Abstract
During the first decade of the twenty-first century, sampling is practiced in new media culture when any software users including creative industry professionals as well as average consumers apply cut/copy & paste in diverse software applications. For professionals this could mean 3-D modelling software such as Maya (used to develop animations in films like Spiderman or Lord of the Rings);1 for average persons it could mean Microsoft Word, often used to write texts like this one. Cut/copy & paste which is, in essence, a common form of sampling, is a vital new media feature in the development of Remix. In Web 2.0 applications cut/copy & paste is a necessary element to develop mashups; yet the cultural model of mashups is not limited to software, but spans across media.
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Notes
Mike Snider, “Maya Muscles its Way into Hollywood film awards”, USA Today, 25 March, 2003, (23 June, 2007) >http://www.usatoday.com/life/movies/movieawards/oscars/2003-03-19-maya_x.htm<
This is my own definition extending Lawrence Lessig’s definition of Remix Culture based on the activity of “Rip, Mix and Burn.” Lessig is concerned with copyright issues; my definition of Remix is concerned with aesthetics and its role in political economy. See Lawrence Lessig, The Future of Ideas (New York: Vintage, 2001), 12–15.
For some good accounts of DJ Culture see Bill Brewster and Frank Broughton, Last Night a DJ Saved my Life (New York: Grover Press, 2000); Ulf Poschardt, DJ Culture (London: Quartet Books, 1998), 193–194; Javier Blánquez, Omar Morera, Editors, Loops: Una historia de la música electrónica (Barcelona: Reservoir Books, 2002).
I use the term “spectacular” after Guy Debord’s theory of the Spectacle and Walter Benjamin’s theory of Aura. We can note that the object develops its cultural recognition, not on cult value, but exhibit value (following Benjamin), because it depends on the spectacle (following Debord) for its mass cultural contribution. See Guy Debord, The Society of the Spectacle (New York: Zone Books, 1995), 110–117; Walter Benjamin, “The Work of Art in the Age of Mechanical Reproduction”, Illuminations (New York, Schocken, 1968), 217–251.
Brewster, 2000, 178–79.
Paid in Full was actually a B-side release meant to complement “Move the Crowd”. Eric B. & Rakim, “Paid in Full,” Re-mix engineer: Derek B., Produced by Eric B. & Rakim, Island Records, 1987.
Poschardt, 1998, 297.
Dick Hebdige, Cut ‘n’ Mix: Culture, Identity and Caribbean Music (New York: Methuen, 1987), 12–16.
Craig Owens, “The Allegorical Impulse: Towards a Theory of Postmodernism”, eds., Brian Wallis and Marcia Tucker, Art After Modernism (New York: Godine, 1998), 223.
Ibid.
Kraftwerk, Tour De France Soundtracks, Astralwerks, August 2003.
Lessig has written a number of books on this subject. The most relevant to the subject of creativity and intellectual property: Lawrence Lessig, Free Culture (New York: Penguin, 2004).
Creative Commons, http://creativecommons.org.
Jean-François Lyotard, The Postmodern Condition: A Report on Knowledge (Minneapolis, Minnesota: 1984), 3–67.
Fredric Jameson, Postmodernism or, The Logic of Late Capitalism (Durham: Duke University Press, 1991), 4.
Jacques Attali, Noise: The Political Economy of Music (Minneapolis: Minnesota Press, 1985), 68–81.
Journal of Aesthetics and Protest, http://www.journalofaestheticsandprotest. org.
A minima:: Magazine, http://www.aminima.net/.
Documenta XII, http://www.documenta.de/100_tage.html?&L=1.
Snider, 2003.
Stars on 45. The Very Best of Stars on 45, Red Bullet. Re-released 2002. Also see the band’s website: Stars on 45, http://www.starson45.com/aboutus1.html.
Grandmaster Flash, “The Adventures of Grandmaster Flash on the Wheels of Steel”, 12 inch single, Sugarhill Records, 1981.
“Tommy Boy Megamix”, 12 inch single, Tommy Boy, 1985.
Theodore Adorno, The Culture Industry (London, New York: Routledge, 1991), 50–52.
Mark Vidler, “Ray of Gob”; for more information on the mashup, see Go Home Productions, 2006, http://www.gohomeproductions.co.uk/history. html.
Frere-Jones, 2005.
For a good account on the importance of “Pump Up the Volume”, see Poschardt, 1998, DJ Culture.
Corey Moss, “Grey Album Producer Danger Mouse Explains How He Did It” MTV, 11 May, 2004, http://www.mtv.com/news/articles/1485693/20040311/danger_mouse.jhtml.
These are citations based on my own travels to different cities; buildings with images can be found in any major city. For information about cigarettes see: Liz Borkowski, “The Face of Chile’s Anti-Tobacco Campaign: The Pump Handle” Posted on 4 January, 2007, http://thepumphandle.word press.com/2007/01/04/the-face-of-chiles-anti-tobacco-campaign/. For an image of the Spider-Hulk see: “The Incredible Hulk Engine of Destruction”, http://www.incrediblehulk.com/spiderhulk.html.
Duane Merrill, “Mashups: The new breed of Web App. An Introduction to Mashups”, IBM, 16 October, 2006, http://www-128.ibm.com/developer works/web/library/x-mashups.html.
Ibid.
Vienna, A Freeware RSS/Atom Newsreader for Mac OS X, http://www.vien na-rss.org/vienna2.php
Barb Dibwad, “HOW TO: Choose a News Reader for Keeping Tabs on Your Industry”, Mashable, 3 December, 2009, http://mash able.com/2009/12/03/news-reader/&utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+Mashable+(Mashable)
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Navas, E. (2010). Regressive and Reflexive Mashups in Sampling Culture. In: Sonvilla-Weiss, S. (eds) Mashup Cultures. Springer, Vienna. https://doi.org/10.1007/978-3-7091-0096-7_10
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DOI: https://doi.org/10.1007/978-3-7091-0096-7_10
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