Remix culture is a term used to describe a society which allows and encourages derivative works. Remix is defined as combining or editing existing materials to produce a new product. A Remix Culture would be, by default, permissive of efforts to improve upon, change, integrate, or otherwise remix the work of copyright holders.
In his 2008 book, ‘Remix,’ Lawrence Lessig presents this as a desirable ideal and argues, among other things, that the health, progress, and wealth creation of a culture is fundamentally tied to this participatory remix process.
A remix is an alternative version of a recorded song, made from an original version. Sometimes this term is also used for alterations of media or recreation other than song (film, literature, beverages etc.). In remixing, a person (often a recording engineer or record producer) takes a familiar song, splits it into different parts called tracks, and changes the song’s music, instruments, layout, and or vocals to create a new version of the same song.
It is called remixing due to mixing being the putting together of all the parts of a song, and remixing being the putting together of the parts of the song differently than the original. Remixers, that is, people who remix, are musicians who use a variety of tools, primarily electronic, to create the new song versions. Remixing can be simply moving song parts around; it can also be creating new music for an old song lyric. The most popular types of remixing are production remixing, where new instruments are used with the old song vocal, and mashups, in which two old songs are mixed together.
RiP!: A Remix Manifesto is a 2008 open source documentary film about the changing concept of copyright directed by Brett Gaylor.
Created over a period of six years, the documentary film features the collaborative remix work of hundreds of people who have contributed to the Open Source Cinema website, helping to create the ‘world’s first open source documentary.’ Gaylor encourages people to create their own remixes from this movie, using media available from the Open Source Cinema website, or other websites like YouTube, Flickr, Hulu, or MySpace.
A fan edit is a version of a film modified by a viewer, that removes, reorders, or adds material in order to create a new interpretation of the source material. This includes the removal of scenes or dialogue, replacement of audio and/or visual elements, and adding material from sources such as deleted scenes or even other films. The field was popularized by an individual calling himself the ‘Phantom Editor’ (later revealed as professional editor Mike J. Nichols). He removed elements from George Lucas’ ‘The Phantom Menace’ that he felt detracted from the film, and made minor changes in dialogue, languages, and subtitles to give the film’s villains a more menacing tone.
There were a total of 18 minutes cut from the original film, reducing the run time from 136 minutes to 118 minutes. The end result became known as ‘The Phantom Edit,’ which circulated Hollywood studios on VHS in 2000. It was the first unauthorized re-edit of a major film to receive publicity and acclaim and inspired dozens of other edits to surface on the internet. Lucasfilm, the production company of series creator George Lucas, condoned the edit, and did not pursue legal action against its distributors.read more »
Open-source economics is an economic platform (a two-sided market with two distinct user groups that provide each other with network benefits) based on open collaboration for the production of software, services, or other products. First applied to the open-source software industry, this economic model may be applied to a wide range of enterprises. The system requires work or investment to be carried out without an expressed expectation of return; products or services are produced through collaboration between users and developers; there is no direct individual ownership of the enterprise itself.
The structure of open source is based on user participation. According to technology law professor Yochai Benkler, ‘networked environment makes possible a new modality of organizing production: radically decentralized, collaborative, and non-proprietary; based on sharing resources and outputs among widely distributed, loosely connected individuals who cooperate with each other without relying on either market signals or managerial commands.’read more »
Max Richter [rik-ter] (b. 1966) is a British composer. He studied composition and piano at the University of Edinburgh, the Royal Academy of Music, and with Italian composer Luciano Berio in Florence. After finishing his studies, Richter co-founded the contemporary classical ensemble Piano Circus. He stayed with the group for ten years, commissioning and performing works by Arvo Pärt, Brian Eno, Philip Glass, Julia Wolfe, and Steve Reich. The ensemble was signed to Decca/Argo, producing five albums.
In 1996, Richter collaborated with Future Sound of London on their album ‘Dead Cities,’ beginning as a pianist, but ultimately working on several tracks, as well as co-writing one track (titled ‘Max’). He subsequently worked with the band over a period of two years, also contributing to the albums ‘The Isness’ and ‘The Peppermint Tree and Seeds of Superconsciousness.’ In 2000, he worked with Mercury Prize winner Roni Size on the Reprazent album ‘In the Møde.’ Richter produced English singer-songwriter Vashti Bunyan’s 2005 album ‘Lookaftering’ and Sneaker Pimps lead singer Kelli Ali’s 2008 album ‘Rocking Horse.’read more »
Darkside is the collaboration of electronic musician Nicolas Jaar and Brooklyn multi-instrumentalist Dave Harrington who met as students at Brown University. Harrington was recommended to Jaar by frequent collaborator Will Epstein when he was looking for a third musician for his live band, with the three subsequently touring together to support Jaar’s 2011 album ‘Space Is Only Noise.’
Darkside first formed during a Berlin stop on this tour. Jaar and Harrington were writing in their hotel room together when their converter plug popped, filling their room with smoke and forcing them to finish the song in the hallway on a laptop. Upon returning to New York, they continued to write together, developing their sound in their Brooklyn studio.
Patrice Wilson is a Nigerian singer and songwriter who goes by the stage names Pato and Fat Usher. He got his start in music as a backup singer with Malian-Slovak pop star Ibrahim Maiga (and learned to speak fluent Slovak while touring Eastern Europe). Wilson moved to the US in 2001, where he took his flavor of Nigerian music, along with eastern Europe pop, and combined it with hip-hop. In 2010 he co-founded ARK Music Factory in partnership with Clarence Jey, an Australian record producer, songwriter and multi-instrumentalist musician. Jey left the following year, with Wilson remaining the CEO of the company. He co-authored and co-produced alongside Jey the song ‘Friday’ sung by Rebecca Black.
The song’s viral success led to accusations that Wilson was exploiting young aspiring singers. He rebuffed such claims, saying that the label provided a relatively inexpensive way to break into the pop market for artists. In 2011, Wilson released two music responses to ‘Friday’ and the controversy it created: ‘Friday (Rap Remix)’ and later ‘Say What You Wanna Say,’ both of which received negative attention as well. In 2013, he released an ‘official sequel’ to the infamous song called ‘Happy,’ that features internet celebrity Antoine Dodson and focuses on Saturdays. In 2013, Pato produced ‘Sausage Party’ for Jimmy Kimmel, and released rap group Tweenchronic’s song, ‘Skip Rope.’ His latest project is ‘Chinese Food,’ the solo debut from Tweenchronic member Alison Gold.
The Books were an American duo consisting of guitarist and vocalist Nick Zammuto and cellist Paul de Jong. Their releases typically incorporated samples of obscure sounds and speech. They released three critically acclaimed albums on the German label Tomlab, and released their fourth studio album, ‘The Way Out,’ on Temporary Residence Limited in 2010.
Zammuto and de Jong met in New York City in 1999 as they shared the same apartment building. De Jong invited Zammuto to dinner at his apartment, where he played him some of his collection of audio and video samples, including a Shooby Taylor scat record. Zammuto said of their meeting that ‘we both kind of knew at that moment that we listened (to music) in interesting ways and had similar approaches to music.’ Soon after, they began playing what they considered to be pop music, in comparison to their own works, under the name ‘The Books.’
Psychic TV (PTV, sometimes spelled Psychick TV) is a video art and music group that primarily performs psychedelic, punk, electronic and experimental music. The band was formed by performance artist Genesis P-Orridge and video director Peter Christopherson (after the breakup of Throbbing Gristle) with Alex Fergusson, musician and producer (a key member of Alternative TV for whom P-Orridge had played percussion).
The band began publishing a monthly series of 23 live albums in 1986, but stopped without explanation after only 17. The tenth, a picture disk most commonly referred to as ‘Album 10,’ could only be obtained by submitting tokens contained in each of the previous nine releases. The band subsequently earned an entry in the ‘Guinness Book of World Records’ for most records released in one year.