Copy Music

A review of Margie Borschke’s 'This is Not a Remix: Piracy, Authenticity and Popular Music' (Bloomsbury Academic, 2017)

Good night, sleep tight (remix)

Good Night, Sleep Tight is an interactive virtual reality performance created by theatre and digital arts company ZU-UK. It was previewed at Gerry’s Kitchen in July 2017. Combining VR and binaural technologies, participants are put to bed and transported to a dreamscape composed of childhood imagery and aerial cityscapes. This artistic position remixes the audience’s experience and the artistic processes of Good Night, Sleep Tight to proffer a critical engagement with the aesthetics of VR. Theories pertaining to VR and theatre are emerging but not yet fully established. The discourse between technologists and artists is key to understanding how VR is a new artistic medium requiring a language not solely redolent of gaming or theatre. The format of this article reflects ZU-UK’s contention that VR experiences are best designed as collaborations between artists and audiences who construct an imaginary world through interactive media. The seven scenes below concentrate on different aspects of the rehearsal process and the final performance from the perspectives of the ZU-UK directors, VR technologists, and participants. Interspersed throughout the article are fragments from the Good Night, Sleep Tight script and a description of the piece from the reader’s perspective, who acts as ZU-UK’s imaginary audience member

Remixing News : Appropriation and Authorship in Finnish Counter-Media

This article outlines a first attempt at analysing counter‐media publishing through the lens of remix theory. We concentrate on two key concepts appropriation and authorship—which have a permanent standing in the remix research literature. To support our theoretical analysis, we investigate the coverage of two cases in the Finnish right‐wing counter‐media online publication MV‐lehti. Our findings enable new readings on the nature of both counter‐media work and remix culture. In fact, counter‐media publishing leans more in the direction of remix culture—which is based on the act of using pre‐existing materials to produce something new—than towards traditional journalistic convention, with its rules and ethical guidelines. MV‐lehti’s practice of combining and layering different material is discernibly political, often resembling media activism. Our study provides the argument that counter to the utopian democratising assumptions of remix culture, the proliferation of remix practices has also given antidemocratic actors the means to challenge collectively and institutionally supported ideas of knowledge and justice. Counter‐media publishing is perhaps democratising in that it offers the means to participate, but these antagonistic actors also remix news to undermine liberal‐democratic ideals and social justice. Evidently, remix practices can be co‐opted for a reactionary agenda.Peer reviewe

Remixing Pedagogy: How Teachers Experience Remix as a Tool for Teaching English Language Arts

Remix, a type of digital multimedia composition created by combining existing media to create new texts offers high school teachers a non-traditional approach to teaching English Language Arts (ELA). As technology in the U.S. has become more accessible and affordable, literacy practices outside school classrooms have changed. While there is a growing body of research about remix and remix culture, most of it is set outside the ELA classroom by focusing on activities after school hours or specialty courses in creative writing or technology classes. Teachers’ points of view are largely left out of studies that examine in-school experiences with remix. Additionally, existing studies are often set in either higher education or elementary schools. This case study sought to understand how two high school ELA teachers experienced using remix as a tool for teaching and how practicing remix informed their pedagogies. The study revealed insight into why teachers find it challenging to practice new pedagogies in their teaching. I grounded my theoretical framework in sociocultural theories and a remix of Peirce’s (1898) semiotic theory with Rosenblatt’s (1938/1995) transactionalism. Designed within a case study methodology, data sources included teacher remixes, recorded conversations in online meetings, emails, texts, telephone calls, and a detailed researcher journal. Data analysis included multiple iterations of open coding of transcripts, informed by grounded theory and tools of discourse analysis, as well as visual analyses of teacher-created remixes. Key findings showed that, while teachers desired to incorporate remix teaching tools for meeting student needs, constraints of professional learning obligations, state standards, and administrator expectations limited their use of non-traditional practices. Both teachers approached remix differently, encouraging their students to construct meaning through multimodal tools, while still finding paths to meeting administrative requirements through remix. Further, remix allowed teachers to increase the student-centeredness of their pedagogy and at the same time support multiple student learning styles. This study also extends prior theoretical scholarship about remix by contributing a study of knowledge-in-action, focusing on teachers as their remix experiences unfolded

Sample exam questions.

All original material in this collection is distributed under a Free Culture license. You are free to share, remix, and make commercial use of the work, under the Attribution and Share Alike conditions

Automatic large-scale classification of bird sounds is strongly improved by unsupervised feature learning

This is an Open Access article distributed in accordance with the terms of the Creative Commons Attribution (CC BY 4.0) license, which permits others to distribute, remix, adapt and build upon this work, for commercial use, provided the original work is properly cited. See: http://creativecommons.org/ licenses/by/4.0

Copyright Mashed-Up and Remixed

This session will explore issues of copyright in the information age by showing a remix of RiP: A remix manifesto, an open source documentary on copyright and remix culture by web activist and filmmaker Brett Gaylor. The history of copyright, the development of digital copyright, intellectual property, and Creative Commons will be addressed. Presenters will facilitate an interactive discussion following the film

Tentative Snowdrop + Tentative Snowdrop Remix

A poem and a remix of said poem, contributed as part of The Remix Project at Stride magazine

PPAR gamma/mTOR signalling: striking the right balance in cartilage homeostasis

This is an Open Access article distributed in accordance with the terms of the Creative Commons Attribution (CC BY 4.0) license, which permits others to distribute, remix, adapt and build upon this work, for commercial use, provided the original work is properly cited. See: http://creativecommons.org/licenses/by/4.0http://dx.doi.org/10.1136/annrheumdis-2014-20574