The evolution of authorship in a remix society (original) (raw)
What Does it Matter Who is Speaking? Authorship, Authority and the Mashup
This essay investigates the figure of the author and the concept of authorship in audio mashups and remixing. The analysis traces the development and functional aspects of this particular authority figure, entertains the recent crisis in authorship that has led to claims of the “death of the author,” and investigates the way both aspects shape our understanding of and responses to the mashup. The objective of the investigation is not to provide an authoritative account that will decide things once and for all. Instead, it concludes with a more sophisticated understanding of how the question concerning authorship needs to be situated and deployed.
Travels in Intertextuality: the autopoetic identity of remix culture
Travels in Intertextuality aims for what John Berger would call “ways of seeing” digital media artifacts and interacting cultural texts. Using Lev Manovich’s Language of New Media, these “new media objects” are seen through the metaphorical “coordinated set of lenses” of Michael Cole’s Cultural Psychology. In addressing issues of “writing” and identity in the digital age at the intersection of technology, art, and commerce, this highly exploratory work looks for ways to perceive “value” in remix culture through ecological models of sociocultural systems. The thesis “follows the problem” of remix through “pioneering research”, “reflective practice”, and shifting contexts for expansive learning. Emerging from significant pools of digital media, “remix value” is analysed through cultural-historical perspectives, as well as through the autopoietic perspectives of “self-making” biological and sociolinguistic systems.
Multifaceted Autoethnography: Theoretical Advancements, Practical Considerations and Field Illustrations, 2018
The aim of this chapter is to analyze the nature and concept of authorship in the context of digital fiction and how they have changed in the context of the affordances of twenty-first century . The fieldwork of the chapter will show that is an effective tool in underscoring the changes in roles the author on the run must play as she/he is immersed in the project of writing a digital novel. The social dynamics of a digital collaborative platform affect the creation of the novel itself. The autoethnography will furthermore prove valuable in showing how these effects are based on the nature of collaboration itself and/or are merely reflections of how the Internet really works, how writing by the twenty-first century author has evolved while being perpetually digitally connected, and how the contemporary author engages in role- and identity-play while in a constant state of movement and engagement of Internet culture.
The Remixing Dilemma: The Trade-off Between Generativity and Originality
In this paper we argue that there is a trade-off between generativity and originality in online communities that support open collaboration. We build on foundational theoretical work in peer production to formulate and test a series of hypotheses suggesting that the generativity of creative works is associated with moderate complexity, prominent authors, and cumulativeness. We also formulate and test three hypotheses that these qualities are associated with decreased originality in resulting derivatives.
'Introduction: Remix in Retrospect' (special issue of Authorship) (2013).
Introduction: Remix in Retrospect, 2013
This is the introduction to the special topics section of Authorship 2 (2013) 2, which includes the papers that were presented at the conference 'Remix in Retrospect: Looking Back to See the Future of Authorship', organised at VU University Amsterdam on 21 October 2011. The intention of this special topics section is to provide inspiration for scholars of different periods, genres, and literatures to develop and define a common language to discuss long-term developments and to build on this discussion of the relationship of remix to authorship over time.
An analysis of the social structure of remix culture
2009
Abstract We present findings from our study of a music sharing and remixing community in an effort to quantify and understand the structural characteristics of commons-based peer production for products of aesthetic/cultural or entertainment value. We also provide a normative perspective on the strategies that such communities should employ with respect to the use of'remixing contests', which are popular means of attracting new user-creators to the community and boosting its creative output.
You Made This? I Made This: Practices of Authorship and (Mis)Attribution on TikTok
International Journal of Communication, 2020
In 2019, TikTok captivated international attention as a breakout short-video platform with numerous features that facilitates recreating popular videos with ease. TikTok’s platform feature “use this sound” affords the creative reuse of audio clips or songs from videos that users were just watching. TikTok employs an automated system to identify original creators but the system frequently obscures or misattributes the “original” source of the audio. Subsequent creators may then use sounds without any connection to the original author. In response, creators have developed unique platform practices to overcome cultures of misattribution engendered on TikTok. This study employs a mixed-methods approach to investigate novel attributional platform practices relating to authorship and attribution on TikTok. Using a bespoke data scraping tool, quantitative content analysis, and a series of qualitative case studies, this study explores the contradictory logic of authorship and how (mis)attri...
2016
Remixing describes the act of appropriating content from others and integrating that content with one's own creative manipulation in order to create derivative and new works. (Lessig, 2008). Prominent academics like Henry Jenkins (2006) have also argued that remixing offers a hands-on approach towards cultivating media/cultural literacy and encouraging creativity amongst young people. While there is much work focused on studying the activity of remixing itself, these are mainly focused on the idea of remixing as a model for encouraging and ensuring innovation. However, remixing as an activity practiced “in the wild ” is much more complex and has characteristic dynamics on both the content and community fronts. Some recent work has started to pay attention to the social dynamics and emergent network structure arising from remixing content creators (Cheliotis & Yew, 2009). Additionally, recent work has also paid attention to the dynamics and tensions that result from content bein...