Call for Remix Submissions

Our upcoming conference on remix cultures is seeking contributions from remix artists and practitioners. This event aims to bring together researchers whose work investigates aspects of remixing, alongside practitioners working in remix cultures, for a collaborative conference. We invite remixers of all kinds to submit artworks in the media of their choice, and/or to speak on their style or aesthetics, or other features of their practice. Live performance submissions are also welcome.

Expressions of intent of 200-250 words should be sent to revise2010@gmail.com by 15 April, 2010. Please include your full name (and/or artist/fan name), email address, and institutional affiliation (if applicable) along with the proposal, and include any tech requirements.

Please see http://revise2010.blogspot.com for more information, or email revise2010@gmail.com if you have any questions.

Coordinator Profile: Rae Campbell

Rae Campbell is a PhD candidate in the School of Social Science, Media and Communication at the University of Wollongong. She is writing her thesis on shifting western cultural discourses concerning value and power associated with nerd identity and considering whether there is a gender inequity when it comes to the power and cultural advantages now attached to the nerd label.

Coordinator Profile: Andrew Whelan

Andrew Whelan is a sociology lecturer at UOW with interests in music, gender, and language use. His current research addresses noise and death metal, sampling practices in breakcore, and forms of 'problematic' speech and discourse online.

Remix recommendation: the last tune on this release.

Coordinator Profile: Katie Freund

Katie is a PhD candidate in the School of Social Science, Media & Communication at the University of Wollongong. She is writing her dissertation on fan-made remix videos, known as vids, which edit television and film footage to music, and also researches virtual worlds such as Second Life and their uses for education.

Blog: Fanthropology
Email: fanthropology@gmail.com
Twitter: Katiedigc
Second Life: Rina Ethaniel


Remix recommendations:

"Supernatural at the Movies" by Ash


"Expialidocious", by Pogo

Coordinator Profile: Chris Moore

Chris Moore is a father, gamer and lecturer in Digital Communications, Games and Media Studies at the University of Wollongong. Currently researching Australian games and gamers and their cultural, economic and social contributions, this focus has emerged from analysis of the complementary and alternative regimes of intellectual property generation and management, including the Open Source movement and digital games modification and machinima sub-cultures and online learning practices. Check him out on Flickr and Twitter.

Welcome!

We've finally gone and done it! Chris Moore, Andrew Whelan, Rae Campbell, and I are now hosting a conference here at UOW. It's called "Revise: The Art and Science of Contemporary Remix Culture" and it's coming up on 2-3 December, 2010.

We are seeking both academic papers and fan submissions of artwork, video remixes and mashups, DJ work, and literary remix. I would love to see practitioners and fan artists attend this event, and you are welcome to submit a short abstract (200-250 words) to revise2010@gmail.com and speak for about 15-20 min about your work or your style. It is our hope to combine the academics and the artists in a collaborative event that everyone can enjoy.

Please check out the Call for Papers in the sidebar for more information on topics and submission guidelines. Abstracts are due by 15 April, 2010!

Call for Papers Now Open!

Revise: The Art and Science of Contemporary Remix Culture

Dec 2-3, 2010
University of Wollongong, Wollongong, Australia

In a media saturated environment, questions about authoriality and the ownership of cultural content have come to be increasingly urgent. A number of recent, high profile legal cases have highlighted the difficulties involved in adjudicating between different models of ownership and of cultural production. Furthermore, online environments render local, fannish, and ‘amateur’ forms of cultural production (frequently drawing on ‘Big Content’) increasingly visible – sometimes to the apparent detriment of these forms of vernacular creativity.

Across audio, televisual, cinematic, textual, and other forms, proprietary models of cultural production face challenges in managing, controlling, and monetising content tailored for a mass audience. It is paradoxical that a measure of success for such content is the extent to which it is - often almost immediately - adapted and re-used by vernacular cultures. Conversely, interventions by fans and other niche cultural producers are often understood on the one hand to be forms of innovative appropriation and interventions in the flow of cultural goods, and on the other to be products of unpaid labour, raising the value of material that is already ubiquitous in an attention economy sense.

This event aims to bring together researchers whose work investigates aspects of remixing, alongside practitioners working in remix cultures, for an interdisciplinary and collaborative conference. We are also soliciting curated art and video works in addition to presentations by remix practitioners and academic papers.

Call for papers
Abstracts of 200-250 words should be sent to revise2010@gmail.com by 15 April, 2010. Please include your full name (and/or artist/fan name), email address, and institutional affiliation (if applicable) along with the abstract. In addition to formal academic papers, we also welcome roundtable or panel discussion suggestions, and/or presentations by remix practitioners on their art or style. Curated artwork exhibits and live performance submissions are also welcomed. The following is a list of possible themes, but it by no means exhaustive.

• Interrogating the boundaries of remix: when did remix 'start'? What of homage, pastiche, and the cover version? How are the boundaries between reference and appropriation established, and to what ends?
• 'Reading' remixes: the semiotics of citation.
• Literary allusion and remix in poetry: erasure and found poetry.
• The artistic tradition of readymades.
• Remix, originality, and creative process.
• The ethics of appropriation.
• Music remix - plunderphonics, DJ culture, hip-hop, electronic dance music: sampling cultures and aesthetics.
• Intertextuality and ekphrasis: elements of one medium surfacing in another.
• Remix offline and on: from dancefloors to netlabels and YouTube; remix and the networked archive.
• Remixing in time: repetition and variation of source material; remix and the reconstitution of the past.
• Histories of remix.
  
• Fanfiction, slash and textual innovation.
• Video: fan vidding, trailer mashups, anime music videos, machinima.
• Remix and 'the canon': from JXL's A Little Less Conversation to Pride and Prejudice and Zombies.
• Open source as remix.
  
• Visual art - digital media remix art, appropriation, combining existing content.
• Practices of appropriation and engagement with copyright, fair use and other intellectual property doctrines.
• The aesthetics and interactions of remix communities of practice.
• Remix economics and anti-economics.
• The role of industry in remix.
  

For more information, please email revise2010@gmail.com or see http://revise2010.blogspot.com.