Video Remix @ Wikipedia

clipped from en.wikipedia.org A video remix is a derivative video from the original version, made using techniques of video editing or digital media “mixing”. User-generated digital video seen on sites such as Google Video and Youtube provides a large pool of digital video content which can be used as base works for new mixes and remixes. Many video remixes will include several segmentes of video, music and/or narration audio overlays as well as standard video transitions and effects. Video remixing can be accomplished through the use of desktop video editing tools from companies like Avid/Pinnacle, Ulead, Apple, or Microsoft. There is also talk about video editing as an on-demand server-based application (software as a service) hosted for users over the Internet and accessed through your browser.

International Remix

clipped from media.sffs.org The program also pays homage to a lineage of cut-and-paste sensibilities that pervade modern media aesthetics, echoing many experiments in cut-up artistic practice such as Kuleshov, Eisenstein and Dziga Vertov’s film tests and Marcel Duchamp and Man Ray’s Dadaist use of ready-mades and absurd juxtapositions. These early experiments (and others like them) helped pave the way for the powerful artistic concept known as montage, which itself has been repurposed and remixed over the years through contemporary practices such as pastiche aesthetics, collage and mashups, which, in turn, owe a huge debt to the breakout of hip-hop turntablism in the early 1970s.

Copyright, Culture (Remixed)

clipped from www.copyrightculture.com Produced by Rebekah Farrugia and Jennifer A. Machiorlatti, Copyright, Culture (Remixed) is a series of volumes of short films that looks at the impact that increasingly restrictive copyright laws are having on fair use and the creation of culture. The films underline the ways in which creativity is, and will continue to be hindered if the current, excessive intellectual property regime continues. The films are specifically concerned with the impact of copyright and intellectual property laws with respect to musicians, visual artists, and filmmakers, especially in regards to their ability to create in the digital age. Increasingly, with every copyright law reform, most recently the Digital Millennium Copyright Act (1998) the capabilities of digital technology are in direct conflict with current regulation. Stay tuned for more…

The History of Sampling v1.2

clipped from jessekriss.com

this is not memorex: sample culture revisited

clipped from www.vagueterrain.net Buried in the subtext of that anecdote is the following: regardless of how we frame it, sampling is essentially an act of curation. Specific fragments are foregrounded and implicit in that selection is the exclusion of countless other memories and moments. The endgame in the act of sampling, whether reconsidering the familiar or resurrecting the forgotten, is to create an arena for discourse. In examining the constellation of projects we have brought together a few themes begin to emerge.

The Mix Tape: Art and Artifact

clipped from www.npr.org The advent of the cassette tape some 30 years ago made it possible for anyone with a tape deck and some tunes to be a record producer, mixing and matching songs, genres and bands. And become at-home record producers we did. Cheap and convenient, customized mix tapes made the perfect personal gift. We made tapes for friends, lovers — we shared the depths of our souls through the carefully chosen songs. We aggregated our favorite party songs, ballads for suffering through heartbreak and our loudest, angriest punk rock anthems.

Outfoxed Offered for Remix

clipped from www.wired.com For years, the remixing of songs, both licit and illicit, has been almost as common as the release of original music. The same has not been true of films: There have been only a few recuts of films by people other than the original director or editors, and few if any were legal. “I hope there will be a series of creative, interesting and different ways that this material will be utilized by all kinds of different folks,” said Greenwald. “And I look forward to seeing what comes out of it. And toward that end, the possibilities are very exciting as to what people will do, because there are no limits other than creativity.” Why is remixing so common with music, but so rare with films?

MOD Films

clipped from modfilms.com Film is going to change dramatically in the next ten years. Not just in production values, as in the last ten years, but in production methods and how the films are packaged for audiences. Digital asset management is going to be the key to commercial and creative re-use, increasingly the likelihood of any film investment returns. The key will be the exploitation of new means of leveraging film assets instead of throwing them away after a film is released. In this way films can become their own commercial production libraries. Re-use has never been a focus of film-making but it is fundamental to exploiting creative potential in any industry. In order for film and interactive productions to work better in tandem, there has to be a shift in perception. The film print is now only one part of the master. MOD Films makes re-mixable films and tools for film re-use. Sustainable Story Systems.

Towards an Open-Source, Collaborative Media

clipped from www.masternewmedia.org As Web 2.0 opens up the possibilities for online collaboration and open source culture, the media are being seized by the ”people formerly known as the audience“. With collaborative efforts transforming the face of news media, music and video production, and even film-making the possibilities for everyday people to create independent media are growing exponentially. In the wake of this surge of user generated content, the mainstream media are struggling. Newspaper sales are dwindling, DVDs and CDs are becoming relics that no one is interested in, and TV viewing figures are feeling the impact of YouTube’s success.

A Swarm of Angels

clipped from aswarmofangels.com A Swarm of Angels updates the current filmmaking models of Hollywood and independent film to create cult cinema for the digital age. Whether you call it Cinema 2.0, or Open source cinema, it’s an innovative participatory experience you can be part of. We are gathering 50,000 people in a giant new media experiment to be part of an exclusive community which funds and helps make this film. We want people to freely download, share and remix the feature film and all original media made for this project and have embraced the flexible digital-age copyright of Creative Commons toward this end.