social and Economic Studies, 49–74. http://wayneandwax.com/academic/marshall_bling-bling-for-rasta.pdf.

———. 2008. “Dem Bow, Dembow, Dembo: Translation and Transnation in Reggaeton.” Lied Und Populäre Kultur / Song and Popular Culture 53 (January): 131–51. http://wayneandwax.com/pdfs/dembow-paper-proofs.pdf.

Marshall, Wayne, and Jayson Beaster-Jones. 2012. “It Takes a Little Lawsuit: The Flowering Garden of Bollywood Exoticism in the Age of Its Technological Reproducibility.” South Asian Popular Culture 10 (3): 249–60. https://doi.org/10.1080/14746689.2012.706015.

Murray, Laura J. 2009. “RIP: A Remix Manifesto.” Culture Machine, June. http://papers.ssrn.com/sol3/papers.cfm?abstract_id=1865230.

O’Brien, Damien S., and Brian F. Fitzgerald. 2006. “Mashups, Remixes and Copyright Law.” Internet Law Bulletin 9 (2): 17–19. http://eprints.qut.edu.au/4239.

Reid, Robert. 2012. Year Zero: A Novel. 1st ed. New York: Del Rey Ballantine Books.

Sturm, Bob L. 2012. “A Survey of Evaluation in Music Genre Recognition.” In International Workshop on Adaptive Multimedia Retrieval. http://vbn.aau.dk/ws/files/71878148/Sturm20121212.pdf.