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 firstname.lastname@example.org 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 email@example.com or see http://revise2010.blogspot.com.