Blog 12- Another Angry Copyright Video

•April 14, 2011 • 1 Comment

1. Copyright laws no longer maintain a balance between two sides, whether they are listed as RO/RW or as Copyright and Copyleft (even Lessig mentions the term).  When copyright was first invented, it worked to protect both the rights of the individuals who created the work and the rights of others to later use the work.  Now copyright is no longer protecting creativity in the way that it was intended.  It is now protecting corporate interests instead of an individual’s creativity.

2. The Copyright wars are starting to quickly alienate the community from the companies.  This video itself is proof enough, as well as Copyright Criminals and the video slamming Disney.  People are starting to heavily critic copyright and fight back.  And even if they aren’t, they are still breaking the laws through creating their remixes.

3. Girl Talk is well loved.  Ok, that’s not a real point but I swear, he and Wikipedia have popped into every book and discussion we’ve had.  But a main point is that remixes are creative works and some add value to our culture and both economies.  And not just in the music industry but in other fields such as science as well.  Computer companies have benefited from allowing customers the ability to remake something and medicine would as well.

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Blog 11-Sharing Money

•April 3, 2011 • 1 Comment

A sharing economy is where a community that is not based on monetary interactions.  I help you jump your car, you later help me catch my dog, etc. If you did try to use money as part of it, it would seem not only odd but rude as well.  It is more personal and more often associated with close community ties.   A commerical economy, on the other hand, is an economy based on money.  I give you money, you in turn give me an item equal to its worth.  In sociological terms, it creates weak ties between groups and is very distant in terms of personal relationships between people.

Lessig sees a sharing economy being born out of ‘copyleft’ or creative common works, where everyone can contribute to the work, which in turn makes it better.  It produces a thriving economy, even though there is no money being made off of the shared items.  He argues that it offers so much more creativity than a commercial economy. Just as he pushes for both RW and RO culture, he says that the sharing and commerical economy has their own place.  He continues to list off companies that incoroporate the hybrid mix that allows for their enormous growth and that they have gained more than they lost by making some things free and open to change.

Blog 10- The Remix minus Two

•March 28, 2011 • 2 Comments

Ok, I am going to be a huge nerd of sorts, but the first thing that came to mind of a video remix is the Yu-Gi-Oh Abridged series.  I have never seen the original series but found the Abridged series hiliarious.  I particularly liked it because it summed up most the series without me having to watch any of the original.  The scenes are from short clips  from the original but the sound track has been redone and each ‘episode’ is about 7 minutes long versus the 45 of the original.

The biggest connection between Lessig’s Remix and this remix is that the businesses of the RO culture are trying to make the RW one illegal.  For many remixes like this, you often see them being taken down off of Youtube at a rapid rate (of course they go back up just as fast).  Even though it is just using images or small clips from the original and adding a new soundtrack, the television networks still consider it copyright and fight to keep it off Youtube.

The other is that if they redid the series completely on their own and without clips from the original, it wouldn’t be the same because it relies heavily on the fact that some people who have seen the series get the sarcastic remarks made.  It is only as funny as it is because it relies on the context of the original and wouldn’t be the same if it didn’t use those pieces to poke fun.

Lastly, when Lessig says “‘a remix…can’t help but make its argument, at least in our culture, far more effectively than could words (…to a wide range of viewers)” (74), it strikes home that agrument for a lot of visual remixes, not just the one I chose.  We remember the visual much better than just words, so videos often have a bigger impact on a person.  And with Youtube and the web, that impact is spread much further.  I recently watched a remix with the tune of a Justin Bieber song in the background and Splitknot’s vocals pasted over the top with the actual video.  It completely changed how I saw Slipknot, since their music could be put to a teeny-bopper’s tune and fit perfectly.

Blog 9- Copyright is a B****

•March 23, 2011 • 1 Comment

Well, the title pretty much describes the introduction.  Ok, not entirely but he shows just how ridiculous and out of date copyright laws are and how sneaky companies get to protect what is ‘theirs’.  He especially uses this when he says that Congress is not pressured to put criminal charges on Girl Talk but they instead go to the stores and places where his work is sold or recorded.  Or how Universal Music Group went after a mom who posted a homemade video that had a barely audiable tune in the background (of course, I think the author went over board with the description of the love the mom had for a child, really an obvious ploy to pathos), ending up costing them more than it was worth.

RW (Read/Write) is where people partake in their culture and add to their culture by creating and re-creating the pieces that make it up. RO (Read/Only) is where people only consume their culture and don’t add to it. In a current example, it is the difference between just reading or looking at information on the web(RO) versus adding your own informatin and engaging the online community(RW).

The way I see it, is that the RO culture allows for a group of select individuals or companies to gain a foothold on the market and to control many of the aspects of our culture.  Instead of everyone participating, only a few get to and the rest just get fed what they create.  And this is probably why it is so hard to go back to a RW culture because you have corporations and people fighting it every step of the way because suddenly they are being asked to give up their control.

He uses Sousa probably because his case is kinda ironic.  Sousa was battling against large numbers of reproduced work that he wasn’t earning any money off of.  And he argues that the machines that were copying them were creating a RO culture.  Which they were at the time.  And now those machines are starting to create a RW culture that is still copying (but allows individuals to make it new) but instead now the industries are the ones that are viciously fighting them, not necessarily the artists.

Blog 8-Quoting

•March 7, 2011 • 3 Comments

I am just going to start off saying that I really did not understand at all what he was trying to say by writing this book and sorry that it is so long.

Rhythmic Cinema:”The selection of sound becomes narrative” (85).  I find this so true, that beats can change your mood and convey a storyline to the listener.  In DTC 355, we looked at an author who liked to just read the rap lyrics without listening to the beats.  After he listened to the music along with the words, he was surprised at how it changed the context and meanings of the sentences.  How someone chooses to rearrange sounds is a reflection of the effect they want the music to have on a listener.

Rhythmic Space: “Speaking in code, we live in a world so utterly infused with digitality that it makes even the slightest action ripple across the collection of data bases we call the web” (89).  He is saying that we are all connected through the web and it gets rid of the physical and temporal barrier that we face outside the web.  If something is posted on the web, everyone can see it right when it was posted, regardless of the time zones and such.  We can keep up on current events or trends from across the world at the click of a button and share these things with others.

Errata Erratum:  “All in all, the creative act is not performed by the creator alone; the spectator brings the work into contact with the external world by deciphering and interpreting its inner qualifications and thus adds his contribution to the creative act” (97).  I like this quote because it reminds me of both Weinberger and Jenkins in that he is saying that users add their own piece to the music.  We ‘read’ the music through our own experiences and sometimes take it and change it to reflect our different experiences.

The Future is Here: “It’s almost exactly a social approximation of the way web culture collapses distinctions between geography and expression, and it’s almost as if the main issues of the day are all about hos people are adjusting to the peculiarity of being in a simultaneous yet unevenly distributed world” (105)  Here is he comparing how hip-hop is like the web in that it breaks down cultural barriers such as language or social norms.  He mentioned that his friend didn’t speak English but that they were communicating through the beats of music.

The Prostitute: “In both cases you must realize that it’s not about a person, but the locus of intent and the negative dialectics of a role-playing game where your demands of a person are based just as much on their willingness to play a role as on the basic fact that the money being handed over is an emblem of your time and energy.” (108) I am not sure exactly what he is trying to say with this quote but I felt like he was saying that it doesn’t matter who you are but what matters is the role that you play and the roles other people play.  We expect people to play the role that we lay out for them, especially if money is involved and we hold them to those standards, which are also laid over us.

I ended up looking up songs by Timbaland.  I was surprised at how few songs he sampled, or at least were listed.  I would have thought that Timbaland would have sampled a heck of a lot more songs.  The first one I looked at was Bounce.  They had one song listed as sampled (Dirty Talk by Klein and M.B.O) and at first I couldn’t hear what they had sampled because Timbaland had changed it to the point that it was almost unrecognizable as the original sound.  I followed the song and it didn’t sample any music but was sampled in six other songs.  After hearing some of the other songs that also sampled, I seriously think that docking someone for sampling is stupid, especially since it is so hard to pinpoint what song it comes from, especially if it is sped up, slowed down, or changed to the point that you can’t tell it came from another song.  All he took was the woman’s laugh and sped it up and scratched it so it sound way different.  They also listed some songs as sampled if he used some words from another work and not the beat.  I honestly find it amazing that DJs or artists can take such a small part of a song and make it work with other pieces to create an awesome new piece.  The original piece wasn’t hip hop or rap, or even really a song, just a laugh that caught Timbaland’s attention.  He makes the sound his own and it adds something to his music,which tells a completely different ‘story’ than the original song.

Blog 7- Hip Hop in Transmedia

•March 1, 2011 • 1 Comment

 The main thing I got out of de Bourgoing’s piece is that transmedia has been adapted by small hip hop artists in order to reach a wider fan base. HipHop has been able to adapt to different media because it is an art form that is fluid. By keeping in touch with both the online community and physical community, and through collaborating, hiphop artists work to reach different audiences. Surviving in the hiphop world relies on being able to adapt different structures, not just an oral one but visual and performancing as well.

Probably the strongest connection I see is that hiphop embodies part of Jenkin’s convergence culture in that it covers a broad range of media.  HipHop is also not a top down genre. Artists often engage with their listeners and have to work with both the online and offline communities.  These artists also often take other songs and remake them to become their own new work, which ties in with people taking media and making it their own.  And hiphop not just listened to but seen as well.

Miller compares DJing to writing and books and that its a media of its own. My favorite example is when he says that if someone is well read, they can recite quotes from books and that DJing is the same, that you are well ‘read’ in music if you can pull lyrics and pick out different artists and songs by snatches of beats alone. I get the feeling that he argues for the use of sampling and sees it as “ancestor worship” and that this use of different sources allows for the “music [to] speak louder than the individual voice” (65).  Another quote I like is when he states that “rhythm science is not so much a new language as a new way of pronouncing the ancient syntaxes that we inherit from history and evolution…and infect our psyche at another, deeper level” (75).  Rhythm science is allowing us to take something old and keep it alive by reinfusing it into our current society.

This goes back to Jenkins and his participatory culture where people participate in their society.  The DJs and even writers, take others’ work and reintroduce it to others and engage what they are working with to make it their own piece.  This remixability would also tie in with how Web 2.0 works, even though hiphop isn’t necessarily web based.

Blog 6

•February 14, 2011 • Leave a Comment

Just as a heads up, blog 6 is located beneath blog 4.  I forgot to post blog 4, so it’s chillin above 6 right now.