Responding to the Rise of Remix Culture: Challenges and opportunities for teaching, learning and media literacy Mike RobbGrieco Media Education Lab Temple University firstname.lastname@example.org There is something normatively attractive, from the perspective of ‘democracy’ as a liberal value, about the fact that anyone, using widely available equipment, can take from the existing cultural universe more or less whatever they want, cut it, paste it, and make it their own— equally well expressing their adoration as their disgust, their embrace of certain things as their rejection of them� (Benkler, 2006, p. 276). Are you a part of remix culture? Do you search others’ work for inspiration? HANDS UP!!! Do you ever build your work on borrowed parts? Then get your hands up!!! Do you quote passages? Do you quote passages? Copy & paste images or text? Do you quote passages? Copy & paste images or text? Embed video? Do you quote passages? Copy & paste images or text? Embed video? Soundtrack your slideshows? Do you quote passages? Copy & paste images or text? Embed video? Soundtrack your slideshows? Or speeches? Do you quote passages? Copy & paste images or text? Embed video? Soundtrack your slideshows? Or speeches? Then get those hands up! Do you have a website, or facebook page or myspace featuring media texts made by others? Do you have a website, or facebook page or myspace featuring media texts made by others? Do you represent yourself by the media you like and the messages that interest you? Do you have a website, or facebook page or myspace page featuring media texts made by others? Do you represent yourself by the media you like and the messages that interest you? Come on, hands up! Broadly defined, media remix is “to use or quote a wide range of texts� to produce something new… Remixed media may quote sound over images, or video over text, or text over sounds. The mix creates the new creative work—the remix.�” (Lessig, 2008, p.61). QuickTime™ and a decompressor are needed to see this picture. As Henry Jenkins puts it, media artists and students “learn how culture works by breaking it down into its basic building blocks and remixing it�” (Jenkins, et al, 2006, p. 32). Celebratory Remix: fanship and participatory culture right: Robbgrieco as a Simpson character, simpsonizeme.com Left: Hobbs as Fairey’s Obama icon, obamiconme.pastemagazine.com Critical Remix: Commentary, Critique, and Democratic Exchange Critical Remix: Commentary, Critique, and Democratic Exchange QuickTime™ and a mpeg4 decompressor are needed to see this picture. Critical Remix: Commentary, Critique, and Democratic Exchange Michael RobbGrieco Temple University email@example.com Remix in Education Potential Benefits Challenges/Concerns •Media literacy skill development: access, analyze/evaluate, create •synching texts and juxtaposition may not involve critical thinking •Skill practice: juxtaposition, sequencing, multimodal expression •in a variety of forms, •for diverse purposes •Practice focuses on technical minutiae of editing, copy/paste •Celebrates conspicuous consumption & derivative production •Media consumer/producer balance •Economic use of time/resources •Shallow engagement with content; mere spectacle •Immersion in participatory cultures •Remixes are of narrow cultural interest and scope; •Negotiation of cultural identities •Work w/ personally meaningful texts •Celebrates pop culture trash •Raises ethical issues for debate: copyright, fair use, plagiarism/citation •Remix confuses or ignores ethical issues How do we realize potential while facing challenges? Use Fair Use Concepts to Spark Inquiry Benefit to society vs. cost to copyright holder Transformativeness Is purpose transformed? Is context transformed What is the effect on potential markets? Is the amount of source text used appropriate for the remix context? QuickTime™ and a H.264 decompressor are needed to see this picture. References: Scholarship Benkler, Y. (2006). The wealth of networks : How social production transforms markets and freedom. New Haven Conn.: Yale University Press. Jenkins, H. (2006). Confronting the challenges of participatory culture: Media education for the 21st century. Retrieved October 29, 2006, from http://www.digitallearning.macfound.org/site/c.enJLKQNlFiG/b.2108773/apps/nl/content2.a sp?content_id=%7BCD911571-0240-4714-A93B-1D0C07C7B6C1%7D&notoc=1 Jenkins, H. (2006). Convergence culture : Where old and new media collide. New York: New York University Press. Lenhart, A., & Madden, M. (2005). Teen content creators and consumersWashington DC: PEW Internet & American Life Project. Lessig, L. (2008). Remix : Making art and commerce thrive in the hybrid economy. New York: Penguin Press. References: Images & Music (2002) Gulf wars episode II: Clone of the attack. Mad magazine (424). Retrieved 10/08: http://www2.warnerbros.com/madmagazine/files/onthestands/ots_424/gulfwars.ht ml Hobbs, R. (2009). Hobbs as Obama icon. Created 3/09 at http://obamiconme.pastemagazine.com/. Obtained in personal correspondance. Jones, D. (Director & producer). (2007). Remix culture. Washington, D.C.: Center for Social Media. (Excerpt edited for presentation by RobbGrieco, 2008). Retrieved 5/07 from: http://www.centerforsocialmedia.org/videos/remix_culture/ Nava, J. (director) (2008). Single Ladies (Put a ring on it). Performed by Beyonce Knowles. Music video retrieved 6/09 from: http://www.youtube.com/watch?v=x1nixzYHDus Excerpt edited 6/09 by RobbGrieco for presentation. Party Ben (2009). We will jump you (Queen vs. House of Pain). (Mashup). Song mp3 retrieved 6/09 from: http://partyben.com/downloads/ Party Ben (2008). Single Ladies in Mayberry. (Mashup). Video retrieved 2/09 from: http://www.youtube.com/watch?v=GE-l4gfiCM8 Image retrieved 6/09 from: http://partyben.com/downloads/ RobbGrieco, M. (2009). RobbGrieco as Simpsons character. Created 2/09 at http://simsonizeme.com. Personal collection. RobbGrieco, M. (Songwriter, producer), Beatty, G. (Animator). (2008). Users Rights, Section 107. (Music video). Philadelphia: Media Education Lab at Temple University.