Archive for the ‘We Invented the Remix’ Category
@Issue (via Josh Spear and Jeff Staple) points to this chart Walt Disney Studios released in 1943, explaining how the company made movies. I love how the entire organization is built around the story rather than chain of command, (though as the chart says, this isn’t about authority). Seems like a much better way to create something great and acknowledges hierarchy often takes a back seat in the creative process, something totally at odds with silo thinking that dominates the studio system today.
As @issue points out, maybe this is a model other businesses should look at. In ideas based economies, we’re making processes, not products. What you really stand for and the way you tell that story is becoming more important to every type of organization. If that story really drives what you do, it makes sense that it’s creation be the central focus of everybody there and you build work flow around it. And if your story isn’t at the core of what you’re doing, you might be doing it wrong…
Big version of the chart here.
Rob Jewitt, blogger at Remedial Thoughts and lecturer in Media & Cultural Studies at University of Sunderland, created this great slidecast summarizing the main points of The Pirate’s Dilemma. It’s closer to the material in the book than the presentations I’ve been doing of late, which have started to include a lot of new ideas too (I’ll be posting my new presentation The Pirate Solution up here shortly). There’s few things more useful to the creator of an idea than seeing someone else re-present that idea in a new way. Which brings me to the slidecast below by People’s Playground on the remix:
PBS is airing a new documentary entitled Copyright Criminals on Jan 19th. Despite the title, it looks like a pretty even-handed discussion on the myriad issues around sampling and remixing. Make it a priority.
Chicago based choreographer Julia Rhoads has a new show inspired by The Pirate’s Dilemma. The show, Punk Yankees, focuses on how sampling and fair use questions apply to the world of dance. As Rhoads tells it:
“I had the good fortune of receiving a choreographic fellowship from the Maggie Alessee National Center for Choreography (MANCC) to support the research and initial development of Punk Yankees, which is the title of our anniversary concert. While at MANCC, I began working with the ensemble to address my research questions: What defines “fair use” in dance? Is it permissible to “borrow” choreographic devices if the movement is reinvented? If the dancers can’t execute the movement in the way it was originally intended, is there something interesting about that failure? If someone “stylistically” references a choreographer, should it be acknowledged as a derivative work, or is it what naturally occurs through dance education and lineage? Ultimately what we created was a work-in-progress that experimented with meta-theatrical devices and formal conventions to elucidate these provocative questions with transparency and humor.
“The title Punk Yankees came from some research I was doing online about piracy and art. Matt Mason, author of the book The Pirate’s Dilemma, talks about the fact that piracy and appropriation (in the sense of intellectual property) has historically been linked to the creation of new markets, which he calls a form of “punk” capitalism. He also traces the word “Yankee” to an old Dutch slang word “Janke,” meaning pirate. Ironically, Matt Mason was recently a keynote speaker at Dance/USA’s Annual Conference in Houston, TX (June 3-6), in the session “Fair Use and Piracy: How They Each Support a Sustainable Dance Field.”
Thanks for the reminder Cory!
Wait for the twist at the end.