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Book Review of Margie Borschke's This Is Not a Remix

2018-12-05 18:46:24        Posted by: ragaman7        Category: Remix Culture

Below is a video review of Margie Borschke’s book, This Is Not A Remix, I recently produced for the open access journal, Media Theory. Thanks to editors Janneke Adema and Simon Dawes for the opportunity!

This is Not a Remix: Piracy, Authenticity and Popular Music by Margie Borschke

Video Review by Owen Gallagher

Publisher’s website:


New Remix Book: Reclaiming Critical Remix Video (Routledge, 2017)

2017-11-20 16:44:15        Posted by: ragaman7        Category: Remix Culture

My new book has just been published! The title is Reclaiming Critical Remix Video: The Role of Sampling in Transformative Works (Routledge, 2017) by Owen Gallagher

Description: Remix is now considered by many to be a form of derivative work, but such generalizations have resulted in numerous non-commercial remixes being wrongfully accused of copyright infringement. Gallagher argues, however, that remix is a fundamentally transformative practice. The assumption that cultural works should be considered a form of private property is called into question in the digital age; thus, he proposes an alternative system to balance the economic interests of cultural producers with the ability of the public to engage with a growing intellectual commons of cultural works. Multimodal analyses of both remixed and non-remixed intertextual work, with a particular focus on examples of critical remix video, fuel the discussion, synthesizing a number of investigative methods including semiotic, rhetorical and ideological analysis.    UPDATE

Rootstrikers Campus Remix Challenge

2013-07-09 09:06:24        Posted by: ragaman7        Category: Remix Culture

Sign up for the Rootstrikers Campus Remix Challenge here:

Campus Remix Challenge    UPDATE

Cory Doctorow's 'Pirate Cinema' - A must-read for Remixers

2013-01-07 22:33:27        Posted by: ragaman7        Category: Remix Culture

Just finished reading Cory Doctorow's 'Pirate Cinema' - highly recommended - please download and share this with as many people as possible and support Cory's future work by buying a copy for yourself or someone you know (or your local library).


(As with his previous books, Cory has generously made 'Pirate Cinema' available to share under a Creative Commons licence.)


Trent McCauley is sixteen, brilliant, and obsessed with one thing: making movies on his computer by reassembling footage from popular films he downloads from the net. In the dystopian near-future Britain where Trent is growing up, this is more illegal than ever; the punishment for being caught three times is that your entire household’s access to the internet is cut off for a year, with no appeal.

Trent's too clever for that too happen. Except it does, and it nearly destroys his family. Shamed and shattered, Trent runs away to London, where he slowly learns the ways of staying alive on the streets. This brings him in touch with a demimonde of artists and activists who are trying to fight a new bill that will criminalize even more harmless internet creativity, making felons of millions of British citizens at a stroke.

Things look bad. Parliament is in power of a few wealthy media conglomerates. But the powers-that-be haven’t entirely reckoned with the power of a gripping movie to change people’s minds….



2011-05-18 22:40:05        Posted by: augart        Category: Remix Culture

VIDEODROME is a one-night event of audio/visual overdose of hardcore video editing where picture matches sound, cut for cut, beat for beat. It is a collision of IDM, video art, mash-up, VJ culture, and experimental electronic music and contemporary club culture, bridging the gaps between the sofa, the club and the art gallery. The event showcase experimental video works which function as dance music, a/v mash-up, visual music with an emphasis on aggression and intensity. Videodrome June 10 2011 MOCCA Toronto 952 Queen St.W 8pm    UPDATE

Sonic Outlaws - Craig Baldwin

2011-01-31 07:02:28        Posted by: ragaman7        Category: Remix Culture


Within days after the release of Negativland's clever parody of U2 and Casey Kasem, recording industry giant Island Records descended upon the band with a battery of lawyers intent on erasing the piece from the history of rock music. Craig "Tribulation 99" Baldwin follows this and other intellectual property controversies across the contemporary arts scene. Playful and ironic, his cut-and-paste collage-essay surveys the prospects for an "electronic folk culture" in the midst of an increasingly commodified corporate media landscape.    UPDATE

Top 10 Found Footage Horror Films

2011-01-28 01:14:55        Posted by: ragaman7        Category: Remix Culture

When “The Blair Witch Project” was a box office smash in the summer of 1999, people braced themselves for a slew of imitators. But it wasn’t until recently that Found Footage as a sub-genre of horror has really started to mature and become respectable as more than just a collection of “Blair Witch” knockoffs. Like its cousin the mockumentary, Found Footage Horror uses filmic techniques associated with non-fiction filmmaking to tell a fictional story that feels more believable or realistic. In most cases, the film is purportedly edited from the recovered footage of characters who are missing or dead.    UPDATE

Critical Remix Festival - Deadline

2010-12-17 08:05:05        Posted by: ragaman7        Category: Remix Culture

The deadline for the Critical Remix Festival, Oil and War is fast approaching. The deadline to submit your remix to the festival is Monday December 20th 2010.

Remember, submission is free and there will be a $1000 award given to one ambitious remixer, so add your voice to the chorus and remind everyone that by deconstructing the messages of media, we can reclaim our voices from the powerful.

Please visit the Critical Remix Festival website, for more details...

Download PDF Information [courtesy of Byron Russell]     UPDATE

2 Days Left to Vote in Yes Men Chevron Remix Contest

2010-11-17 08:25:33        Posted by: ragaman7        Category: Remix Culture

Check out the Poster and Video Galleries!

Poster Gallery :: Video Gallery    UPDATE

McIntosh Teams Up with US Government to Critique Glenn Beck

2010-10-09 12:34:27        Posted by: ragaman7        Category: Remix Culture

[from Rebellious Pixels and CBS]

I love that they actually used the term "Donald Ducked" in the promo for their news segment!

News segment from Channel 5 Eyewitness News at 6 O'clock - October 6th 2010

SAN FRANCISCO (CBS 5) — In a nondescript Mission District apartment building, in a tiny room, lives a David who has taken on a Goliath.

Jonathan McIntosh didn't use a slingshot. He used a computer, and took aim at one of America's most controversial talk show hosts, Glenn Beck. And he ended up goosing him with a duck. Donald Duck.

A video mashup of Glenn Beck on the radio mixed with Donald Duck cartoons has gone viral. He worked three months on the project, sometimes 10 hours a day. So far, at the video has received at least half a million hits, among them Glenn Beck.

"It is some of the best, well made propaganda I have ever seen", said Beck on Monday's show. "But if I'm not mistaken, some of these re-mix videos get federal funding. We're looking into the funding of this gentleman."

McIntosh says he received no federal funding. No funding at all. In fact, he lost his job last month, which gave him time to work on the video.

In the video, Donald Duck loses his job and listens to the Beck radio show. The Depression-era cartoon and Beck's musings pair well. Out of context, of course. Beck talks of Nazi's and Communists taking over the country today and Donald Duck is fighting them back in the 1940s.

McIntosh thinks Beck's politics are dangerous and likes how the new media landscape can allow one person to take on the powers at the top. "I like that I'm able to speak back at him, and that people are using re-mix, or Youtube, to talk back and there can be a larger voice for those of us who don't have a big radio or TV station."

McIntosh has made no money on the video, but said it would be nice to get a job out it."    UPDATE

SAW Video's "Public Domain" Premiere Screening

2010-07-17 23:22:23        Posted by: ikat381        Category: Remix Culture

I'm finally getting around to writing my post about the June 24 premiere screening of "Public Domain," by the Ottawa-based SAW Video centre.

Here's some details from the SAW website:
"In June 2009, SAW Video commissioned 7 media artists to create new video works using public domain materials from the Film/Video/Audio Collection of Library and Archives Canada. The result is Public Domain, a programme of six new videos which, after its premiere in Ottawa on June 23rd, will tour across North America and Europe in 2011."

The videos ranged from personalized documentary to abstract video art. The end results were quite impressive, as you might expect from the number of accomplished video artists that SAW managed to commission for the show.

You can check for future tour dates and get more details about the show and the artists here:


Beyond the Pale: Preview from Maureen Bradley on Vimeo.

Re-examining the Remix

2010-07-08 11:45:19        Posted by: ragaman7        Category: Remix Culture

At TEDxNYED, former "young Republican" Larry Lessig talks about what Democrats can learn about copyright from their opposite party, considered more conservative. A surprising lens on remix culture.

Harvard professor Larry Lessig is one of our foremost authorities on copyright issues, with a vision for reconciling creative freedom with marketplace competition.


LOFI: RE/Mixed Media Festival 2010

2010-05-24 15:34:42        Posted by: ikat381        Category: Remix Culture

League of Independents (LOFI) is holding their RE/Mixed media festival on May 30th 2010 in Brooklyn. The festival features a bunch of great video remixes. Here's some details from

About The Festival Sunday, May 30th 2010; 2 PM Galapagos Art Space, 16 Main Street DUMBO, Brooklyn FREE! (21 and over)

The RE/Mixed Media Festival is our way of contributing to the ongoing conversation about remixing, mashups, copyright law, fair use, and the freedom of artists to access their culture in order to add to and build upon it. While there are numerous events addressing these issues, they are usually discussion-based, featuring lectures and panel discussions about policy. We believe that one of the best ways to make the general public aware of these types of issues is by demonstrating all the types of art and culture that remix touches. To that end, on May 30th we will transform Galapagos into a multimedia art space...

...Throughout the day, we will feature remixed film and video dating back to the first remixers like Joseph Cornell (1936) to contemporary “vidders” utilizing 21st century technology to remix media content as cultural commentary, and machinima artists whose art consists using video game technology to construct new narratives.


Weird Al Explains Autotune

2010-03-29 19:30:15        Posted by: ragaman7        Category: Remix Culture

The Rocketboom Institute for Internet Studies examines the phenomenon of Auto-Tune with help from special guest Professor "Weird Al" Yankovic!


Total Recut Interviews Jonathan McIntosh About Buffy vs. Edward

2009-12-24 00:23:30        Posted by: ikat381        Category: Remix Culture

Here's an interview with Jonathan McIntosh where we discuss his Buffy vs. Edward remix, the vidding community, and the greater value of video remixing.

TR: What did you want to accomplish with Buffy vs Edward?

JM: I wanted to create a remix dealing with the subtleties of gender and romance in mainstream media, not an easy task in mash-up form. I had seen the Twilight movie and I read the first couple of books and I was horrified by the fact that the Twilight series takes all the progress in gender roles and reverts it back at least 200 years. My goal was to show Edward Cullen’s controlling and overprotective behaviour for what it is, and to do that in a sort of funny way, and to have that done by a strong female character from a different series. I thought one of the best ways to do that would be to have Buffy the Vampire Slayer meet him. Juxtaposing these two characters highlights how backwards the Twilight series is in terms of gender, really how anti-feminist it is. That was the goal: to make it funny but also highlight the patriarchal nature and stalkeriness of Edward.

TR: Why use remix to make your point about Twilight? Why not shoot your own parody?

JM: If you were writing a paper on the Twilight film, you would quote what Edward said from the movie. Same with remix – I want to quote what he’s actually saying. I want you to be able to see him say it and have all of the filmic and narrative elements present. So the lighting is there, the tone that he uses, the camera angle, all from the actual shots in the movie. It’s more powerful, more poetic, it’s more believable, it’s funnier, and it has a higher impact, because it’s the actual actor in the actual scenes.

Also, for good or bad reasons, high production values tend to equal legitimacy in our mainstream media culture. People will respond to something that they know. And what they know, because they see it everyday on TV or in the movies, is high production values – a certain style, certain lighting, etc. So using the actual clips lends legitimacy to the critique, I think. It’s an easier way to relate to an audience that’s already familiar with the source material.

TR: In what way did vidding and the vidding community influence this remix?

JM: I am in no way an expert on vidding, but for those who might not be aware, it’s an artform that’s been around since the mid-seventies. It’s deeply connected to fan cultures and fan fiction, just extended into video form. There’s a rich history of mostly women remixing (or “vidding”) pop culture narratives. And sometimes these vids, as they’re called, are making an argument, or doing a character study, or doing in-depth looks at various relationships, etc. It’s like using video to create literary criticism of TV and movies.

The sympathetic nature and fannish quality of vidding is one of the things that I think makes it work so well. Initially it took a while before I understood how powerful, important, and sometimes subversive it was as a remixing genre.

Lots of vids will celebrate shows, relationships, subtexts or storylines – especially ones that break standard or stereotypical gender roles or narratives. While many other vids have an argument to make, and some of them will subtly (or no so subtly) criticize various aspects of a beloved TV show: characters, story lines, or the lack of queer characters, or the lack of strong female characters, etc. The idea is that you can enjoy something from the mass media but still criticize certain aspects of it to varying degrees. That’s a subtle understanding that seems to me a little bit lacking in many of the more political videos from my own remix genre.

A lot of political remix work can be really fantastic but it’s sort of based on ridicule. So it’s ridiculing the TV show, or it’s ridiculing the source. Sometimes, certain situations call for just flat out ridicule – I agree with that and I think it can be very important. But other times, conversations require a sort of subtle, respectful, and still pointed analysis, especially if you want to talk about race, class, gender, or sexuality. This is where, I think, vidding often succeeds in ways that political remix video sometimes does not.

I don’t know if I would have been able to envision making something that’s a 6-minute narrative about gender roles, as in Buffy Vs Edward, if I had not been influenced by the vidding community. As a political remixer, I was fortunate to be schooled by vidders like Laura Shapiro, and also by Francesca Coppa, who is a founding member of the Organization for Transformative Works. By listening to them and watching a large body of vidding work, I learned about how to make more complex and subtle analyses of mass media in remix form. I’m certainly very sympathetic to Buffy and the whole Buffy universe (it’s my all time favourite TV show), and that comes through in my remix. So the audience is not supposed to go “Oh, see how TV is stupid?” They’re supposed to go “Oh, see how Buffy was awesome!” I kinda pit the Buffy TV show against the Twilight movie to deal with gender in a more complex way than I had done previously. So I would say that vidding was essential to me being even able to imagine doing something like this, even though I would not call Buffy vs. Edward a “vid”.

TR: Can you talk about any of the technical challenges of Buffy vs Edward?

JM: I found that it was really hard to find convincing ways to have characters interact from totally different sources. One tool that was really helpful was fan transcripts: people take TV shows that they love, or movies, and they transcribe them and put them online. With Google’s advanced search I was able to find fan scripts for all the episodes of Buffy. I’d search for certain phrases or words, and I’d go through them quickly and say “Oh, well I know that Buffy now says this kind of thing in episode 44 so I’ll go look at the episode and see if it works.” And sometimes the transcripts even have notes on location or time of day, so I know if there’s a certain environment, and if Buffy’s saying something there, then maybe I can use it. Luckily Buffy was 140 episodes or thereabouts, so I had a lot to draw from. But Twilight was 2 hours. I almost used every single frame of Edward.

TR: What political purpose do you think video remixing serves in general?

JM: Remixing is a form of critical media literacy that I think is becoming increasingly important to our culture. Just by viewing a remix, you are consciously or subconsciously noticing all the different sources – a movie, a song, a news clip, an actor – and in your head you’re kinda deconstructing them, because there’s all these different parts that have been pulled apart, re-framed, re-contextualized and put back together.

On the flip side, when someone is making a remix, even a simple one, they are literally deconstructing mass media and then creatively reconstructing it. So they’re engaging with mass media messages to make something new in a way that is analytical and creative. Lessig calls this the “read-write culture.” Corporate media traditionally operates as “read-only.” But now with remix, culture can be more “read-write” and more participatory (provided you have technology, the time and the money to participate). So I think that just the remix form itself has a lot of value.

In terms of the content of online video remix, it could be anything. It depends on the people who are making it. Remixes can challenge the sort of oppressive, sound-byte driven messages of mass-media, or they can just repeat mainstream messages back in remix form.

Obviously I hope for people to be subversive and critical in their remix work and to challenge mass media messages and myths, especially in terms of the more oppressive aspects of corporate culture. The extra value comes when we remix the source material and also remix the message. If you’re just regurgitating what the media tells you, including all the stereotypes, racism, sexism, hatred, and so on, then I find much less value in that, because it’s not remixing the message, it’s just remixing the material.


X Factor Beaten to Christmas No.1 by RATM

2009-12-23 13:43:28        Posted by: ragaman7        Category: Remix Culture

A Facebook campaign calling for people to download the Rage Against the Machine track Killing in the Name of instead of the X Factor 2009 winner Joe McElderry's single the Climb, has been successful. RATM are the Christmas no. 1, but who really wins? The rights to killing in the name of are owned by Epic Records, a subsidiary of Sony. Simon Cowell's record company, Syco Music is a subsidiary of Sony. They are all one big happy family and although the simple reading of what has happened is that the X Factor single has been denied a spot at No. 1 in the UK single charts this Christmas as a result of a Facebook campaign, the reality is more complex and ultimately very ironic. This rebellion, instead of raging against the machine, may have served only to strengthen it...    UPDATE

Towards a Poor Cinema

2009-10-21 00:56:00        Posted by: josudiguez        Category: Remix Culture

In the immortal words of Eli Horwatt...

Towards a Poor Cinema: A Credo of Recycled Cinema

1. Cinema, like other arts, should remain in a constant state of flux. Stasis is the enemy of art the same way it is the enemy of science and medicine.

2. The dialectic, in which a thesis, antithesis and eventual synthesis are produced is the most productive means of facilitating a constructive, socially relevant artistic tradition. Artistic output is a conversational practice by which ideas and sensibilities are evaluated, imitated, critiqued, devalued, buried and eventually resurrected. All of these components are part of a rich process of evolution by which societies and artists contribute. This tradition currently has little or no place in the infrastructure of cinema.

3. Current economic and social conditions have strained the desired dialectic from taking place. Several hindrances have arisen. A.)Studios have divested themselves of earlier models of funding vying instead to spend large sums of money to attract large audiences with astronomical returns; B) the endowments and benefactors of other art forms are not present for cinema because of the immense popularity of the form and immense commercial successes possible thus eliminating funding for those who haven’t been granted access by gatekeepers of popular distribution corporations; C) The labor involved in the business of making films have a strong grasp on the industry. A combination of self-sustaining unionization which makes it difficult to self-produce, guarded and expensive distribution platforms which make it unfeasible to deliver films to audiences, and a nearly universal acceptance of these parameters has made true independence a fallacy. A poor cinema will abscond from every one of these tyrannical forces in the film-making process.

4. We believe as Cocteau did when he stated that "film will only become an art when its materials are as inexpensive as pencil and paper." In other words all commercial cinema is the sale and marketing of products by corporate monopolies designed as a part of what Guy Debord has called “the spectacle.” These products have been tailored to appeal to mass audiences based on the successes and failures of the past, making innovation (which translates as economic risk) more and more sparse.

5. We believe that the new technological innovations made possible by internet distribution platforms, digital video, and the tools of the age of reproducibility must be harnessed by individuals with a commitment to re-instituting an artistic dialectic. We believe this is the only possible step in reviving an art form which admittedly for a lengthy period of time necessitated significant capitol for materials and participation, but has recently been dramatically stunted by a rising trend of artistic stasis.

6. We believe that the Recycled Cinema is the most powerful pedagogical tool in this process of reinvigoration. The goal in this circumstance is not only to think, but to remember. It is a revaluation of the art form in the hopes of discovery and critical deconstruction in an artistic laboratory. We support this process in part because the tools necessary to produce art are more widely available with an enormous cannon of works to detourn, re-construct, manipulate and addend.

7. While the financial irreducibility of cinema as we know it today plays a part in our support for Recycled Cinema, or the act of utilizing appropriated and sometimes “found” footage, our ultimate conclusions in this direction are liminally based on money, though we find this fact very convenient. The “cinema povera” or cinema of poverty allowed through the pillaging of images makes it a revolutionary practice on a number of levels. Ideally, a person is re-claiming the works of those who erred, mistreated or denigrated the medium so that they may redeem them by highlighting, altering or critiquing their work. Recycled Cinema in itself is an end towards showing the essentially uniformity and creative vapidity of commercial cinema.

8. The financial infrastructure by which films are made is fundamentally at odds with the practice of recycled cinema on a number of counts. The studio model, by which large sums of capital are invested up in hopes of larger returns has no place in a system in which films are made often “on the fly” with limited need for materials which can be distributed and accessed for free on internet video platforms. This aesthetic and economic difference will not be left as a simple artistic divergence. Capitalist forces in the industry will always retaliate against individuals offering competitive products at zero cost to the public. Copyright infringement suits will always be a looming threat to appropriators of footage, but for now the relative obscurity of the medium is its best defense against truly crippling legal action. But just as various forms of online video have had enormous overnight success, some unfortunate spokesman of the digital age will be left trying to explain to intellectual property owners the difference between appropriation and piracy, fair use and theft, and all of the other artistic practices of the post-modern era. Inevitably they will fail to move the holders, and it is likely they will fail to persuade the courts. These are necessary battles that must be waged.

9. The fading remnants of independent film (a term usually falsely attributed) and the tradition of the art film has little or no relationship to the burgeoning recycled cinema. These traditions, which are endemic to the academy, highly intellectual and theory based art institutions is produced by a fringe of the society for themselves. It has little or no interest in harnessing the popular distribution platform that is the internet which Recycled Cinema has been a part of since the inception of internet video portals.

10. The purpose of detournement, compilation, mashups and other techniques attributed to recycled cinema is to reach to the root of the artistic stasis present in the commercial cinema. Mashup films which combine two or more films expose the uniformity present in narrative today. The most skilled mashup filmmakers will use the tropes and styles of commercial films like an armory of easily imitated techniques, ultimately undermining the elements present. In the process these tropes and styles can be understood as easily employed “tricks” which require no artistry in their execution and only an understanding of quick ways to manipulate people. Compilation filmmakers like Craig Baldwin seek to discover the subconscious of styles and genre through the prism of history and culture. In this way, he exposes the temporal nature of commercial cinema—which stands in stark contrast to the universality and timelessness of real works of art.

11. Ultimately the Recycled Cinema offers tools to evaluate an even more threatening tyranny over independent artistry; the universal specter of narrative, most contemptibly in the stylistic mold of the novel. Much can be said of the novel’s rise to become the foremost model of narrative structure, but ultimately the most important idea to note is the needless choice made by filmmakers to perpetuate it. The single most differentiating attribute of avant-garde film from commercial narrative cinema is its reliance on non-novelistic models. Whereas avant-garde films overwhelmingly rely on literary traditions like poetry, the short story, stream-of-consciousness, and religious literature; non-literary art forms like painting, sculpture, animation, and dance; social sciences like psychology, and anthropology; and human phenomena like ritual, mythology, synesthesia and the subconscious. The novelistic mode has dominated cinema because in film-making’s nascent stages, novels were the most popular art form in the western world. We believe as Bruce Elder when he wrote “narrative is the artistic structure of technocracy. The cinema we need, the cinema that combats technocracy will, therefore, be non-narrative.” The co-incidence of the novel and the industrial revolution which followed soon after has devastating implications. Narrative at its foundations is a cause and effect, chain of events structurally identical to the assembly line on a factory floor. This linear means of representing human life is often defended by the false adage that human life is best represented by narrative. Instead, we are faced with propaganda, aimed at witling realistic events into a highly unrealistic framework.


Featured Artist: Smearballs

2009-06-24 08:55:43        Posted by: ikat381        Category: Remix Culture

Smearballs’ remixes are some of the most artfully arranged bits of trash video on the internet. They usually mine the detritus of television for their source material – soaps, daytime talk, infomercials... But if you watch closely you’ll notice how skillful Smearballs’ choices are. Every fragment has something about it that makes it compelling to watch: bizarre color arrangements, compositions that are perfect for inserting effects, little moments of television that are utterly baffling when they’re isolated.

Smearballs' mixes are funny but they’re also infectiously energetic: choice bits of audio from their clips are matched with music they record themselves; they apply digital effects with a graffiti writer’s instinct for impact and defacement; they insert themselves and their logos into the remixes with an overblown bravado that you can only cheer for. So while they make you laugh they also blow you away.

On their blog, Smearballs recently advanced the following thesis to summarize their position on some of the major stakeholders of online culture: “Smearballs is the future and they're livin' in it.” If you would like to see some supporting evidence for this argument, I invite you to watch some Smearballs videos below.


Featured Artist: D.M. Phoenix

2009-06-22 14:04:23        Posted by: ikat381        Category: Remix Culture

D.M. Phoenix (DMP) is an accomplished artist in many regards (See his impressively designed portfolio site at – drawings, CG, flash, etc…). Sometimes, when he finds the time, he makes a video mashup on youtube. But you can expect a lot more from your mashup when it’s being cut together by someone like DMP, who has dedicated so much of his life to making art, and who has an unmistakable passion for science fiction and for pleasing an audience.

As you might expect there are a number of “Star Trek vs Star Wars” mashes on the Internet, but what distinguishes the “DMP edition” is its persistent showmanship. DMP’s combinations of different video sources are indeed technically accomplished, but they go further than that: he chooses cutaways that give a precise emotional tone to the interactions between characters; he discreetly repeats certain clips to fine-tune the narrative pace and comic timing of his scenes; he always keeps an eye open for opportunities to twist the footage into a good joke.

“Star Wars Vs. Star Trek” is DMP’s most elaborate and popular remix so far, but I hope he can find the time to make some more. We stand to gain a lot whenever artists with solid multidisciplinary backgrounds decide to come play in our sandbox.


Featured Artist: Artur Augustynowicz (AKA Augart)

2009-06-22 04:31:48        Posted by: ikat381        Category: Remix Culture

The bulk of Augart’s video remixes are rhythmic collages composed of movie fragments that he organizes by subject matter – car crashes, gunshot blasts, horror movie screams. Augart is often drawn to the loudest of Hollywood movie stimuli, but other subjects can draw his eye: long before Kutiman released his “Thru You” remixes of youtube musicians, Augart had already completed the same experiment in his own style with “Youtube Symphony.”

Augart works in the tradition of rhythmical audiovisual cutups established by veteran video artists like Tasman Richardson. But Augart’s style is very much his own. His remixes make art out of the distortion and digital artifacts of youtube-era video. He delights not only in the deep booming payoffs of Hollywood sound effects, but also in the auxiliary effects that don’t typically win our attention: little clicks of people preparing their firearms, the trebly scrapes of metal in the first nanoseconds of a head-on collision. Augart manipulates not only the sensory impact of his source materials, but also the cultural expectations built up around them (for a great example, watch what he does with the firm cadence of marching soldiers in “The Parade”).

If you’re looking for something to keep your eyes stuck to the monitor and your brains pulsing to the rhythm, Augart’s cutups will make a great evening’s viewing. You can watch higher resolution versions of his videos on his myspace page:


Featured Artist: Misshapen Features

2009-06-20 06:25:41        Posted by: ikat381        Category: Remix Culture

The official Misshapen Features website has gone down, but I was happy discover that they haven’t disappeared altogether. They’re best known for the epic “Starlords” video, which mashes up two of the planet’s biggest corporate fantasy franchises: Star Wars vs Lord of the Rings. The first half of the movie skilfully combines parallels between the two sources in the tradition of other internet trailer mashups, but the payoff in the second half resembles no remix you’ve ever seen before.

Misshapen Features takes special care in choosing which sets of footage they mash together, always searching for novel similarities between sources that play on our imaginations and explore peculiarities of our mass commercial culture. They build a miniature love movie starring two stars of fake reality (Lonley Girl meets Borat). They experiment with mixing two effects-saturated comicbook movies for boys (300 Days of Night). One on their mashups deliberately takes one of the most sampled songs of all time (It's Just Begun by The Jimmy Castor Bunch) and plays it in its entirety alongside remixed video footage (the effect is impressive, but that didn’t stop youtube’s copyright bots from recently stripping the video’s soundtrack).

The videos are entertaining but you can detect their critical edge. You may come away from them feeling there’s lots of things wrong and strange about a culture where a handful of companies show the same content to millions of viewers simultaneously. If you don’t know what to do about it, maybe Misshapefeatures’ work will convince you that part of the solution involves taking this footage and remixing it for yourself.


Featured Artist: AMDS

2009-06-18 11:46:34        Posted by: ikat381        Category: Remix Culture

AMDS is the internet's reigning master of combining separate source footage into visually seamless masterpieces. He has built an impressively varied body of remix work -- from abstract style experiments to PSAs about gun control and traffic safety. But he is best known for tackling the biggest and loudest Hollywood franchises and mixing their heroes together into "dream matches" that draw millions of ecstatic viewers: Neo vs Robocop, Terminator vs Robocop, Arnie vs Sly... With the media industry spending huge sums of money trying to generate an appetite for more and more and more, it was only a matter of time before someone like AMDS came along with a do-it-yourself method for fulfilling the dearest wishes of the world's movie buffs.

A few moments watching AMDS' remixes should convince you of his skills for digital effects and visual storytelling. He carefully manipulates the color hue of his material to create a vivid sense of unity between separate bits of source footage. He inserts quick, inventive digital-effects shots which place the different action heroes together in the same frame. This fall he will be releasing the third episode of his "Terminator VS Robocop" series. The film is 22 minutes long and the trailers AMDS has released for it are already pushing the limits of digital footage manipulation to levels that I've never seen outside of big-budget Hollywood productions.

It would take me too long to itemize the extensive techniques AMDS employs to achieve his effects, so I'll just encourage you to go watch his work -- he has managed to take clips of Hollywood's most marketed action stars and transform them into movies where the biggest star is AMDS.


2009-06-08 15:01:50        Posted by: ragaman7        Category: Remix Culture

[via] Rogue archivist Carl Malamud sez,

"You may remember the FedFlix program from Public.Resource.Org. We got the National Technical Information Service (NTIS), a part of the U.S. Department of Commerce, to send a couple dozen videotapes every month. We digitized the tapes, and sent them back to the government with a DVD. No cost to .gov, and we got public domain data to post as high-res stock footage, plus great casual viewing on YouTube and the Internet Archive. The program went well for a year, the DC folks were happy, and I'm pleased to say we were able to renew the Joint Venture, but with a twist. They're now sending a minimum of 100 tapes a month and we have rights to all 6,000 masters in their warehouse.

The first batch of video arrived and the Public.Resource.Org Factory has been going full-tilt. We've put out an average of 11.5 hours of new video every day for the last 11 days, including some amazing previously unseen-on-the-Internet flicks featuring James Cagney, a bunch of Disney stuff, historical films by John Ford, and an amazingly clueless judicial film on "Special Needs Offender: Cyber Criminals."     UPDATE

Remix Culture vs the DMCA

2009-05-28 15:07:25        Posted by: ragaman7        Category: Remix Culture

Why Video Remix Creators Need a DMCA Exemption

Legal Analysis by Fred von Lohmann

If you are a vidder, a movie trailer mashup creator, YouTube movie critic, or anyone else who needs to take clips from DVDs in order to make an original remix video, you might be interested in the hearings held last week before the U.S. Copyright Office, where EFF and the Organization for Transformative Works squared off against the MPAA and DVD-CCA.

The MPAA says that ripping from a DVD is always illegal under the DMCA, even if it's done for the purpose of fair use. Since the Copyright Office is empowered to grant three-year exemptions to the DMCA, EFF has proposed a DMCA exemption for noncommercial remix creators.

At last week's hearings, the MPAA stuck by its old argument, saying that remix artists should just camcord off a flat screen TV (!) if they need clips. They even made a video showing how it's done!

After this MPAA demo, Georgetown Prof. Rebecca Tushnet, representing the Organization for Transformative Works, did a great job explaining why this is absurd. I did a YouTube video remixing her testimony with the MPAA camcording video, but here's an excerpt:

What we have here is essentially a digital literacy test and a digital poll tax imposed on fair use. The literacy test, as you may recall, required prospective voters to interpret an often arcane provision of the law. Here, the test proposed is that they understand that a digital file created in one way is illegal, while a similar, albeit degraded, digital file created another way is fine.

Then there’s the poll tax: you have to purchase the proper equipment to create the second digital file. It’s expensive and nonstandard for an individual artist—we were offered the prospect of using a $900 camera, plus a several-hundred-dollar tripod, plus a large flat-screen TV in a large, completely darkened room. The noncommercial artists we represent are often pink-collar workers; $900 is regularly more than a month’s rent for them; it would be a crippling requirement. And they don’t ever get paid for the works they create. This is not an investment for them. This is their free speech; this is how they react to popular culture—addressing it, critiquing it, changing it.

And the poll tax is inherent in the responses from the opponents of an exemption: their argument that camcorders somehow preserve the technology inherently presumes that the camcorder solution is one that won’t be used by fair users and therefore fair uses will be suppressed. To the contrary, the possibility of camcording proves that the proposed exemption will not cause any harm to the opponents. They say camcording is easy and is good enough to watch. In that case, that’s the mode pirates will use. They cannot maintain that camcording is a substitute for fair use clipping and also that the exemption will degrade protection for CSS compared to camcording.

We got rid of the literacy test and the poll tax because they deterred people from participating –people whose voices weren’t heard otherwise. We did this even though some brave people defied the laws and persevered. Some even managed to register and vote. The problem was all the people who didn’t have the time or the energy or the resources to persevere, and all those who looked at the costs and didn’t even bother to try. That’s the problem here.

If you care about remix creativity, it's worth reading Prof. Tushnet's entire testimony.

The Copyright Office is expected to rule on EFF's proposed DMCA exemption in October.    UPDATE

2009-05-13 23:56:31        Posted by: ragaman7        Category: Remix Culture

The big six are largely responsible for many of the problems facing amateur creators and remix artists today. Often referred to as 'the big media' companies, it really comes down to six conglomerates who are trying to own pretty much everything we see, hear, read and use. They are: The Walt Disney Company, General Electric, News Corp., Time Warner, Viacom and CBS. LINK    UPDATE

Mashup/Remix Conference 2009

2009-03-25 14:27:40        Posted by: ragaman7        Category: Remix Culture

The Mashup / Remix Conference 2009 took place at Ohio State University on 12-13 March last...

The Ohio State University’s Moritz College of Law and Wexner Center for the Arts have collaborated for a novel discussion on the implications of mashup and remix in the world of Web 2.0. Recent technological developments have created a wave of user-generated content in which pre-existing sounds and images are appropriated, reshaped, and shared with unprecedented ease. Bringing together new media artists, prominent academics, and influential members of the media community, this event will discuss ways in which the digitization of music, film, and visual art over the internet is influencing the future of these industries and the future of copyright law. Organized as a combination of panels, roundtables, and performances, the event will engage presenters and audience members to think broadly about the legal, political, economic, and cultural landscapes accompanying mashup art and collaborative creation.

Selected papers and essays by participants will be published in a special issue of I/S: A Journal of Law and Policy for the Information Society, the law school's interdisciplinary journal that focuses on law and policy issues related to the ways in which digital information and communication technologies are transforming society.    UPDATE

Rip: A Remix Manifesto - Watch

2009-03-17 11:44:00        Posted by: ragaman7        Category: Remix Culture

Brett Gaylor's excellent documentary about remix culture and copyright issues is currently screening around the U.S. If, like me, you are based in Europe and wish to watch it, Brett has kindly made each chapter of the film available for viewing on his website, Open Source Cinema. An important piece of work. Also, see below the 2007 Danish documentary, Good Copy - Bad Copy, also a very important piece.

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SocialMedia.Biz Great New Look

2009-03-12 17:27:31        Posted by: ragaman7        Category: Remix Culture

Exceptionally gifted author and social media guru JD Lasica has recently rebranded his blog,, with a new look, new logo and new focus as a group blog with many talented contributers including Ayelet Noff, David Spark and Chris Abraham. The site is a goldmine of useful information for anyone wishing to keep their finger firmly on the pulse of the social media frontier.

Here's a description of the rebrand from JD himself:

"I’m happy to announce that is now a group blog, with a wealth of talented contributors, as well as a network of business strategy consultants who understand the social media needs of large and midsize companies.

I started blogging in May 2001 when Dave Winer, the father of blogging, gave me a free UserLand Manila blog. Since then, I hopped to MovableType and TypePad, changing the name from New Media Musings to in 2005 because of the fast-paced changes in the mediasphere."    UPDATE

RiP: A Remix Manifesto Premieres

2009-03-06 00:54:40        Posted by: sjb        Category: Remix Culture

RiP premieres this week in Montreal and Vancouver. Check out the Facebook group for a complete list of openings of the film across Canada!    UPDATE

RiP: A Remix Manifesto Video

2009-03-02 23:37:32        Posted by: sjb        Category: Remix Culture

Here's the latest video from Eclectic Method about RiP: a Remix Manifesto!    UPDATE

Featured Artist - RX

2009-01-23 13:07:16        Posted by: ragaman7        Category: Remix Culture

RX, The genius behind Bush performing Sunday Bloody Sunday, Imagine and My Way, Blair doing Should I Stay or Should I Go and most recently Obama performing 'Fire It Up' deserves his work to be seen by as many people as possible. Here are a few of his best...

Check out his     UPDATE

Happy Christmas from Total Recut!

2008-12-24 08:37:39        Posted by: ragaman7        Category: Remix Culture

We just wanted to wish you all a very Merry Christmas and a Happy New Year - here's hoping 2009 will bring good things to all of us!

Well, it's been a very eventful year for us here at Total Recut. We started off in January by relocating to the USA from our base in Ireland. The first 6 months of 2008 were spent travelling all over the U.S.A., spreading the word about Total Recut, making contacts, networking, drumming up interest in the project, developing business strategies and coming up with LOADS of new ideas! We went on a Stateside tour travelling to Boston, San Francisco, Kansas City, Dallas, Reno, Lake Tahoe, Chicago, L.A., Oklahoma, St. Louis, Iowa, Omaha, South Dakota, Wyoming and Denver, Colorado to name a few! The main aim was to develop Total Recut and make as many contacts as possible. I had the true honour and privilege to meet Professor Lawrence Lessig and discuss the project with him at the Creative Commons headquarters in San Francisco. In Iowa, Professor Kembrew McLeod was kind enough to give me an audience and in Boston, I met with Professor Henry Jenkins at MIT where we hatched a plan to run a video remix challenge in the summer. The idea was simple...a video remix challenge with an open brief to create a short video remix/mash-up using the theme 'What is Remix Culture?' The remainder of our time in the U.S. was spend organising the competition, acquiring sponsorship, assembling a judging panel and acquiring the prizes. We managed to assemble an incredible line-up of judges - it read like a who's who of respected personalities in the remix space. I would like to take this opportunity to thank everyone who participated in the Total Recut Video Remix Challenge 2008. Without all of your help, it would not have happened!

The judges, who were kind enough to donate their time and interest in the project were Lawrence Lessig, Professor at Stanford University and co-founder of Creative Commons and author of many influential books including Free Culture and his latest 'Remix:Making Art and Commerce Thrive in the Hybrid Economy.' Henry Jenkins, Director of the Comparitive Media Studies Program at MIT and author of many books including 'Convergence Culture: Where Old and New Media Collide.' Kembrew McLeod, Independent filmmaker, Associate Professor at the University of Iowa and author of a number of books including 'Freedom of Expression: Resistence and Repression in the Age of Intellectual Property.' Pat Aufderheide, Center for Social Media, who was responsible for the 'Code of Best Practices in Fair Use for Online Video.' J.D. Lasica, co-founder of and author of 'Darknet: Hollywood's War Against the Digital Generation.' Matt Mason, critically acclaimed author of 'The Pirate's Dilemma' and founder of Mark Hosler, founding member of Negativland and remix mastermind extraordinaire. Luminosity, a prominent and respected remix artist in the vidding community. We acquired sponsorship from Avid's Pinnacle for some of the prizes and in the end we were able to offer a laptop, a digital camcorder and a digital media for the top three prizes. We had an open submission round where anyone who wanted to could enter their video which was followed by a public voting round. The ten best videos were put forward into the final to be critiqued and voted on by our panel of expert judges. The final 10 were truly a global group hailing from over 6 different countries and the final winners were DJ Le Clown with his masterpiece, 'Xmas in New York City, Jata Haan with her 'Composition' and Ricardo Carrion with 'Remix Culture II.'

Following the success of the Total Recut Video Remix Challenge 2008, we were nominated for an award at the Europrix Multimedia Awards. We came out with a Europrix Quality Seal and a published entry in the Europrix Annual 2009.

SPECIAL THANKS to iKat381 for his invaluable contributions throughout 2008!

Thank you all so much for your continuing support and participation in the Total Recut project over the last year and we look forward to seeing you in 2009!

Please take a moment to take our QUICK survey and be in with a chance to win a FREE Digital Media Player! It will only take a minute and will help to improve Total Recut!

Click HERE to take the Survey...    UPDATE

Whassup? Viral Politics...

2008-11-14 13:41:50        Posted by: ragaman7        Category: Remix Culture

Just as news organizations and rock bands sue to keep their good names out of political mudfights, one might think Budweiser would seek to quash that clever pro-Barack Obama remake of its annoying 'Whassup' ads from 2000. But it turns out the beermaker has no choice: Budweiser only licensed the concept from Charles Stone III after the filmmaker created it as a non-commercial short. The expired five-year license cost just $37,000, but Stone told BusinessWeek he's now happy about how things worked out:

Back then, people gave him a hard time about the low price. Now Stone, a diehard Obama supporter, says it’s more than paid off. “That I’m able to use an idea distributed by a huge company, who made a lot of money off it, so that now when I put out what I want to say, it’s recognizable, and it sparks — that’s worth $1 million to me.”

In this case, the idealistic position could also be the smart money move: "Whassup" suddenly looks like an iconic part of American culture rather than a cheesy flash-in-the-pan ad campaign. With another advertising deal, Stone can take that cachet to the bank, should he ever feel the need to do so. {by Ryan Tate,]

The ad, in case you missed it here the first time:


Pat Aufderheide Congratulations

2008-10-20 00:41:57        Posted by: ragaman7        Category: Remix Culture

Pat Aufderheide, one of the original judges of the Total Recut Video Remix Challenge 2008 offers her congratulations to our winners, DJ Le Clown, Jata Haan and Ricardo Carrion for their videos, Xmas in New York City, Composition and Remix Culture II. Thank you Pat and well done guys! WATCH THE WINNING VIDEOS

Pat Aufderheide is Director of the Center for Social Media at the American University in Washington D.C. Pat and her associates are responsible for the research, devlopment and publication of the 'Code of Best Practices in Fair Use for Online Video' and the study, 'Recut, Reframe, Recycle: Quoting Copyrighted Material in User-Generated Video.' Here is an introduction to the Code of Best Pratices:

'This document is a code of best practices that helps creators, online providers, copyright holders, and others interested in the making of online video interpret the copyright doctrine of fair use. Fair use is the right to use copyrighted material without permission or payment under some circumstances.

This is a guide to current acceptable practices, drawing on the actual activities of creators, as discussed among other places in the study Recut, Reframe, Recycle: Quoting Copyrighted Material in User-Generated Video and backed by the judgment of a national panel of experts. It also draws, by way of analogy, upon the professional judgment and experience of documentary filmmakers, whose own code of best practices has been recognized throughout the film and television businesses.

This code of best practices does not tell you the limits of fair use rights.

It’s not a guide to using material people give permission to use, such as works using Creative Commons licenses. Anyone can use those works the way the owners say that you can.

It’s not a guide to material that is already free to use without considering copyright. For instance, all federal government works are in the public domain, as are many older works. In most cases, trademarks are not an issue. For more information on “free use,” consult the document “Yes, You Can!” and

It’s not a guide to using material that someone wants to license but cannot trace back to an owner—the so-called “orphan works” problem.

A distinguished panel of experts, drawn from cultural scholarship, legal scholarship, and legal practice, developed this code of best practices, informed by research into current personal and nonprofessional video practices (“user-generated video”) and on fair use. CLICK HERE FOR MORE     UPDATE

Total Recut Awarded Quality Seal

2008-10-02 00:34:06        Posted by: ragaman7        Category: Remix Culture

Total Recut has recently been awarded a Quality Seal by the 2008 Europrix Multimedia Awards! SHOW ME     UPDATE

And the Winner is...

2008-12-24 08:40:26        Posted by: ragaman7        Category: Remix Culture

Congratulations to all of our winners! After a gruelling public vote and an even more intense celebrity judging round, the winners of the 2008 Total Recut Video Remix Challenge have finally been determined. The competition was tight, but there was one clear winner that our judges felt managed to capture the true essence of remix culture in the most inspiring way. So, without further ado, here are the winners!

First Place - Xmas in New York City by DJ Le Clown, France

Second Place - Composition by Jata Haan, The Netherlands

Third Place - Remix Culture II by Ricardo Carrion, Switzerland

Our winners will receive a brand new laptop computer, a digital handheld camcorder and a digital media player for first, second and third place, respectively, sponsored by Total Recut. Avid's Pinnacle have very generously provided us with a copy of their video editing package, Pinnacle Studio Ultimate v12, for three of our runners up - fourth, fifth and sixth place. Pinnacle also offer all of our participants a complimentary download of their video editing software, Videospin. The remaining finalists will each receive Total Recut merchandise and a copy of one of our esteemed judge's books. All of our contestants will receive a free copy of Videomaker magazine, compliments of Videomaker.

I would like to take this opportunity to sincerely thank our judges, Lawrence Lessig, Henry Jenkins, JD Lasica, Kembrew McLeod, Matt Mason, Alison Hanold (on behalf of Pat Aufderheide), Luminosity and Mark Hosler for so generously offering their time, interest and support on this project. And of course, thank you to everyone who participated by creating and submitting videos or by watching and voting for them - without your ongoing involvement, this competition would not have been possible, and this community of remixers would not exist. And for those of you who didn't make it into the final this time, don't worry - we will be hosting more remix challenges in the near future, so watch this space...

Congratulations to DJ Le Clown, Jata Haan and Ricardo Carrion - it's great to see that remix culture has truly become a global phenomenon. We had entrants from all over the world, and 6 different countries were represented in the final! Remix is now within the grasp of anyone with a computer and an internet connection - take advantage of this unique opportunity - remix everything, encourage freedom of expression, have fun and most of all, make a difference. MORE


Victory for Free Software

2008-08-14 22:36:56        Posted by: ragaman7        Category: Remix Culture

A legal dispute involving model railroad hobbyists has resulted in a major courtroom victory for the free software movement also known as open-source software. In a ruling Wednesday, the federal appeals court in Washington said that just because a software programmer gave his work away did not mean it could not be protected. The decision legitimizes the use of commercial contracts for the distribution of computer software and digital artistic works for the public good. The court ruling also bolsters the open-source movement by easing the concerns of large organizations about relying on free software from hobbyists and hackers who have freely contributed time and energy without pay. It also has implications for the Creative Commons license, a framework for modifying and sharing creative works that was developed in 2002 by Larry Lessig, a law professor at Stanford. [John Markoff - New York Times]     UPDATE

Fair Use for Online Video

2008-07-21 23:51:17        Posted by: ragaman7        Category: Remix Culture

The Future of Public Media Project recently published an important new document that provides very helpful guidelines on what is and what is not acceptable use of previously published material in an online setting. Here's the introduction:

This document is a code of best practices that helps creators, online providers, copyright holders, and others interested in the making of online video interpret the copyright doctrine of fair use. Fair use is the right to use copyrighted material without permission or payment under some circumstances. This is a guide to current acceptable practices, drawing on the actual activities of creators, as discussed among other places in the study Recut, Reframe, Recycle: Quoting Copyrighted Material in User-Generated Video and backed by the judgment of a national panel of experts. It also draws, by way of analogy, upon the professional judgment and experience of documentary filmmakers, whose own code of best practices has been recognized throughout the film and television businesses.

You can download the full paper here. And you can read the rest of the introduction and the guidelines here.    UPDATE

Let the Voting Commence!

2008-07-01 12:06:06        Posted by: ragaman7        Category: Remix Culture

The Total Recut Video Remix Challenge 2008 is no longer accepting entries. You can start watching and voting for your favourites now by clicking here! Once the voting period is over, the 10 best videos will go forward into the final to be judged by Lawrence Lessig, Henry Jenkins, Kembrew McLeod, Matt Mason, Pat Aufderheide, Mark Hosler, JD Lasica and Luminosity. May the best remix win! Click here to watch the videos.    UPDATE

10 Best Hip Hop Sims Vids Ever!

2008-06-26 11:55:37        Posted by: ragaman7        Category: Remix Culture

"Fan made music videos featuring The Sims aren't exactly new. Electronic Arts kind of blew the lid off of the underground nerd hobby last spring when they had Lilly Allen make a video for "Smile" in which she sang the song in Simlish, the Sims language. (I had to look it up. Take it easy, nerds.) Still, have you seen these things lately? They are the funniest thing." [from    UPDATE

Matt Mason Joins Judging Panel

2008-06-24 20:10:17        Posted by: ragaman7        Category: Remix Culture

Matt Mason, author of the critically acclaimed 'The Pirate's Dilemma' has generously agreed to participate as a judge in the Total Recut Video Remix Challenge 2008. Entries are still currently being accepted until July 1st when the videos will be released for your viewing and voting pleasure! Stay tuned...    UPDATE Launches

2008-06-13 21:00:03        Posted by: ragaman7        Category: Remix Culture

A fantastic new remix website has been recently launched. Go check it

This country is a remix, it's what we do. What did Jefferson and Paine and Adams do but mashup history, take a little from the Magna Carta, a little from John Locke, and a whole lot of rebellion. Now, thanks to the web and digital technology, everyone can join in.

This is a unique moment in our history -- We can rediscover the promise of the Declaration of Independence next to the music of Louis Armstrong next to the beats of the Beastie Boys and clips of our candidates talking about "Changes." Every one of us can own our best expressions of liberty, democracy and freedom, remix them as they see fit, and share them with the world. is a multi-partisan, non-profit website that uses digital technology to give everyone the chance to own the words, the music, the images and sounds of America in digital form; to remix those expressions and ideas with their own; and to send the products of our community's creativity out to the world... where others will come back to us and start it all over again...

There's no telling where this can go – we want to be the place where millions can post their dreams, their hopes, their frustrations about our country via text, video responses and remixes...

We want to be a home for the millions of voices that can change the National conversation.

Think of this as the new digital public square. Suggest new videos and ideas here. Tell your friends. Spread the word.

Create a remix, talk back, or leave a comment...there's plenty of ways to join the conversation.

This is our moment. It's time to Remix America!     UPDATE


Contest Deadline Extended!

2008-06-03 03:02:24        Posted by: ragaman7        Category: Remix Culture

To give those of you who were a little late with your submissions a chance, we have decided to extend the deadline to give you some extra time to get your videos in. We look forward to seeing your entries! The new deadline date will be confirmed shortly, but in the meantime, get those videos in!    UPDATE

Remix Contest - One Week Left!

2008-05-27 22:27:38        Posted by: ragaman7        Category: Remix Culture

Just a reminder to let you know that you have 1 week left to enter the 2008 Total Recut Video Remix Challenge.

You can submit your video here.

To find out more click here.

Good Luck!    UPDATE

Contest - 2 Weeks Left!

2008-05-19 21:08:49        Posted by: ragaman7        Category: Remix Culture

The Total Recut Video Remix Challenge 2008 is accepting entries for 2 more weeks. You can submit your video here. Good luck and we look forward to seeing all of your remixes!    UPDATE

Contest Now Accepting Entries!

2008-05-06 21:24:19        Posted by: ragaman7        Category: Remix Culture

The Total Recut Video Remix Challenge 2008 is now open! We will accept entries until June 1st after which, a period of public voting will take place. Around the 16th June, the best 10 videos as voted by the public will be put forward into the final where they will be assessed by our judging panel. The winners will be announced around the beginning of July. So get busy remixing and enter the contest!    UPDATE

Video Remix Challenge 2008

2008-04-25 22:39:26        Posted by: ragaman7        Category: Remix Culture

Total Recut is hosting a Video Remix Challenge over the next two months and we want you to create a short video using the theme: 'What is Remix Culture?' You can you use any footage you can find, including Public Domain and Creative Commons work, but the finished video cannot be longer than 3 minutes or shorter than 30 seconds long. The prizes include a Laptop computer loaded with video editing and conversion software, a digital camcorder, a digital media player as well as Special Edition Total Recut T-Shirts, Books, DVDs and CDs.

We also have an amazing lineup of judges for the contest including Lawrence Lessig, Henry Jenkins, Kembrew McLeod, Pat Aufderheide, JD Lasica and Mark Hosler. You can find out more information in the contest section here. We will begin accepting entries from the 1st of May until the 2nd June 2008 when public voting will begin. The best 10 videos at the end of the 2 week voting period will be put forward into the final, where they will be put in front of our judging panel. The winners will be announced around the 1st of July. So get busy making those videos!    UPDATE

EMI LawSuit Against

2008-04-24 07:53:08        Posted by: ragaman7        Category: Remix Culture

MP3tunes' CEO Michael Robertson sent out an email to all users of the online music backup and place-shifting service, asking them to help publicize EMI's ridiculous and ignorant lawsuit against the company. EMI believes that consumers aren't allowed to store their music files online, and that MP3tunes is violating copyright law by providing a backup service. (And we're not using a euphemism here—it really is a backup/place-shifting service and not a file sharing site in disguise.)     UPDATE

Voting Open for Obama Videos

2008-04-25 17:48:49        Posted by: ragaman7        Category: Remix Culture

The Obamain30Seconds contest at opened for voting yesterday so go over there and watch some videos! The website is:    UPDATE

Cory Doctorow's Little Brother

2008-04-20 06:14:47        Posted by: ragaman7        Category: Remix Culture

Haven't had a chance to read it yet, but am really looking forward to it. Here's a sample review from Amazon by Neil Gaiman: “A wonderful, important book…I’d recommend Little Brother over pretty much any book I’ve read this year, and I’d want to get it into the hands of as many smart thirteen-year-olds, male and female, as I can. Because I think it’ll change lives. Because some kids, maybe just a few, won’t be the same after they’ve read it. Maybe they’ll change politically, maybe technologically. Maybe it’ll just be the first book they loved or that spoke to their inner geek. Maybe they’ll want to argue about it and disagree with it. Maybe they’ll want to open their computer and see what’s in there. I don’t know. It made me want to be thirteen again right now, and reading it for the first time.” — Neil Gaiman, author of Sandman and American Gods    UPDATE

Public Domain Video Remixes

2008-04-11 17:39:55        Posted by: ragaman7        Category: Remix Culture

Total Recut provides access to hand picked public domain video footage from the Internet Archive in our materials section that you can download and use in your own remixes. It seems that a lot of people are using this footage, specifically from the Prelinger Archives, to create new remixed video art and films. There is a hige amount of creativity being demonstrated. The Internet Archive hosts a section called 'Prelinger Archive Mashups' that contains remixed videos that use footage from the Prelinger collection. Check it out here.    UPDATE

OLPC Encourages CC Music

2008-03-27 16:26:57        Posted by: ragaman7        Category: Remix Culture

“Sure, the OLPC project is supposed to do wonderful things for children of the world, but what has it done for me, lately?” Well, if you fancy yourself one of the Earth’s children, the OLPC organization has assembled 8.5 gigabytes of sample content that’s free and Creative Commons-licensed — free to acquire, and free to use.

Jacob Joaquin, who runs the terrific thumbuki blog and the Csound Blog and is part ofthe team developing Csound for the OLPC’s XO laptop, shares the news via Dr. Richard Boulanger at Berklee.

Plenty of people contributed top-notch sound: the Berklee College of Music, Csound developers around the world, electronica celebrity BT (himself a former Berklee and Boulanger student, among other alums), M-Audio and Digidesign, and the Open Path Music Group.

They’re donated under a Creative Commons Attribution license, so you can “freely create, compose, mix, remix, share, distribute and redistribute these samples and use them for any purpose as long as you clearly attribute the source.” That means anyone, anywhere can make use of this library — no OLPC required. [by Peter Kirn at]    UPDATE

'Kelly' - CC Licenced WebComic

2008-03-20 14:29:10        Posted by: ragaman7        Category: Remix Culture

“Kelly” is a CC-BY-NC licensed webcomic written and illustrated by Dan Goldman. The comic’s incredible mixed-media illustration reveals “a psychedelic psychodrama about love, truth and conflicting interior landscapes in a tiny shared New York apartment”. “Kelly” is serialized at ACT-I-VATE, an online comic collective. [by Rebecca Rojer from] The Video is from 'Shooting War', also illustrated by Dan Goldman.    UPDATE

Who Needs a Movie?

2008-03-17 20:44:06        Posted by: ragaman7        Category: Remix Culture

Who needs a movie? Getting Married? Got a web site? Fund raising? Commercials? Selling something? Movies can make your life go better!!     UPDATE

Obama in 30 Seconds Contest

2008-03-14 15:40:19        Posted by: ragaman7        Category: Remix Culture

The folks at are hosting a new video contest following on from the success of their previous one 'Bush in 30 Seconds.' This time it's 'Obama in 30 Seconds.' The winner will receive a gift certificate for $20,000 in video equipment and the winning ad will air nationally. You can submit ads from March 27 to April 1 before MoveOn's members start voting. The final winners will be chosen by a panel of judges that includes Lawrence Lessig, Markos Moulitsas, Matt & Ben, DJ Spooky, Jesse Jackson, Steve Buscemi, Naomi Wolf, Ben Affleck, Oliver Stone and others.     UPDATE

Eyespot Launches New Mixer

2008-03-13 14:59:12        Posted by: ragaman7        Category: Remix Culture

Eyespot have revamped their mixer, an online video editing tool. The new version looks smarter and offers extra features including multiple-audio tracks, inline trimming, a whole new design, and lots more. Check it out here.    UPDATE

Irish Blog Awards Success

2008-03-11 17:31:16        Posted by: ragaman7        Category: Remix Culture

The Irish Blog Awards, held in the Alexander Hotel on Saturday March 1st, were a resounding success for everyone involved. Organised by Damien Mulley, the annual awards are a celebration of the journalistic and literary talent of Ireland's blogging community. Here's the winner's list and here are a few of the George Bush video intros that were used to introduce the award categories on the night...    UPDATE

YouTube Investigates CSS Video

2008-03-07 20:48:08        Posted by: ragaman7        Category: Remix Culture

YouTube is investigating a sudden surge in traffic that has seen a fan-made video clip featuring a quirky Brazilian pop band rocket to the top of its most viewed video chart.

The clip, Music is My Hot Hot Sex by the Brazilian electro band Cansei De Ser Sexy, has collected over 40 million additional views in just three weeks to push its cumulative tally to an impressive 90 million.

In that period, it jumped from tenth place on YouTube's all-time leaderboard to first, overtaking American motivational speaker Judson Laipply's Evolution of Dance which has held the top spot unchallenged for over 18 months.

In September, a British student a the University of Leeds, 18-year-old Nick Haley, discovered the song and turned it into a homemade advertisement for Apple's new iPod touch media player - which he then also uploaded to YouTube. [by Stephen Hutcheon, The Sunday Morning Herald]


Nine Inch Nails Encourage Remix

2008-03-06 04:09:01        Posted by: ragaman7        Category: Remix Culture

Nine Inch Nails have released their new album, Ghosts I-IV, as a free download under a remix-friendly Creative Commons license. The band is selling a selection of collectible, high-margin media with the music on it, and will presumably tour and sell tickets to people who got turned on by the freely copyable music. [from Boing Boing]    UPDATE

Transformative Works?

2008-02-29 22:12:35        Posted by: ragaman7        Category: Remix Culture

Here's an organisation that stands for and highlights some of the most important issues in the remix and fan culture spaces. LINK

The Organization for Transformative Works (OTW) is a nonprofit organization established by fans to serve the interests of fans by providing access to and preserving the history of fanworks and fan culture in its myriad forms.

OTW was created to work toward a future in which all fannish works are recognized as legal and transformative, and accepted as legitimate creative activity. Our mission is to be proactive and innovative in protecting and defending our work from commercial exploitation and legal challenge, and to preserve our fannish economy, values, and way of life by protecting and nurturing our fellow fans, our work, our commentary, our history, and our identity, while providing the broadest possible access to fannish activity for all fans. LINK     UPDATE

Be Kind Rewind Competition

2008-02-27 19:42:34        Posted by: ragaman7        Category: Remix Culture

From the Be Kind Rewind YouTube Channel:

We'd like you to make your own sweded movie! Using your favourite film as inspiration, make a short movie that's no more than 2 minutes and you could win a whole bunch of LG entertainment equipment courtesy of the Viewty mobile phone and a holiday to the home of movies, Hollywood USA, courtesy of American Airlines.Your movie will be judged on its creativity and also its humour, so be sure to make it clever and funny.    UPDATE

Eyespot Upload Now Available

2008-02-22 19:11:43        Posted by: ragaman7        Category: Remix Culture

We are very pleased to announce that we have partnered with Eyespot to bring our users the ability to upload video to Total Recut. Over the next few weeks, we will be integrating Eyespot's online video editing software into the site aswell so that our users will be able to edit their videos without leaving the site or downloading standalone editing software.    UPDATE

Aviary Could Rival Photoshop

2008-02-20 02:07:38        Posted by: ragaman7        Category: Remix Culture

The Worth1000 folks have just shipped Aviary, a powerful, simple online image editor optimized for making photoshopped mashups of two or more images. Aviary is currently still in private beta, but you can add your email to the beta list here. [from]    UPDATE

Australian Creative Commons

2008-02-14 21:13:36        Posted by: ragaman7        Category: Remix Culture

When you're dealing with a flooding emergency in the middle of the worst drought for many years, the last thing you need is barriers to the sharing of geographical and meteorological information. Yet that's the situation faced by Australia. The authorities' response is to consider the widespread adoption of Creative Commons licences for public-sector information. Last month, the government of Queensland approved the use of Creative Commons, which allows free re-use of copyright material subject to certain conditions, as part of a new licensing framework. Meanwhile, the Commonwealth (federal) government is expected to give the green light to creative commons in a new set of guidelines for the management of the government's intellectual property. The new Australian policy will be watched with interest by Britain's free-data movement. Historically, Australia is a pioneer of free data: a 1968 law exempted most data produced by the federal government from copyright protection. [by Michael Cross - The Guardian]     UPDATE

Student's Social Statement Remixed

2008-02-13 23:28:47        Posted by: ragaman7        Category: Remix Culture

Mark C. Marino wanted to respond to a scholar’s video that was causing a buzz on YouTube. So he made a video of his own, remixing the original as a critique. The dueling videos might point to a future in which scholarly arguments take place in visual rather than written form. The four-and-a-half-minute video that sparked the discussion was produced by Michael L. Wesch and the 200 students in his cultural-anthropology class at Kansas State University (which we wrote about back in October). The work presents startling statistics about college life; students hold up signs that read, “I bring my laptop to class, but I’m not working on class stuff,” “I spend 2 hours on my cellphone” per day, and “I will be $20,000 in debt after graduation.” The statistics were drawn from a survey of the 200 class members—a small sample for a video titled “A Vision of Students Today.”


Lessig Gives Final CC Talk

2008-02-04 07:15:09        Posted by: ragaman7        Category: Remix Culture

Lawrence Lessig famously battled Mickey Mouse before the Supreme Court. And lost. But the fight illustrates how the Stanford law professor has played a pivotal role in shaping Internet law and in building a new approach to copyright rules in the digital era, whose spirit, after all, is the freedom of information. For some 10 years, Lessig, 46, has spread the message that corporations such as Walt Disney Co. need to loosen their hold on popular culture. Crisscrossing the globe, he has delivered his lecture, called Free Culture, to students, high-tech executives, filmmakers and world leaders. The unassuming professor has become one of the most widely known evangelists on the subject, particularly in Silicon Valley. But under the bright lights of Stanford's Memorial Auditorium on Thursday, Lessig gave his last lecture on the subject. He is leaving the copyright fight to target another thorny issue: corruption in politics. [by Ellen Lee, San Francisco Chronicle]     UPDATE

Machinima Goes Mainstream

2008-02-02 22:24:22        Posted by: ragaman7        Category: Remix Culture

What do a commercial for Toyota, TV programs such as CSI: New York and The Office, film festivals, and an organization that works with urban youth all have in common? They are at the forefront of machinima, a filmmaking genre that is helping to shape video for the 21st century. Machinima, a contraction of the words machine and cinema, is a genre of filmmaking that was originally created by gamers in the 1990s. Over the past decade, machinima has gone more mainstream, and creativity has entered a whole new dimension.

What is machinima?

Machinima (muh-sheen-eh-mah) is filmmaking within a real-time, 3-D virtual environment, including video games such as Halo (used to create 100 episodes of “Red versus Blue” machinima series) and Neverwinter Nights (used to create the machinima series “Neverending Nights), and platforms such as Second Life. It combines the technologies of filmmaking, animation, and 3-D video games. Essentially, machinima applies real-world filmmaking techniques within an interactive virtual environment where characters and events can be controlled by humans, scripts, or artificial intelligence.

Video games most often provide the settings, props, costumes, and characters (which can be modified) needed to tell an original story. Some platforms, such as MTV Central and video games like Sims 2, have in-game recording options enabling filmmakers to capture footage; a screen capture software program is needed to import game environments where there are no built-in machinima tools. Remixing audio and video content is also popular among budding machinimists. [by Tabitha Tsai and Kelly Czarnecki - School Library Journal]    UPDATE

Penn State Uni Mashup Contest

2008-01-29 00:01:08        Posted by: ragaman7        Category: Remix Culture

The University of Pennsylvania is running their Video Mash-Up contest for the second year in a row for current students or graduates of the prestegious educational institution.

'mashup video. A video that remixes or repurposes material from existing video. Addition of original footage is acceptable.'

Prizes 1st prize: Digital Video Camera 2nd and 3rd prizes: iPod Shuffle Sponsored by Penn Libraries, the Cinema Studies Program, and College Houses and Academic Services    UPDATE

Duran Duran Video Remix Contest

2008-01-29 00:01:23        Posted by: ragaman7        Category: Remix Culture

Duran Duran wants to see your video mash-up of their new single "Falling Down!" Clips from Duran Duran's official video are posted on this page for you to download. You can download these files and then make your own video mash-up. Use all of your own footage, use some of the official video, then it's all up to you, just use your imagination.    UPDATE

Rambo Movie Remix Contest

2008-01-25 22:49:00        Posted by: ragaman7        Category: Remix Culture

The folks behind the new Rambo movie () have decided to make available some clips from the film for fans to mash up into remixed video trailers. Go crazy! Here's the Link and a link to the movie site.    UPDATE

Wikimedia - Kaltura Collaboration

2008-01-22 01:10:05        Posted by: ragaman7        Category: Remix Culture

Wikimedia and Kaltura are teaming up for a program that aims to bring rich-media collaboration to Wikipedia and other wiki websites. This speaks specifically to collaboratively created video, audio, animations, slide shows, text and images, and looks to be an extension of the Open Source remixing program that Wikipedia announced about a month ago. Collaborative is key, seeing as this is a program through Wikimedia, and all. And Kaltura is all about collaborative creation as well.

Wikimedia is demoing the program through WikiEducator, an educational wiki that’s hosted by the Commonwealth of Learning. And while WikiEducator isn’t a part of the Wikimedia organization, it is taking advantage of the new program being announced by Wikimedia and Kaltura. You can find more information about the WikiEducator demo here. Wikimedia’s focus on text wikis has been shaping up for some time know, and has become a standard practice to look at when considering the current manifestation of web 2.0 and overall Internet culture. What we’ve seen more recently is a push towards collaborative media–something that took shape in the creative business world and has been applied to larger social networking trends. [from by Kristen Nicole]    UPDATE

'The Dumb Man' Reimagined

2008-01-29 00:01:50        Posted by: ragaman7        Category: Remix Culture

When Lainy Voom first heard Sherwood Anderson's mysterious short story, "The Dumb Man", she says, "It stopped me in my tracks, made me absolutely still while I listened." It was about death and desire, and it refused easy understanding. "I like that it raises questions but the questions are never resolved." So the images it evoked lingered in her head for months, until she had her own answers to them. The result is a Second Life machinima, easily among the very most ambitious and mesmerizing works of the form. (from New World Notes)     UPDATE

Lessig's Final Free Culture Talk

2008-01-13 21:52:54        Posted by: ragaman7        Category: Remix Culture

From an announcement on Facebook: Creative Commons founder and Stanford professor Lawrence Lessig is giving his final presentation on Free Culture, Copyright and the future of ideas at Stanford's Memorial Auditorium on January 31. After 10 years of enlightening and inspiring audiences around the world with multimedia presentations that inspired the Free Culture movement, Professor Lessig is moving on from the copyright debate and setting his sites on corruption in Washington. Lessig is giving a final talk at Stanford University on the subject, and it is being recorded for the upcoming feature film "Basement Tapes," an open source documentary (see Free admission. Guests will also be treated to a sneak preview of some upcoming scenes from "Basement Tapes," and remixed work from the Open Source Cinema website.     UPDATE

Steal This Film Part II

2008-01-09 16:47:59        Posted by: ragaman7        Category: Remix Culture

The folks behind the excellent 'Steal This Film', a fantastic documentary about the copyright wars, have completed their second installment and it will screen in London on January 1 These are strange times indeed. While they continue to command so much attention in the mainstream media, the 'battles' between old and new modes of distribution, between the pirate and the institution of copyright, seem to many of us already lost and won. We know who the victors are. Why then say any more? Because waves of repression continue to come: lawsuits are still levied against innocent people; arrests are still made on flimsy pretexts, in order to terrify and confuse; harsh laws are still enacted against filesharing, taking their place in the gradual erosion of our privacy and the bolstering of the surveillance state. All of this is intended to destroy or delay inexorable changes in what it means to create and exchange our creations. If STEAL THIS FILM II proves at all useful in bringing new people into the leagues of those now prepared to think 'after intellectual property', think creatively about the future of distribution, production and creativity, we have achieved our main goal.     UPDATE

Czech Artists Face Jail Time

2008-01-04 19:10:03        Posted by: ragaman7        Category: Remix Culture

Had you been watching Czech Television on June 17, 2007, you might have seen what appeared to be a nuclear explosion on your television screen. A mountain resort in the Krkonose region of the Czech Republic appeared to go up in a mushroom cloud of smoke. The video was a hoax, cleverly perpetrated by Ztohoven, a local art group. They later released a statement on their MySpace page claiming responsibility for the event: “We are neither a terrorist organization nor a political group, our aim is not to intimidate the society or manipulate it, which is something we witness on daily basis both in the real world and in the world created by the media…We hope our action will become an appeal for the future and remind the media of their duty to bring out the truth.” The performance, entitled “Media Reality” sparked controversy throughout the country. The Czech National Gallery awarded the group with the newly created NG 333 prize for their work. ”This piece---alongside all of the art the group Ztohoven is making - is crossing the border from art into something more social. The artists are trying to escape from the cage of art, and into real life. They would like to influence their own lives, and other people’s lives.” The cash prize totaled approximately 333,000 KOR, or US$18,350. Unfortunately, the project received scathing reviews from Czech Television, the station that was the unwilling host for the performance. According to Dusan Ondracek, state prosecutor, six of the members of Ztohoven group have been charged with scaremongering and spreading false information. The members, if convicted, could face up to three years in prison. Ironically, it is not uncommon for media outlets to deliberately report false news. Traditionally April Fool’s Day makes it acceptable to publish fake stories---despite the spread of false information. One of the most infamous occasions of an April Fool’s report was the 1957 BBC report on the Swiss Spaghetti Harvest, where distinguished journalist Richard Dimbleby reported on the favourable season for spaghetti farmers in Europe. Hundreds of viewers contacted the BBC program to ask where they could get their own spaghetti bush. It is believed to be the first instance of television being used for an April Fools broadcast, but many media outlets both before and since, have been documented as having used their voice for a practical joke, including The Guardian and Sports Illustrated. Perhaps, had Ztohoven carried out their performance two months earlier they wouldn’t be in the hot-water they are facing. What is more likely though, is that only the media believes they have the power to create false news, on April Fool’s Day or otherwise. [by Anikka Maya Weerasinghe - ArtThreat.Net]    UPDATE

Best of Bootie 2007

2008-01-02 23:26:08        Posted by: ragaman7        Category: Remix Culture

DJ Adrien and the Mysterious D have compiled an album of the 20 best music mash-ups, or 'bootlegs' of 2007. Some classics here, definitely worth a download.     UPDATE

DIY Music Stardom

2007-12-27 18:44:10        Posted by: ragaman7        Category: Remix Culture

The former Talking Head, David Byrne, interviewed Thom Yorke of Radiohead for Wired about Radiohead’s online-album experiment. Interestingly, though, a companion piece by Mr. Byrne, about how artists should navigate the troubled and chaotic music industry, is getting the most attention ( Skip to next paragraph Alex Eben Meyer The economics of falling costs are transforming the music industry, just as they are transforming the Web business. “Now an album can be made on the same laptop you use to check e-mail,” Mr. Byrne wrote. And thanks to digitized music, distribution “is pretty much free.” [Dan Mitchell]     UPDATE

"It's Our Web!" -

2007-12-07 13:01:55        Posted by: ragaman7        Category: Remix Culture have put together an infotainment video dealing with the ongoing pillage of the Internet by big media companies, with a view to building secret files on each of us so that they can sell user-specific advertsising and make shit loads of money. The problem is, they will make this money at the expense of the user who has to put up with invasion of privacy, annoying unwanted pop up ads and an all round less pleasing web experience...this scenario can be prevented.    UPDATE

Doujinshi Could Save Manga

2007-10-25 19:48:08        Posted by: ragaman7        Category: Remix Culture

Commercial Manga is suffering an inevitable decline in Japan due to the natural slow down of popularity in print media. But Doujinshi could be its saving grace. Doujinshi, or fan-fiction comics appropriate copyrighted material, remix it into a new fan made comic and share it online. This has created a whole new breed of die hard fans and increased general interest in the art form. A shining example of Remix Culture at its finest.    UPDATE

What is Machinima?

2007-10-05 17:57:05        Posted by: ragaman7        Category: Remix Culture

Machinima, a portmanteau of machine cinema, is both a collection of associated production techniques and a film genre defined by those techniques. As a production technique, the term concerns the rendering of computer-generated imagery (CGI) using real-time, interactive (game) 3D engines, as opposed to high-end and complex 3D animation software used by professionals. Engines from first-person shooter and role-playing simulation video games are typically used. Consequently, the rendering can be done in real-time using PCs (either using the computer of the creator or the viewer), rather than with complex 3D engines using huge render farms. As a film genre, the term refers to movies created by the techniques described above. Usually, machinima productions are produced using the tools (demo recording, camera angle, level editor, script editor, etc.) and resources (backgrounds, levels, characters, skins, etc.) available in a game. [from Wikipedia]     UPDATE

Popular Political Mash-Ups

2007-09-24 18:42:00        Posted by: ragaman7        Category: Remix Culture

Yahoo News has unleashed a very interesting online debate in the form of political mash-up videos based on the upcoming presidential elections in the U.S. After less than 2 weeks, Yahoo claims that over one million viewers have watched their mash-up vids. Basically, you select a candidate, then an issue and watch as Yahoo draws from recent footage to create your customised video. Not strictly a creative video recut, but certainly material that talented remixers could use to make things really interesting in the coming months...    UPDATE

HBO Buys Rights to Movie Shot in 'Second Life'

2007-09-08 15:42:23        Posted by: ragaman7        Category: Remix Culture

HBO said on Tuesday it has acquired the rights to a short-form documentary shot entirely within "Second Life," as entertainment companies increasingly turn to virtual worlds as a source for new content. "My Second Life: The video diaries of Molotov Alta" purports to tell the story of a man who "disappeared from his California home" and began issuing video dispatches from "Second Life." Alegedly, a six figure sum was paid for the rights. The future is looking bright for video remix film-making; machinima, in this case. [Thanks to Fox News]    UPDATE

Video Recuts Can Get You Noticed

2007-08-30 23:53:46        Posted by: ragaman7        Category: Remix Culture

Daniel Geduld, the man responsible for 'The Skeletor Show', a series of video mash-ups using clips from the He-Man cartoon overdubbed with new 'comedic' dialogue and a jazz soundtrack, has become the latest example of head hunted talent in the remix world. He added his email address and the line 'Please give me a job. 'I'm talented.' to the end of each clip...and that's exactly what has happened. Similar stories have come from AMDS films, the creators of the Robocop vs Terminator clips among others and Robert Ryang, the creator of 'Shining' the godfather of video recuts. A lesson to be learned...    UPDATE

Lessig steps down from Creative Commons

2007-08-30 23:56:51        Posted by: ragaman7        Category: Remix Culture

A sad day for anyone who takes an interest in digital rights and freedom of expression. The legend that is Mr. Lawrence Lessig has decided to hang up the Creative Commons boots and pursue a career in exposing corruption instead. We will follow his progress with great interest and carry on his legacy...    UPDATE




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