This is my powerpoint charting the historical development of the remix in four parts:
1) Historical introduction
2) Music: Birth of sampling and the remix
3) Remixing the Web - The Mashup
4) The Future of the Creative Remix
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