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Crea%vity	
  and	
  Remix	
  Culture	
  




Embedded	
  music	
  file:	
  
1)  A	
  FiHh	
  of	
  Beethoven	
  –	
  Walter	
  Murphy	
  
2)  Also	
  Sprach	
  Zarathustra	
  -­‐	
  Deodato	
  




                      Tim	
  Riley,	
  University	
  of	
  Westminster	
  -­‐	
  Crea%vity	
  and	
  Remix	
  Culture	
  -­‐	
  28th	
  March	
  2011	
  	
  
Crea%vity	
  and	
  Remix	
  Culture	
  


                                           1.	
  	
  
                            Historical	
  introduc%on	
  




Tim	
  Riley,	
  University	
  of	
  Westminster	
  -­‐	
  Crea%vity	
  and	
  Remix	
  Culture	
  -­‐	
  28th	
  March	
  2011	
  	
  
The	
  Old	
  Testament	
  




“The	
  thing	
  that	
  hath	
  been,	
  it	
  is	
  that	
  which	
  shall	
  be:	
  	
  
And	
  that	
  which	
  is	
  done	
  is	
  that	
  which	
  shall	
  be	
  done:	
  	
  
And	
  there	
  is	
  nothing	
  new	
  under	
  the	
  sun.”	
  Ecclesiastes	
  



             Tim	
  Riley,	
  University	
  of	
  Westminster	
  -­‐	
  Crea%vity	
  and	
  Remix	
  Culture	
  -­‐	
  28th	
  March	
  2011	
  	
  
Early	
  20th	
  Century	
  Art	
  




   Duchamp	
                                                                                  Picasso	
  




Tim	
  Riley,	
  University	
  of	
  Westminster	
  -­‐	
  Crea%vity	
  and	
  Remix	
  Culture	
  -­‐	
  28th	
  March	
  2011	
  	
  
1920s:	
  Dada	
  –	
  Collage	
  and	
  Photomontage	
  




                                                     Raoul	
  Hausmann	
  

      Tim	
  Riley,	
  University	
  of	
  Westminster	
  -­‐	
  Crea%vity	
  and	
  Remix	
  Culture	
  -­‐	
  28th	
  March	
  2011	
  	
  
1930s:	
  Poli%cal	
  Photomontage	
  




                                                               John	
  HearZield	
  

Tim	
  Riley,	
  University	
  of	
  Westminster	
  -­‐	
  Crea%vity	
  and	
  Remix	
  Culture	
  -­‐	
  28th	
  March	
  2011	
  	
  
1950s:	
  Cut-­‐up	
  technique	
  




                             Bowie	
  (1970s),	
  Burroughs	
  (1950s)	
  

Tim	
  Riley,	
  University	
  of	
  Westminster	
  -­‐	
  Crea%vity	
  and	
  Remix	
  Culture	
  -­‐	
  28th	
  March	
  2011	
  	
  
1950s:	
  Cut-­‐up	
  technique	
  




                                                                                          Embedded	
  William	
  Burroughs	
  voice	
  and	
  text	
  video	
  




William	
  Burroughs	
  cut-­‐up	
                                                     William	
  Burroughs	
  example	
  

          Tim	
  Riley,	
  University	
  of	
  Westminster	
  -­‐	
  Crea%vity	
  and	
  Remix	
  Culture	
  -­‐	
  28th	
  March	
  2011	
  	
  
1960’s:	
  Pop	
  Art	
  




Warhol	
  




Lichtenstein	
                                                                                              Hamilton	
  

     Tim	
  Riley,	
  University	
  of	
  Westminster	
  -­‐	
  Crea%vity	
  and	
  Remix	
  Culture	
  -­‐	
  28th	
  March	
  2011	
  	
  
Recent	
  Poli%cal	
  Photomontage	
  




                                                                                                                                      Peter	
  Kennard	
  

Tim	
  Riley,	
  University	
  of	
  Westminster	
  -­‐	
  Crea%vity	
  and	
  Remix	
  Culture	
  -­‐	
  28th	
  March	
  2011	
  	
  
C20th	
  Braun	
  and	
  C21st	
  Apple	
  Design	
  




Designers	
  –	
  Dieter	
  Rams,	
  Braun	
  (top)	
  and	
  Jonathan	
  Ive,	
  Apple	
  (bodom)	
  

          Tim	
  Riley,	
  University	
  of	
  Westminster	
  -­‐	
  Crea%vity	
  and	
  Remix	
  Culture	
  -­‐	
  28th	
  March	
  2011	
  	
  
Regency	
  TR-­‐1	
  transistor	
  radio	
  (1954)	
  -­‐	
  iPod	
  mini	
  (2004)	
  	
  




      “One	
  is	
  a	
  groundbreaking	
  consumer	
  electronics	
  device	
  released	
  in	
  a	
  
      range	
  of	
  catchy	
  colours,	
  enabling	
  a	
  hugely	
  addic%ve	
  portable	
  listening	
  
      experience	
  —	
  the	
  other	
  is	
  the	
  iPod	
  mini.”	
  —	
  John	
  Ousby	
  


                Tim	
  Riley,	
  University	
  of	
  Westminster	
  -­‐	
  Crea%vity	
  and	
  Remix	
  Culture	
  -­‐	
  28th	
  March	
  2011	
  	
  
Remixing	
  History	
  According	
  to	
  Wired	
  




  Tim	
  Riley,	
  University	
  of	
  Westminster	
  -­‐	
  Crea%vity	
  and	
  Remix	
  Culture	
  -­‐	
  28th	
  March	
  2011	
  	
  
Crea%vity	
  and	
  Remix	
  Culture	
  


                            2.	
  	
  
Music:	
  Birth	
  of	
  sampling	
  and	
  the	
  remix	
  




Tim	
  Riley,	
  University	
  of	
  Westminster	
  -­‐	
  Crea%vity	
  and	
  Remix	
  Culture	
  -­‐	
  28th	
  March	
  2011	
  	
  
The	
  Remix	
  is	
  Born	
  




    Accidental	
  omission	
  of	
  the	
  vocals	
  created	
  a	
  ‘Dub’	
  version	
  

Tim	
  Riley,	
  University	
  of	
  Westminster	
  -­‐	
  Crea%vity	
  and	
  Remix	
  Culture	
  -­‐	
  28th	
  March	
  2011	
  	
  
Music	
  Remix	
  defined	
  

                                    Three	
  Types	
  of	
  Remixes	
  
1)  Extended	
  remix	
  
     •    Longer	
  than	
  the	
  original	
  

2) 	
  Selec%ve	
  remix	
  	
  
     •    Adds	
  or	
  subtracts	
  material	
  from	
  the	
  original	
  song.	
  DJ	
  as	
  producer	
  

3)  Reflexive	
  remix	
  
     •    Challenges	
  the	
  characteris%cs	
  of	
  the	
  original	
  and	
  claims	
  autonomy	
  
          even	
  when	
  it	
  carries	
  the	
  name	
  of	
  the	
  original.	
  	
  

     •    Can	
  also	
  lead	
  to	
  a	
  "remix"	
  in	
  which	
  the	
  only	
  thing	
  that	
  is	
  
          recognizable	
  from	
  the	
  original	
  is	
  the	
  %tle.	
  	
  



           Tim	
  Riley,	
  University	
  of	
  Westminster	
  -­‐	
  Crea%vity	
  and	
  Remix	
  Culture	
  -­‐	
  28th	
  March	
  2011	
  	
  
The	
  Adventures	
  Of	
  Grandmaster	
  Flash	
  and	
  the	
  Wheels	
  Of	
  Steel,	
  1981	
  




              Embedded	
  music	
  file:	
  The	
  Adventures	
  Of	
  Grandmaster	
  Flash	
  On	
  The	
  Wheels	
  Of	
  Steel	
  -­‐	
  Grandmaster	
  Flash	
  	
  




                                               Uses	
  10	
  music	
  samples	
  including:	
  	
  
               Good	
  Times	
  –	
  Chic,	
  Another	
  One	
  Bites	
  the	
  Dust	
  –	
  Queen,	
  Rapture	
  –	
  Blondie	
  	
  
                           plus	
  spoken	
  word	
  vocals	
  from	
  the	
  movie	
  Flash	
  Gordon	
  	
  


               Tim	
  Riley,	
  University	
  of	
  Westminster	
  -­‐	
  Crea%vity	
  and	
  Remix	
  Culture	
  -­‐	
  28th	
  March	
  2011	
  	
  
Sampling	
  
                          Made	
  easier	
  with	
  the	
  advent	
  of	
  digital	
  technology	
  




Sampling	
  is	
  “the	
  uninhibited	
  use	
  of	
  digital	
  sound	
  recording	
  as	
  a	
  central	
  element	
  of	
  
composi%on.	
  Sampling	
  thus	
  becomes	
  an	
  aesthe%c	
  programme.”	
  (Goodwin,	
  1998)	
  
            Tim	
  Riley,	
  University	
  of	
  Westminster	
  -­‐	
  Crea%vity	
  and	
  Remix	
  Culture	
  -­‐	
  28th	
  March	
  2011	
  	
  
Sampling	
  
                          Made	
  easier	
  with	
  the	
  advent	
  of	
  digital	
  technology	
  




Sampling	
  is	
  “the	
  uninhibited	
  use	
  of	
  digital	
  sound	
  recording	
  as	
  a	
  central	
  element	
  of	
  
composi%on.	
  Sampling	
  thus	
  becomes	
  an	
  aesthe%c	
  programme.”	
  (Goodwin	
  1998)	
  
            Tim	
  Riley,	
  University	
  of	
  Westminster	
  -­‐	
  Crea%vity	
  and	
  Remix	
  Culture	
  -­‐	
  28th	
  March	
  2011	
  	
  
Sampling	
  
                 M|A|R|R|S	
  -­‐	
  Pump	
  up	
  the	
  Volume	
  -­‐	
  1987	
  




Tim	
  Riley,	
  University	
  of	
  Westminster	
  -­‐	
  Crea%vity	
  and	
  Remix	
  Culture	
  -­‐	
  28th	
  March	
  2011	
  	
  
Sampling	
  
                                                                   M|A|R|R|S	
  -­‐	
  Pump	
  up	
  the	
  Volume	
  -­‐	
  1987	
  


Embedded	
  music	
  file:	
  	
  
Pump	
  up	
  the	
  Volume	
  -­‐	
  MARRS	
  




                                                  Tim	
  Riley,	
  University	
  of	
  Westminster	
  -­‐	
  Crea%vity	
  and	
  Remix	
  Culture	
  -­‐	
  28th	
  March	
  2011	
  	
  
1990s	
  Music	
  SoHware	
  Development	
  for	
  Home	
  Use	
  
                                           Affordable	
  and	
  easy	
  to	
  use	
  




         Tim	
  Riley,	
  University	
  of	
  Westminster	
  -­‐	
  Crea%vity	
  and	
  Remix	
  Culture	
  -­‐	
  28th	
  March	
  2011	
  	
  
Danger	
  Mouse	
  –	
  The	
  Grey	
  Album,	
  2004	
  




                               Embedded	
  music	
  file:	
  Moment	
  of	
  Clarity	
  -­‐	
  Danger	
  Mouse	
  



    Tim	
  Riley,	
  University	
  of	
  Westminster	
  -­‐	
  Crea%vity	
  and	
  Remix	
  Culture	
  -­‐	
  28th	
  March	
  2011	
  	
  
Remix	
  Paradox	
  




“We	
  are	
  leH	
  with	
  an	
  interes%ng	
  paradox:	
  while	
  in	
  the	
  realm	
  
of	
  commercial	
  music	
  remixing	
  is	
  officially	
  accepted	
  ,	
  in	
  other	
  
cultural	
   areas	
   it	
   is	
   seen	
   as	
   viola%ng	
   the	
   copyright	
   and	
  
therefore	
  as	
  stealing.”	
  (Manovich,	
  2007).	
  




           Tim	
  Riley,	
  University	
  of	
  Westminster	
  -­‐	
  Crea%vity	
  and	
  Remix	
  Culture	
  -­‐	
  28th	
  March	
  2011	
  	
  
Crea%vity	
  and	
  Remix	
  Culture	
  


                             3.	
  	
  
         Remixing	
  the	
  Web	
  -­‐	
  The	
  Mashup	
  




Tim	
  Riley,	
  University	
  of	
  Westminster	
  -­‐	
  Crea%vity	
  and	
  Remix	
  Culture	
  -­‐	
  28th	
  March	
  2011	
  	
  
Lev	
  Manovich’s	
  Language	
  of	
  New	
  Media	
  	
  




“A	
  new	
  media	
  object	
  consists	
  of	
  independent	
  parts	
  which	
  consist	
  of	
  smaller	
  
independent	
  parts,	
  and	
  so	
  on,	
  up	
  to	
  the	
  level	
  of	
  smallest	
  “atoms”	
  such	
  as	
  pixels,	
  
3D	
  points	
  or	
  characters”	
  (Manovich,	
  2001:31).	
  	
  



               Tim	
  Riley,	
  University	
  of	
  Westminster	
  -­‐	
  Crea%vity	
  and	
  Remix	
  Culture	
  -­‐	
  28th	
  March	
  2011	
  	
  
Rip,	
  Remix,	
  Share	
  and	
  Collaborate	
  
                                        The	
  birth	
  of	
  a	
  new	
  ‘remix	
  culture’	
  




The	
  Internet,	
  Web	
  2.0	
  technology	
  and	
  the	
  distribu%on	
  of	
  and	
  access	
  to	
  
user-­‐generated	
   content	
   has	
   enabled	
   non-­‐professionals	
   to	
   collaborate	
  
with	
  each	
  other	
  across	
  organisa%onal	
  or	
  geographic	
  boundaries.	
  

Yochai	
   Benkler	
   describes	
   this	
   phenomenon	
   as	
   "commons-­‐based	
   peer	
  
produc%on"	
  (CBPP).	
  	
  

It	
  is	
  characterised	
  as	
  a	
  means	
  of	
  organising	
  loosely	
  connected	
  individuals	
  
to	
   openly	
   share	
   resources	
   and	
   cooperate	
   without	
   tradi%onal	
   hierarchy	
  
nor	
  financial	
  compensa%on.	
  




               Tim	
  Riley,	
  University	
  of	
  Westminster	
  -­‐	
  Crea%vity	
  and	
  Remix	
  Culture	
  -­‐	
  28th	
  March	
  2011	
  	
  
Rip,	
  Remix,	
  Share	
  and	
  Collaborate	
  
                                        The	
  birth	
  of	
  a	
  new	
  ‘remix	
  culture’	
  




The	
   ability	
   to	
   share	
   and	
   reuse	
   content	
   is	
   bound	
   together	
   by	
   some	
  
common	
  objec%ves:	
  

1	
  Personal	
  expression	
  through	
  the	
  crea%on	
  of	
  content	
  

2	
  Building	
  social	
  rela%onships	
  through	
  the	
  crea%ve	
  process	
  

3	
  Furthering	
  the	
  prac%ces	
  of	
  communi%es	
  that	
  revolve	
  around	
  crea%ng	
  
and	
   personalizing	
   content	
   through	
   remixes	
   and	
   mashups	
   (Chelio%s	
   &	
  
Yew,	
  2009)	
  




               Tim	
  Riley,	
  University	
  of	
  Westminster	
  -­‐	
  Crea%vity	
  and	
  Remix	
  Culture	
  -­‐	
  28th	
  March	
  2011	
  	
  
1990s	
  Graphics	
  SoHware	
  Development	
  for	
  Home	
  Use	
  
                   Cut,	
  Copy	
  and	
  Paste	
  -­‐	
  Affordable	
  and	
  easy	
  to	
  use	
  




          Tim	
  Riley,	
  University	
  of	
  Westminster	
  -­‐	
  Crea%vity	
  and	
  Remix	
  Culture	
  -­‐	
  28th	
  March	
  2011	
  	
  
Open	
  Source	
  Alterna%ves	
  




Tim	
  Riley,	
  University	
  of	
  Westminster	
  -­‐	
  Crea%vity	
  and	
  Remix	
  Culture	
  -­‐	
  28th	
  March	
  2011	
  	
  
Lawrence	
  Lessig	
  




Copyright	
   was	
   created	
   long	
   before	
   the	
   emergence	
   of	
   the	
   Internet,	
   and	
  
can	
   make	
   it	
   hard	
   to	
   legally	
   perform	
   ac%ons	
   we	
   take	
   for	
   granted	
   on	
   the	
  
network:	
  copy,	
  paste,	
  edit	
  source,	
  and	
  post	
  to	
  the	
  Web.	
  	
  


            Tim	
  Riley,	
  University	
  of	
  Westminster	
  -­‐	
  Crea%vity	
  and	
  Remix	
  Culture	
  -­‐	
  28th	
  March	
  2011	
  	
  
Lawrence	
  Lessig	
  



                                                   Why	
  CC?	
  
The	
  idea	
  of	
  universal	
  access	
  to	
  research,	
  educa%on,	
  and	
  culture	
  is	
  made	
  
possible	
   by	
   the	
   Internet,	
   but	
   our	
   legal	
   and	
   social	
   systems	
   don’t	
   always	
  
allow	
  that	
  idea	
  to	
  be	
  realised.	
  

The	
  default	
  sevng	
  of	
  copyright	
  law	
  requires	
  all	
  of	
  these	
  ac%ons	
  to	
  have	
  
explicit	
  permission,	
  granted	
  in	
  advance,	
  whether	
  you’re	
  an	
  ar%st,	
  teacher,	
  
scien%st,	
  librarian,	
  policymaker,	
  or	
  just	
  a	
  regular	
  user.	
  


                                        Our	
  mission	
  
Crea%ve	
   Commons	
   develops,	
   supports,	
   and	
   stewards	
   legal	
   and	
   technical	
  
infrastructure	
  that	
  maximizes	
  digital	
  crea%vity,	
  sharing,	
  and	
  innova%on.	
  



            Tim	
  Riley,	
  University	
  of	
  Westminster	
  -­‐	
  Crea%vity	
  and	
  Remix	
  Culture	
  -­‐	
  28th	
  March	
  2011	
  	
  
Lawrence	
  Lessig	
  




Tim	
  Riley,	
  University	
  of	
  Westminster	
  -­‐	
  Crea%vity	
  and	
  Remix	
  Culture	
  -­‐	
  28th	
  March	
  2011	
  	
  
The	
  Pirate’s	
  Dilemma	
  –	
  Mad	
  Mason	
  




Should	
  piracy	
  be	
  treated	
  as	
  a	
  problem	
  or	
  a	
  whole	
  new	
  solu%on?	
  




   Tim	
  Riley,	
  University	
  of	
  Westminster	
  -­‐	
  Crea%vity	
  and	
  Remix	
  Culture	
  -­‐	
  28th	
  March	
  2011	
  	
  
The	
  Pirate’s	
  Dilemma	
  –	
  Mad	
  Mason	
  
                      The	
  Three	
  Habits	
  of	
  Highly	
  Effec;ve	
  Pirates	
  

1.	
  Look	
  Outside	
  of	
  the	
  Market	
  
Entrepreneurs	
  look	
  for	
  gaps	
  in	
  the	
  market.	
  Pirates	
  look	
  for	
  gaps	
  outside	
  of	
  the	
  market.	
  
There	
  was	
  no	
  market	
  for	
  Hollywood	
  films	
  before	
  William	
  Fox	
  and	
  friends.	
  There	
  was	
  
no	
  market	
  for	
  commercial	
  radio	
  in	
  Europe	
  before	
  pirate	
  DJs.	
  

2.	
  Create	
  a	
  Vehicle	
  
Once	
   pirates	
   find	
   a	
   space	
   the	
   market	
   has	
   ignored,	
   they	
   park	
   a	
   new	
   vehicle	
   in	
   it	
   and	
  
begin	
   transmivng.	
   Some%mes	
   this	
   new	
   vehicle	
   becomes	
   more	
   important,	
   or	
   as	
  
Marshall	
  McLuhan	
  put	
  it,	
  the	
  medium	
  becomes	
  the	
  message.	
  

3.	
  Harness	
  Your	
  Audience	
  
When	
   pirates	
   do	
   something	
   valuable	
   in	
   society,	
   ci%zens	
   support	
   them,	
   discussion	
  
starts,	
  and	
  laws	
  change.	
  It	
  is	
  the	
  supporters	
  that	
  pirates	
  adract	
  that	
  enable	
  them	
  and	
  
their	
  ideas	
  to	
  go	
  legit.	
  Kiss	
  FM	
  got	
  a	
  license	
  thanks	
  to	
  its	
  listeners.	
  En%re	
  na%on-­‐states	
  
are	
  suppor%ng	
  pill	
  pirates	
  to	
  save	
  lives.	
  


             Tim	
  Riley,	
  University	
  of	
  Westminster	
  -­‐	
  Crea%vity	
  and	
  Remix	
  Culture	
  -­‐	
  28th	
  March	
  2011	
  	
  
RIP:	
  A	
  Remix	
  Manifesto	
  




Tim	
  Riley,	
  University	
  of	
  Westminster	
  -­‐	
  Crea%vity	
  and	
  Remix	
  Culture	
  -­‐	
  28th	
  March	
  2011	
  	
  
RIP:	
  A	
  Remix	
  Manifesto	
  




Embedded	
  video	
  file:	
  RiP:	
  A	
  Remix	
  Manifesto	
  –	
  Trailer,	
  available	
  at:	
  hdp://www.youtube.com/watch?v=9oar9glUCL0	
  




                                                           Trailer	
  
Tim	
  Riley,	
  University	
  of	
  Westminster	
  -­‐	
  Crea%vity	
  and	
  Remix	
  Culture	
  -­‐	
  28th	
  March	
  2011	
  	
  
RIP:	
  A	
  Remix	
  Manifesto	
  




Tim	
  Riley,	
  University	
  of	
  Westminster	
  -­‐	
  Crea%vity	
  and	
  Remix	
  Culture	
  -­‐	
  28th	
  March	
  2011	
  	
  
The	
  Mash-­‐up	
  Defined	
  
          Mash-­‐ups	
  aggregate	
  and	
  s%tch	
  together	
  third-­‐party	
  data	
  

                                      Two	
  Types	
  of	
  Mash-­‐up	
  
1)  Regressive	
  
     •    Juxtaposi%on	
  of	
  songs	
  to	
  create	
  a	
  new	
  song	
  using	
  the	
  vocal	
  and	
  
          instrumental	
  tracks	
  from	
  two	
  different	
  source	
  songs.	
  	
  



2) 	
  Reflexive	
  
     •    Most	
  common	
  in	
  web	
  2.0	
  applica%ons.	
  They	
  use	
  samples	
  from	
  two	
  
          or	
  more	
  elements	
  to	
  access	
  specific	
  informa%on	
  more	
  efficiently.	
  




           Tim	
  Riley,	
  University	
  of	
  Westminster	
  -­‐	
  Crea%vity	
  and	
  Remix	
  Culture	
  -­‐	
  28th	
  March	
  2011	
  	
  
Web	
  Applica%on	
  Mash-­‐ups	
  

• 	
  Web	
  mash-­‐ups	
  sample	
  material	
  from	
  different	
  online	
  resources	
  and	
  websites	
  

• 	
  Mash-­‐ups	
  are	
  developed	
  with	
  the	
  inten%on	
  of	
  extending	
  the	
  func%onality	
  of	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  
• 	
  soHware	
  for	
  specific	
  purposes.	
  	
  	
  

• 	
  Web	
  developers	
  use	
  material	
  directly	
  taken	
  from	
  databases	
  	
  

• 	
  Use	
  open	
  Applica%on	
  Programming	
  Interface	
  (API)	
  to	
  access	
  informa%on	
  

• 	
  The	
  Web	
  2.0	
  reflexive	
  mash-­‐up	
  no	
  longer	
  relies	
  on	
  sampling	
  but	
  instead	
  on	
  	
  
• 	
  constant	
  upda%ng	
  	
  




                        Tim	
  Riley,	
  University	
  of	
  Westminster	
  -­‐	
  Crea%vity	
  and	
  Remix	
  Culture	
  -­‐	
  28th	
  March	
  2011	
  	
  
Mash-­‐up	
  Website	
  –	
  How	
  the	
  Data	
  Flows	
  



                                                               User	
  

                       User	
  Request	
                                Data	
  presenta%on	
  

                                                Mash-­‐up	
  website	
                                                  Data	
  Manipula%on	
  


      API	
  Call	
                        Data	
                         API	
  Call	
                                    Data	
  


    Website	
  1	
                                                                                            Website	
  2	
  




     Tim	
  Riley,	
  University	
  of	
  Westminster	
  -­‐	
  Crea%vity	
  and	
  Remix	
  Culture	
  -­‐	
  28th	
  March	
  2011	
  	
  
The	
  Wilderness	
  Downtown	
  
                         www.thewildernessdowntown.com	
  




It	
   features	
   a	
   mash-­‐up	
   of	
   Google	
   Maps	
   and	
   Google	
   Street	
   View	
   with	
   HTML5	
  
canvas,	
   HTML5	
   audio	
   and	
   video,	
   an	
   interac%ve	
   drawing	
   tool,	
   and	
  
choreographed	
  windows	
  that	
  dance	
  around	
  the	
  screen.	
  

“These	
  modern	
  web	
  technologies	
  have	
  helped	
  us	
  craH	
  an	
  experience	
  that	
  is	
  
personalized	
   and	
   unique	
   for	
   each	
   viewer,	
   as	
   you	
   virtually	
   run	
   through	
   the	
  
streets	
  where	
  you	
  grew	
  up.”	
  Thomas	
  Gayno,	
  Google	
  Crea%ve	
  Lab	
  

Tim	
  Riley,	
  University	
  of	
  Westminster	
  -­‐	
  Crea%vity	
  and	
  Remix	
  Culture	
  -­‐	
  28th	
  March	
  2011	
  	
  
The	
  Wilderness	
  Downtown	
  
                         www.thewildernessdowntown.com	
  




                 www.chromeexperiments.com/arcadefire	
  
Tim	
  Riley,	
  University	
  of	
  Westminster	
  -­‐	
  Crea%vity	
  and	
  Remix	
  Culture	
  -­‐	
  28th	
  March	
  2011	
  	
  
Crea%vity	
  and	
  Remix	
  Culture	
  


                                4.	
  	
  
        The	
  Future	
  of	
  the	
  Crea%ve	
  Remix	
  




Tim	
  Riley,	
  University	
  of	
  Westminster	
  -­‐	
  Crea%vity	
  and	
  Remix	
  Culture	
  -­‐	
  28th	
  March	
  2011	
  	
  
The	
  Future	
  of	
  the	
  Crea%ve	
  Remix	
  

“World	
   Wide	
   Web	
   redefined	
   an	
   electronic	
   document	
   as	
   a	
   mix	
   of	
   other	
  
documents.	
  Remix	
  culture	
  has	
  arrived.”	
  (Manovich,	
  2007)	
  

“What	
   is	
   crucial	
   at	
   the	
   moment	
   is	
   understanding	
   how	
   different	
   acts	
   of	
  
appropria%on	
  throughout	
  history	
  enable	
  us	
  to	
  entertain	
  Remix	
  as	
  part	
  of	
  the	
  
consumer/producer	
  model	
  currently	
  at	
  play	
  in	
  culture.”	
  (Navas,	
  2008)	
  

Ques%ons:	
  
Will	
   our	
   future	
   crea%vity	
   rely	
   on	
   and	
   be	
   created	
   from	
   an	
   already	
   exis%ng	
  
database	
  of	
  culture?	
  

Or	
  will	
  new	
  material	
  constantly	
  update	
  and	
  complement	
  this	
  exis%ng	
  crea%ve	
  
resource	
  enabling	
  greater	
  crea%vity	
  and	
  more	
  diverse	
  and	
  remixing	
  of	
  content?	
  




                 Tim	
  Riley,	
  University	
  of	
  Westminster	
  -­‐	
  Crea%vity	
  and	
  Remix	
  Culture	
  -­‐	
  28th	
  March	
  2011	
  	
  

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Creativity & Remix Culture - 28th March 2011

  • 1. Crea%vity  and  Remix  Culture   Embedded  music  file:   1)  A  FiHh  of  Beethoven  –  Walter  Murphy   2)  Also  Sprach  Zarathustra  -­‐  Deodato   Tim  Riley,  University  of  Westminster  -­‐  Crea%vity  and  Remix  Culture  -­‐  28th  March  2011    
  • 2. Crea%vity  and  Remix  Culture   1.     Historical  introduc%on   Tim  Riley,  University  of  Westminster  -­‐  Crea%vity  and  Remix  Culture  -­‐  28th  March  2011    
  • 3. The  Old  Testament   “The  thing  that  hath  been,  it  is  that  which  shall  be:     And  that  which  is  done  is  that  which  shall  be  done:     And  there  is  nothing  new  under  the  sun.”  Ecclesiastes   Tim  Riley,  University  of  Westminster  -­‐  Crea%vity  and  Remix  Culture  -­‐  28th  March  2011    
  • 4. Early  20th  Century  Art   Duchamp   Picasso   Tim  Riley,  University  of  Westminster  -­‐  Crea%vity  and  Remix  Culture  -­‐  28th  March  2011    
  • 5. 1920s:  Dada  –  Collage  and  Photomontage   Raoul  Hausmann   Tim  Riley,  University  of  Westminster  -­‐  Crea%vity  and  Remix  Culture  -­‐  28th  March  2011    
  • 6. 1930s:  Poli%cal  Photomontage   John  HearZield   Tim  Riley,  University  of  Westminster  -­‐  Crea%vity  and  Remix  Culture  -­‐  28th  March  2011    
  • 7. 1950s:  Cut-­‐up  technique   Bowie  (1970s),  Burroughs  (1950s)   Tim  Riley,  University  of  Westminster  -­‐  Crea%vity  and  Remix  Culture  -­‐  28th  March  2011    
  • 8. 1950s:  Cut-­‐up  technique   Embedded  William  Burroughs  voice  and  text  video   William  Burroughs  cut-­‐up   William  Burroughs  example   Tim  Riley,  University  of  Westminster  -­‐  Crea%vity  and  Remix  Culture  -­‐  28th  March  2011    
  • 9. 1960’s:  Pop  Art   Warhol   Lichtenstein   Hamilton   Tim  Riley,  University  of  Westminster  -­‐  Crea%vity  and  Remix  Culture  -­‐  28th  March  2011    
  • 10. Recent  Poli%cal  Photomontage   Peter  Kennard   Tim  Riley,  University  of  Westminster  -­‐  Crea%vity  and  Remix  Culture  -­‐  28th  March  2011    
  • 11. C20th  Braun  and  C21st  Apple  Design   Designers  –  Dieter  Rams,  Braun  (top)  and  Jonathan  Ive,  Apple  (bodom)   Tim  Riley,  University  of  Westminster  -­‐  Crea%vity  and  Remix  Culture  -­‐  28th  March  2011    
  • 12. Regency  TR-­‐1  transistor  radio  (1954)  -­‐  iPod  mini  (2004)     “One  is  a  groundbreaking  consumer  electronics  device  released  in  a   range  of  catchy  colours,  enabling  a  hugely  addic%ve  portable  listening   experience  —  the  other  is  the  iPod  mini.”  —  John  Ousby   Tim  Riley,  University  of  Westminster  -­‐  Crea%vity  and  Remix  Culture  -­‐  28th  March  2011    
  • 13. Remixing  History  According  to  Wired   Tim  Riley,  University  of  Westminster  -­‐  Crea%vity  and  Remix  Culture  -­‐  28th  March  2011    
  • 14. Crea%vity  and  Remix  Culture   2.     Music:  Birth  of  sampling  and  the  remix   Tim  Riley,  University  of  Westminster  -­‐  Crea%vity  and  Remix  Culture  -­‐  28th  March  2011    
  • 15. The  Remix  is  Born   Accidental  omission  of  the  vocals  created  a  ‘Dub’  version   Tim  Riley,  University  of  Westminster  -­‐  Crea%vity  and  Remix  Culture  -­‐  28th  March  2011    
  • 16. Music  Remix  defined   Three  Types  of  Remixes   1)  Extended  remix   •  Longer  than  the  original   2)  Selec%ve  remix     •  Adds  or  subtracts  material  from  the  original  song.  DJ  as  producer   3)  Reflexive  remix   •  Challenges  the  characteris%cs  of  the  original  and  claims  autonomy   even  when  it  carries  the  name  of  the  original.     •  Can  also  lead  to  a  "remix"  in  which  the  only  thing  that  is   recognizable  from  the  original  is  the  %tle.     Tim  Riley,  University  of  Westminster  -­‐  Crea%vity  and  Remix  Culture  -­‐  28th  March  2011    
  • 17. The  Adventures  Of  Grandmaster  Flash  and  the  Wheels  Of  Steel,  1981   Embedded  music  file:  The  Adventures  Of  Grandmaster  Flash  On  The  Wheels  Of  Steel  -­‐  Grandmaster  Flash     Uses  10  music  samples  including:     Good  Times  –  Chic,  Another  One  Bites  the  Dust  –  Queen,  Rapture  –  Blondie     plus  spoken  word  vocals  from  the  movie  Flash  Gordon     Tim  Riley,  University  of  Westminster  -­‐  Crea%vity  and  Remix  Culture  -­‐  28th  March  2011    
  • 18. Sampling   Made  easier  with  the  advent  of  digital  technology   Sampling  is  “the  uninhibited  use  of  digital  sound  recording  as  a  central  element  of   composi%on.  Sampling  thus  becomes  an  aesthe%c  programme.”  (Goodwin,  1998)   Tim  Riley,  University  of  Westminster  -­‐  Crea%vity  and  Remix  Culture  -­‐  28th  March  2011    
  • 19. Sampling   Made  easier  with  the  advent  of  digital  technology   Sampling  is  “the  uninhibited  use  of  digital  sound  recording  as  a  central  element  of   composi%on.  Sampling  thus  becomes  an  aesthe%c  programme.”  (Goodwin  1998)   Tim  Riley,  University  of  Westminster  -­‐  Crea%vity  and  Remix  Culture  -­‐  28th  March  2011    
  • 20. Sampling   M|A|R|R|S  -­‐  Pump  up  the  Volume  -­‐  1987   Tim  Riley,  University  of  Westminster  -­‐  Crea%vity  and  Remix  Culture  -­‐  28th  March  2011    
  • 21. Sampling   M|A|R|R|S  -­‐  Pump  up  the  Volume  -­‐  1987   Embedded  music  file:     Pump  up  the  Volume  -­‐  MARRS   Tim  Riley,  University  of  Westminster  -­‐  Crea%vity  and  Remix  Culture  -­‐  28th  March  2011    
  • 22. 1990s  Music  SoHware  Development  for  Home  Use   Affordable  and  easy  to  use   Tim  Riley,  University  of  Westminster  -­‐  Crea%vity  and  Remix  Culture  -­‐  28th  March  2011    
  • 23. Danger  Mouse  –  The  Grey  Album,  2004   Embedded  music  file:  Moment  of  Clarity  -­‐  Danger  Mouse   Tim  Riley,  University  of  Westminster  -­‐  Crea%vity  and  Remix  Culture  -­‐  28th  March  2011    
  • 24. Remix  Paradox   “We  are  leH  with  an  interes%ng  paradox:  while  in  the  realm   of  commercial  music  remixing  is  officially  accepted  ,  in  other   cultural   areas   it   is   seen   as   viola%ng   the   copyright   and   therefore  as  stealing.”  (Manovich,  2007).   Tim  Riley,  University  of  Westminster  -­‐  Crea%vity  and  Remix  Culture  -­‐  28th  March  2011    
  • 25. Crea%vity  and  Remix  Culture   3.     Remixing  the  Web  -­‐  The  Mashup   Tim  Riley,  University  of  Westminster  -­‐  Crea%vity  and  Remix  Culture  -­‐  28th  March  2011    
  • 26. Lev  Manovich’s  Language  of  New  Media     “A  new  media  object  consists  of  independent  parts  which  consist  of  smaller   independent  parts,  and  so  on,  up  to  the  level  of  smallest  “atoms”  such  as  pixels,   3D  points  or  characters”  (Manovich,  2001:31).     Tim  Riley,  University  of  Westminster  -­‐  Crea%vity  and  Remix  Culture  -­‐  28th  March  2011    
  • 27. Rip,  Remix,  Share  and  Collaborate   The  birth  of  a  new  ‘remix  culture’   The  Internet,  Web  2.0  technology  and  the  distribu%on  of  and  access  to   user-­‐generated   content   has   enabled   non-­‐professionals   to   collaborate   with  each  other  across  organisa%onal  or  geographic  boundaries.   Yochai   Benkler   describes   this   phenomenon   as   "commons-­‐based   peer   produc%on"  (CBPP).     It  is  characterised  as  a  means  of  organising  loosely  connected  individuals   to   openly   share   resources   and   cooperate   without   tradi%onal   hierarchy   nor  financial  compensa%on.   Tim  Riley,  University  of  Westminster  -­‐  Crea%vity  and  Remix  Culture  -­‐  28th  March  2011    
  • 28. Rip,  Remix,  Share  and  Collaborate   The  birth  of  a  new  ‘remix  culture’   The   ability   to   share   and   reuse   content   is   bound   together   by   some   common  objec%ves:   1  Personal  expression  through  the  crea%on  of  content   2  Building  social  rela%onships  through  the  crea%ve  process   3  Furthering  the  prac%ces  of  communi%es  that  revolve  around  crea%ng   and   personalizing   content   through   remixes   and   mashups   (Chelio%s   &   Yew,  2009)   Tim  Riley,  University  of  Westminster  -­‐  Crea%vity  and  Remix  Culture  -­‐  28th  March  2011    
  • 29. 1990s  Graphics  SoHware  Development  for  Home  Use   Cut,  Copy  and  Paste  -­‐  Affordable  and  easy  to  use   Tim  Riley,  University  of  Westminster  -­‐  Crea%vity  and  Remix  Culture  -­‐  28th  March  2011    
  • 30. Open  Source  Alterna%ves   Tim  Riley,  University  of  Westminster  -­‐  Crea%vity  and  Remix  Culture  -­‐  28th  March  2011    
  • 31. Lawrence  Lessig   Copyright   was   created   long   before   the   emergence   of   the   Internet,   and   can   make   it   hard   to   legally   perform   ac%ons   we   take   for   granted   on   the   network:  copy,  paste,  edit  source,  and  post  to  the  Web.     Tim  Riley,  University  of  Westminster  -­‐  Crea%vity  and  Remix  Culture  -­‐  28th  March  2011    
  • 32. Lawrence  Lessig   Why  CC?   The  idea  of  universal  access  to  research,  educa%on,  and  culture  is  made   possible   by   the   Internet,   but   our   legal   and   social   systems   don’t   always   allow  that  idea  to  be  realised.   The  default  sevng  of  copyright  law  requires  all  of  these  ac%ons  to  have   explicit  permission,  granted  in  advance,  whether  you’re  an  ar%st,  teacher,   scien%st,  librarian,  policymaker,  or  just  a  regular  user.   Our  mission   Crea%ve   Commons   develops,   supports,   and   stewards   legal   and   technical   infrastructure  that  maximizes  digital  crea%vity,  sharing,  and  innova%on.   Tim  Riley,  University  of  Westminster  -­‐  Crea%vity  and  Remix  Culture  -­‐  28th  March  2011    
  • 33. Lawrence  Lessig   Tim  Riley,  University  of  Westminster  -­‐  Crea%vity  and  Remix  Culture  -­‐  28th  March  2011    
  • 34. The  Pirate’s  Dilemma  –  Mad  Mason   Should  piracy  be  treated  as  a  problem  or  a  whole  new  solu%on?   Tim  Riley,  University  of  Westminster  -­‐  Crea%vity  and  Remix  Culture  -­‐  28th  March  2011    
  • 35. The  Pirate’s  Dilemma  –  Mad  Mason   The  Three  Habits  of  Highly  Effec;ve  Pirates   1.  Look  Outside  of  the  Market   Entrepreneurs  look  for  gaps  in  the  market.  Pirates  look  for  gaps  outside  of  the  market.   There  was  no  market  for  Hollywood  films  before  William  Fox  and  friends.  There  was   no  market  for  commercial  radio  in  Europe  before  pirate  DJs.   2.  Create  a  Vehicle   Once   pirates   find   a   space   the   market   has   ignored,   they   park   a   new   vehicle   in   it   and   begin   transmivng.   Some%mes   this   new   vehicle   becomes   more   important,   or   as   Marshall  McLuhan  put  it,  the  medium  becomes  the  message.   3.  Harness  Your  Audience   When   pirates   do   something   valuable   in   society,   ci%zens   support   them,   discussion   starts,  and  laws  change.  It  is  the  supporters  that  pirates  adract  that  enable  them  and   their  ideas  to  go  legit.  Kiss  FM  got  a  license  thanks  to  its  listeners.  En%re  na%on-­‐states   are  suppor%ng  pill  pirates  to  save  lives.   Tim  Riley,  University  of  Westminster  -­‐  Crea%vity  and  Remix  Culture  -­‐  28th  March  2011    
  • 36. RIP:  A  Remix  Manifesto   Tim  Riley,  University  of  Westminster  -­‐  Crea%vity  and  Remix  Culture  -­‐  28th  March  2011    
  • 37. RIP:  A  Remix  Manifesto   Embedded  video  file:  RiP:  A  Remix  Manifesto  –  Trailer,  available  at:  hdp://www.youtube.com/watch?v=9oar9glUCL0   Trailer   Tim  Riley,  University  of  Westminster  -­‐  Crea%vity  and  Remix  Culture  -­‐  28th  March  2011    
  • 38. RIP:  A  Remix  Manifesto   Tim  Riley,  University  of  Westminster  -­‐  Crea%vity  and  Remix  Culture  -­‐  28th  March  2011    
  • 39. The  Mash-­‐up  Defined   Mash-­‐ups  aggregate  and  s%tch  together  third-­‐party  data   Two  Types  of  Mash-­‐up   1)  Regressive   •  Juxtaposi%on  of  songs  to  create  a  new  song  using  the  vocal  and   instrumental  tracks  from  two  different  source  songs.     2)  Reflexive   •  Most  common  in  web  2.0  applica%ons.  They  use  samples  from  two   or  more  elements  to  access  specific  informa%on  more  efficiently.   Tim  Riley,  University  of  Westminster  -­‐  Crea%vity  and  Remix  Culture  -­‐  28th  March  2011    
  • 40. Web  Applica%on  Mash-­‐ups   •   Web  mash-­‐ups  sample  material  from  different  online  resources  and  websites   •   Mash-­‐ups  are  developed  with  the  inten%on  of  extending  the  func%onality  of                                             •   soHware  for  specific  purposes.       •   Web  developers  use  material  directly  taken  from  databases     •   Use  open  Applica%on  Programming  Interface  (API)  to  access  informa%on   •   The  Web  2.0  reflexive  mash-­‐up  no  longer  relies  on  sampling  but  instead  on     •   constant  upda%ng     Tim  Riley,  University  of  Westminster  -­‐  Crea%vity  and  Remix  Culture  -­‐  28th  March  2011    
  • 41. Mash-­‐up  Website  –  How  the  Data  Flows   User   User  Request   Data  presenta%on   Mash-­‐up  website   Data  Manipula%on   API  Call   Data   API  Call   Data   Website  1   Website  2   Tim  Riley,  University  of  Westminster  -­‐  Crea%vity  and  Remix  Culture  -­‐  28th  March  2011    
  • 42. The  Wilderness  Downtown   www.thewildernessdowntown.com   It   features   a   mash-­‐up   of   Google   Maps   and   Google   Street   View   with   HTML5   canvas,   HTML5   audio   and   video,   an   interac%ve   drawing   tool,   and   choreographed  windows  that  dance  around  the  screen.   “These  modern  web  technologies  have  helped  us  craH  an  experience  that  is   personalized   and   unique   for   each   viewer,   as   you   virtually   run   through   the   streets  where  you  grew  up.”  Thomas  Gayno,  Google  Crea%ve  Lab   Tim  Riley,  University  of  Westminster  -­‐  Crea%vity  and  Remix  Culture  -­‐  28th  March  2011    
  • 43. The  Wilderness  Downtown   www.thewildernessdowntown.com   www.chromeexperiments.com/arcadefire   Tim  Riley,  University  of  Westminster  -­‐  Crea%vity  and  Remix  Culture  -­‐  28th  March  2011    
  • 44. Crea%vity  and  Remix  Culture   4.     The  Future  of  the  Crea%ve  Remix   Tim  Riley,  University  of  Westminster  -­‐  Crea%vity  and  Remix  Culture  -­‐  28th  March  2011    
  • 45. The  Future  of  the  Crea%ve  Remix   “World   Wide   Web   redefined   an   electronic   document   as   a   mix   of   other   documents.  Remix  culture  has  arrived.”  (Manovich,  2007)   “What   is   crucial   at   the   moment   is   understanding   how   different   acts   of   appropria%on  throughout  history  enable  us  to  entertain  Remix  as  part  of  the   consumer/producer  model  currently  at  play  in  culture.”  (Navas,  2008)   Ques%ons:   Will   our   future   crea%vity   rely   on   and   be   created   from   an   already   exis%ng   database  of  culture?   Or  will  new  material  constantly  update  and  complement  this  exis%ng  crea%ve   resource  enabling  greater  crea%vity  and  more  diverse  and  remixing  of  content?   Tim  Riley,  University  of  Westminster  -­‐  Crea%vity  and  Remix  Culture  -­‐  28th  March  2011