• http://www.ucreative.ac.uk/farnham Courses I'm currently leading • BA (Hons) Media and Communications • BA (Hons) Media and Creative Writing • MA Media Communications • MA Journalism
songs and video, using existing content produced by others (Hill et al. 2010) • Remixing = Creativity (Hill et al. 2010) • Part of contemporary internet culture (Manovich 2005) • Remixing is a fundamental aspect of “peer production” (Benkler 2006) • Why remixing happened? Through radically decreasing the costs of copying, distribution, modification, and collaboration, increased the importance of remixing as a phenomenon enormously (Benkler 2006)
argued that educators can work to increase remixing behaviour in young people. (in Confronting the challenges of participatory culture: Media education for the 21st century) • Remixing or “appropriation” is so widespread and of such social significance, that it should be among a set of core new media literacy skills taught in schools (Jenkins 2006) • Lessig (2007, 2008) has implored audiences to prevent “copyright extremism” from “strangling” both children and adults’ amateur creativity and has proposed legal outlets to foster “remix culture.” (cf. Creative Commons)
have created a video using Kinetic Typography to tell this part of the book. Kinetic Typography in simple terms refers to the art and technique of expression with animated text (johnylee.net/kt/). I was inspired with people that have learning difficulties in which they struggle to read from a book. I have dyslexia, so I will use that as an example. For people with dyslexia they may find it difficult to read and I thought about using Kinetic Typography as it allows them to read, with a background that helps the text stand out more, and allows them to listen to the audio and read along with Stephen Fry's voice
project features three specifically picked out chapters from More Fool Me, three I felt were most central to Stephen Fry’s story- his weight and perception of his physical self, his drug addiction, and finally, his apology and admittance about this addiction. These chapters were read out by Fry himself while I hand-picked footage from various images, films, TV shows, cartoons, video games, music videos and other cultural products that associated with the words Fry was reading- for example, a short clip from Trainspotting while Fry uttered ‘the druggie culture’. I chose this idea because I feel Stephen Fry is the epitome of pop culture. He’s obviously on TV and in film, he’s renowned for his love of technology and games, and he’s almost central to media products in general. However, while perceived as both docile and calming, More Fool Me shows the hectic, stressful and challenging life he lives, that’s why I bombarded the viewer with short, sharp footage with quick cuts that encapsulate Fry’s life to a tee.
industry, solving real-life problems, engaging in creative practices • Encouraging the students to read, to conduct independent study • Development of creative expressions, Personalised, Student-centered learning – Benkler (2006): “making this culture our own • Be generative and original!
brief – the way that contests can frame and limit contributions • The trade-off between generativity and originality (Hill & Monroy- Hernández 2010) • Respect copyrights - Seneviratne et al. (2009a; 2009b) discuss the way that photos from the website Flickr are reused and highlight issues of license compliance during reuse, showing that that the majority of people do not give the proper attribution when using Flickr photos on blog posts. • A critic of peer production, Keen (2007) conflates remixing on the Internet with copying saying, “the pasting, remixing, mashing, borrowing, copying – the stealing – of intellectual property has become the single most pervasive activity on the Internet.”
Social Production Transforms Markets and Freedom. Yale University Press. • Hill, Benjamin Mako Hill, Andrés Monroy-Hernández, and Kristina Olson. (2010) “Responses to remixing on a social media sharing website.” Pp. 74-81 in Proceedings of the 4th AAAI Conference on Weblogs and Social Media (ICWSM). Washington, D.C.: AAAI. • Hill, Benjamin Mako and Andrés Monroy-Hernández. (2013) "The remixing dilemma: the trade-off between generativity and originality." American Behavioral Scientist. 57-5, Pp. 643—663. • Jenkins, H. (2006). Convergence Culture: Where Old and New Media Collide. New York: New York University Press. • Jenkins, H., K. Clinton, R. Purushotma, A. Robinson, and M. Weigel (2006, October). Confronting the challenges of participatory culture: Media education for the 21st century. Technical report, MacArthur Foundation, Chicago, Illinois, USA. • Keen, A. (2007, June). The Cult of the Amateur: How Today’s Internet is Killing Our Culture (3rd Printing ed.). Crown Business. • Lessig, L. (2007). Larry lessig on laws that choke creativity. video on ted.com. • Lessig, L. (2008, October). Remix: Making Art and Commerce Thrive in the Hybrid Economy. Penguin Press HC. • Manovich, L. (2005). Remixability and remixability. http://www.manovich.net/DOCS/Remix_modular.doc. • Seneviratne, O.; Kagal, L.; Weitzner, D.; Abelson, H.; Berners-Lee, T.; and Shadbolt, N. (2009a). Detecting creative commons license violations on images on the world wide web. • Seneviratne, O.; Kagal, L.; and Berners-Lee, T. (2009b). Policy-Aware content reuse on the web. In The Semantic Web - ISWC 2009. 553–568.
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