Туынды жұмыстарға жол беретін және ынталандыратын қоғам

Society that allows and encourages derivative works

Remix culture, also known as read write culture, is a term describing a culture that allows and encourages the creation of derivative works by combining or editing existing materials. Remix cultures are permissive of efforts to improve upon, change, integrate, or otherwise remix the work of other creators. While combining elements has always been a common practice of artists of all domains throughout human history, the growth of exclusive copyright restrictions in the last several decades limits this practice more and more by the legal chilling effect. on a transfer of the remixing concept into the digital age. Lessig founded the Creative Commons in 2001, which released a variety of licenses as tools to promote remix culture, as remixing is legally hindered by the default exclusive copyright regime applied on intellectual property. The remix culture for cultural works is related to and inspired by the earlier Free and open source software for software movement, which encourages the reuse and remixing of software works.

Lawrence Lessig described the Remix culture in his 2008 book Remix. Lawrence characterized the default media culture of the 20th century using computer technology terminology as Read Only culture (RO), and called for a shift to Read/Write culture (RW). In the usual Read Only media culture, the culture is consumed more or less passively. Read/Write culture has a reciprocal relationship between the producer and the consumer. Taking works, such as songs, and appropriating them in private circles is exemplary of RW culture, which was considered to be the 'popular' culture before the advent of reproduction technologies. "These talking machines are going to ruin the artistic development of music in this country. When I was a boy in front of every house in the summer evenings, you would find young people together singing the songs of the day or old songs. Today you hear these infernal machines going night and day. We will not have a vocal cord left. The vocal cord will be eliminated by a process of evolution, as was the tail of man when he came from the ape." Specialized, expensive creation devices ("read write") and specialized cheap consumption ("read only") devices allowed a centralized production by few and decentralized consumption by many. Analog devices for consumers for low prices, lacking the capability of writing and creating, spread out fast: Newspapers, Jukebox, radio, television. This new business model, an Industrial information economy, demanded and resulted in the strengthening of the exclusive copyright and a weakening of the remix culture and the Public domain in throughout the 19th and 20th century. Analog creation devices were expensive and also limited in their editing and rearranging capability. An analog copy of a work (e. g. an audio tape) cannot be edited, copied and worked on infinitely often as the quality continuously worsens. Despite that, a creative remixing culture survived to some limited degree. For instance composer John Oswald coined in 1985 the Plunderphonics term in his essay Plunderphonics, or Audio Piracy as a Compositional Prerogative for sound collages based on existing audio recordings and altering them in some way to make a new composition.

Technology changed fundamentally with the digital revolution. Digital information could be reproduced and edited infinitely, often without quality loss. Still, in the 1960s the first digital general computing devices with such capabilities were meant only for specialists and professionals and were extremely expensive; the first consumer oriented devices like video game consoles inherently lacked RW capability. But in the 1980s, the arrival of the home computer and especially the IBM personal computer brought a digital prosumer device, a device usable for production and consumption at the same time, to the masses for an affordable price. Similarly for software, in the 1990s the free and open source software movement implemented a software ecosystem based on the idea of edit ability by anyone.

The broad diffusion of the Internet and of the Web in the late 1990s and early 2000s created a highly effective way to re implement a "remix culture" in all domains of art, technology and society. Unlike TV and radio, with a unidirectional information transport (producer to consumer), the Internet is inherently bidirectional, enabling a peer to peer dynamic. This accelerated with Web 2.0 and more user generated content due to Commons based peer production possibilities. Remixes of songs, videos, and photos are easily distributed and created. There is a constant revision to what is being created, which is done on both a professional and amateur scale. The availability of various end user oriented software such as GarageBand and Adobe Photoshop makes it easy to remix. The Internet allows distribution of remixes to the masses. Internet memes are Internet specific creative content which are created, filtered and transformed by the viral spreading process made possible by the web and its users.

As a response to a more restrictive copyright system (Sonny Bono Copyright Term Extension, DMCA), which started to limit the blooming sharing and remixing activities of the web, Lawrence Lessig founded the Creative Commons in 2001. In 2002 the Creative Commons released a set of licenses as tools to enable remix culture, by allowing a balanced, fair enabling release of creative works, "some rights reserved" instead of the usual "all rights reserved". Several companies and governmental organizations adapted this approach and licenses in the following years, for instance flickr, DeviantART and Europeana using or offering CC license options which allow remixing. There are several webpages addressing this remix culture, for instance ccMixter founded 2004. The 2008 open source film by Brett Gaylor RiP! : A Remix Manifesto documents "the changing concept of copyright". In 2012, Canada's Copyright Modernization Act explicitly added a new exemption which allows non commercial remixing. In 2013 the US court ruling Lenz v. Universal Music Corp. acknowledged that amateur remixing might fall under fair use and copyright holders are requested to check and respect fair use before doing DMCA take down notices.

Under copyright laws of many countries, anyone with the intent to remix an existing work without permission is liable for lawsuit because the laws protect the intellectual property of the work. However, current copyright laws are proving to be ineffective at preventing sampling of content. On the other hand, fair use does not address a wide enough range of use cases and its borders are not well established and defined, making usage under "fair use" legally risky. Lessig argues that there needs to be a change in the current state of copyright laws to legalize remix culture, especially for fair use cases. He states that "outdated copyright laws have turned our children into criminals." One proposition is to adopt the system of citation used with book references. The artist would cite the intellectual property she sampled which would give the original creator the credit, as is common with literature references. As tools for doing so Lawrence Lessig proposed the Creative Commons licenses which demand for instance Attribution without restricting the general use of a creative work. One step further is the Free content movement, which proposes that creative content should be released under free licenses. The Copyright reform movement tries to tackle the problem by cutting for instance the excessively long copyright terms, as it was debated by scholar Rufus Pollock. Other copyright scholars, such as Yochai Benkler and Erez Reuveni, promulgate ideas that are closely related to remix culture. Some scholars argue that the academic and legal institutions must change with the culture towards one that is remix based. In June 2015, a WIPO article named "Remix Culture and Amateur Creativity: A Copyright Dilemma" acknowledged the "age of remixing" and the need for a copyright reform. Translator's introduction, quoting Hertel: "the original work was composed in Kashmir, about 200 B. C. At this date, however, many of the individual stories were already ancient." based on older oral traditions, including "animal fables that are as old as we are able to imagine".]] Folklore existed long before any copyright law. All folk tales, folk songs, folk art, folk poetry, etc. was revised constantly through the folk process. According to Ramsay Wood, the oldest known example of remix culture is the Panchatantra, an ancient Indian collection of interrelated animal fables in verse and prose, arranged within a frame story. The original Sanskrit work is believed to be composed around the 3rd century BCE,
Cooking recipes might be among the oldest knowledge of mankind which was inherited further and shared unrestricted for adaption and improvement. A recent example is the Free Beer project of Superflex which has recipe and label artwork under a creative commons license, actively encouraging free adaption and reuse. Parodies are a form of satire that adapt another work of art in order to ridicule it. Parodies date back at least to ancient Greek times. Parody exists in all art media, including literature, music and cinema.

Remixing in the graphical arts is long known as appropriation. An example for appropriation in graphics is the never ending remix of Leonardo da Vinci's piece Mona Lisa (see Mona Lisa replicas and reinterpretations and Derivative works of Mona Lisa). This painting has been reproduced innumerable times with different faces and Photoshop effects, such as Marcel Duchamp's L. H. O. O. Q. Some remixed images include Photoshopped images of the Mona Lisa mixed with Mr. Bean and an alien like version. Graffiti is an example of read/write culture where the participants interact with their surroundings and environment. In much the same way that advertisements decorate walls, graffiti allows the public to choose the images to have displayed on their buildings. By using spray paint, or other mediums, the artists essentially remix and change the wall or other surface to display their twist or critique. Street art is a sub genre of graffiti, distinguished by emphasizing artistic elements other than text, and utilizing a variety of mediums, including paint, stenciling, collage, and the incorporation of physical surfaces and objects, while often providing critical social commentary. Street artist Shepard Fairey built their personal brand on a remixed image of professional wrestler Andre the Giant, done in a Pop Art style, with the term OBEY printed beneath the portrait. Fairey applied a similar technique when designing the popular HOPE campaign poster in support of then 2008 U. S. Presidential Candidate Barack Obama. Fairey's HOPE image was also similar in composition to the iconic posterized image of Che Guevara, adapted from the photograph Guerrillero Heroico.

Wikipedia is an example of a written remix, where the public is encouraged to add their knowledge in an encyclopedia. The wiki based website essentially allows a user to remix the information presented. Amazon. com called Wikipedia "the world's most exhaustive and up to date encyclopedia" because it is edited and produced by such a large pool of people. Scanlations are fan made translations of comics from a language into another language. Book mashups, combining multiple books, received attention in 2009 with Seth Grahame Smith's Pride and Prejudice and Zombies. The OpenStreetMap project creates a free editable map of the world, with over two million registered users who collect data using manual surveys, GPS devices, aerial photography, and other free sources. The Wikimedia Commons is digital data repository open for free content contribution from the public. The content, mostly images and sound files, is licensed under Creative Commons licenses enabling free reuse and remixing by anyone. Another examples are the collaborative image hosting sites Flickr and Deviantart who offer Creative Commons license options.

Software as digital good is well suited for adaption and remixing. Pre internet Public domain software of the 1960s and 1970s was software which was shared, edited and improved constantly as type in programs. The Free and open source software movement can be seen as a kind of successor to that practice. In the Free and open source software culture, established in the 1990s as opposition to proprietary software, sharing, forking and reusing are natural parts of the development model. For instance, the Linux operating system, with its commercial offspring Android and ChromeOS, is a highly successful result of a software "remix culture". The arrival of Internet facing software repositories helped the remix software development model enormously in the 2000s. GitHub has helped further the collaborative software development in remix style since 2008. Fangames are video games made by fans based on one or more established video games, often acting as a sequel when no official sequel exists. Dōjin soft is the Japanese specific variant, and homebrew typically for proprietary hardware consoles. OverClocked ReMix is a community dedicated to preserving and paying tribute to video game music through non commercial re arranging and re interpreting the songs. Video game modding is the creative adaption of a released video game. In the 2000s the video game industry noticed the potential and supports often mod makers actively with modding kits. Special cases are fan patches, server emulators and Fan translation of video games who made by fans to alleviate bugs or shortcomings. Machinimas are fan made videos "remixed" from and with video games, going far beyond the original scope and intent. Retrocomputing and computer and digital preservation activities as emulation and reverse engineering have been described as aspects of the remixing culture. Household 3D printing heavily relies on remixing as this allows users to repurpose existing designs. Several academic studies have highlighted the importance of remixing for the 3D printing community. Thingiverse is a 3D printing community that allows its users to create, share, and access a broad range of printable digital models. The possibility to remix existing models is the core of this platform. In 2016 Microsoft started Remix3D. com, a community that is also dedicated to 3D printing models.

DJing is the act of live rearranging and remixing of pre recorded music material to new compositions. From this music, the term remix spread to other domains. Sampling in music making is an example of reuse and remix to produce a new work. Sampling is widely popular within hip hop culture. Grandmaster Flash and Afrika Bambaataa were some of the earliest hip hop artists to employ the practice of sampling. This practice can also be traced to artists such as Led Zeppelin, who interpolated substantial portions of music by many acts including Willie Dixon, Howlin' Wolf, Jake Holmes, and Spirit. By taking a small clip of an existing song, changing different parameters such as pitch, and incorporating it into a new piece, the artist can make it their own. Music mashups are blends of existing music tracks. The 2004 album dj BC presents The Beastles received acclaim and was featured in Newsweek and Rolling Stone. A second album named Let It Beast with cover art by cartoonist Josh Neufeld was produced in 2006. Mashup DJ Gregg Gillis, who performs as Girl Talk, crafts entire albums out of remixed material, and cites Fair Use privileges to sample copyrighted works. Other notable mashup DJs include Danger Mouse, Dean Gray, and DJ Earworm. Some genres of music are defined by their usage of remixing. DJ Screw created the Chopped and Screwed genre by accidentally playing a record that was meant for 45 rpm at 33 1⁄3 rpm, creating a slowed, laid back, psychedelic effect. Over the slowed down track Screw would layer drum tracks and then scratch the records to create a classic Southern hip hop sound. Nightcore is a genre that speeds up mainstream rock, pop, and EDM songs, often with additional production. The sped up nature leads to the original song playing at a higher pitch, so the production added usually fills out the low end with heavy bass and then adds other high pitched elements to enhance the energy of the song. Building upon Plunderphonics and Chopped and Screwed, Vaporwave as a musical genre involves slowing down smooth jazz, RnB, and Elevator music and usually adding reverb and backing synths, creating a trippy new age ambience.

In film, remixing is often done and happens in many forms. Most new movies are adaptations of comics, graphic novels, books, or other forms of media. The majority of other Hollywood cinema works are typically genre films that follow strict generic plots. These forms of movies hardly appear original and creative, but rather rely on adapting material from previous works or genre formulas, which is a form of remix. A prime example is the film Kill Bill which takes many techniques and scene templates from other films (predating all these were The Magnificent Seven, an official remake of The Seven Samurai, and Sergio Leone's A Fistful of Dollars). Video mashups combine multiple pre existing video sources with no discernible relation with each other into a unified video. Examples of mashup videos include movie trailer remixes, vids, YouTube Poop, and supercuts. Vidding is the fan labor practice in media fandom of creating music videos from the footage of one or more visual media sources, thereby exploring the source itself in a new way. The specialized form for animation shows is called Anime music videos, also made by fans. VJing, similar to DJing, is the real time manipulation of imagery through technological mediation and for an audience, in synchronization to music. Fandubs and Fansubs are reworks of fans on released film material. Walt Disney works are important company remixing examples, for instance Beauty and the Beast, Aladdin, Frozen. These remixes are based on earlier public domain works (although Disney films are altered from their original sources). Lawrence Lessig therefore called Walt Disney a "remixer extraordinaire" and praised him as ideal of the remix culture in 2010. Some journalists however report that Disney tolerates fan remixes (Fan art) more than in earlier times.