This link has been bookmarked by 45 people . It was first bookmarked on 14 Jun 2006, by Matt Schneider.
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30 Mar 14
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24 May 10
Steen ChristiansenWe seldom legislate new technologies into being. They emerge, and we plunge with them into whatever vortices of change they generate. We legislate after the fact, in a perpetual game of catch-up, as best we can, while our new technologies redefine us - as
literature culture williamgibson appropriation intertextuality
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24 Mar 10
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01 Mar 09
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Burroughs' methods, which had also worked for Picasso, Duchamp, and Godard, were built into the technology through which I now composed my own narratives. Everything I wrote, I believed instinctively, was to some extent collage. Meaning, ultimately, seemed a matter of adjacent data.
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Our culture no longer bothers to use words like appropriation or borrowing to describe those very activities. Today's audience isn't listening at all - it's participating.
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We live at a peculiar juncture, one in which the record (an object) and the recombinant (a process) still, however briefly, coexist.
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Who owns the music and the rest of our culture? We do. All of us.
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tarkowskiWho owns the music and the rest of our culture? We do. All of us. Though not all of us know it - yet.
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05 Apr 06
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makeller63. . . the recombinant (the bootleg, the remix, the mash-up) has become the characteristic pivot at the turn of our two centuries.
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24 Jul 05
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Our culture no longer bothers to use words like appropriation or borrowing to describe those very activities. Today's audience isn't listening at all - it's participating. Indeed, audience is as antique a term as record, the one archaically passive, the other archaically physical. The record, not the remix, is the anomaly today. The remix is the very nature of the digital. Today, an endless, recombinant, and fundamentally social process generates countless hours of creative product (another antique term?). To say that this poses a threat to the record industry is simply comic. The record industry, though it may not know it yet, has gone the way of the record. Instead, the recombinant (the bootleg, the remix, the mash-up) has become the characteristic pivot at the turn of our two centuries.
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19 Jul 05
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10 Jul 05
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"Who owns the words?" asked a disembodied but very persistent voice throughout much of Burroughs' work. Who does own them now? Who owns the music and the rest of our culture? We do. All of us. Our culture no longer bothers to use words like appropriation or borrowing to describe those very activities. Today's audience isn't listening at all - it's participating. Indeed, audience is as antique a term as record, the one archaically passive, the other archaically physical. The record, not the remix, is the anomaly today. The remix is the very nature of the digital.
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09 Jul 05
Pelle StenWilliam Gibson om William S Burroughs, King Tubby, Lee "Scratch" Perry och hur remixarna och samplingarna skapat en deltagande kultur.
remix mashup sampling cutup musik litteratur alanmoore leagueofextraordinarygentlemen phantomedit pirater kingtubby leescratchperry williamgibson williamsburroughs musikindustrin
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08 Jul 05
Mys Techgal"Our culture no longer bothers to use words like appropriation or borrowing to describe those very activities. Today's audience isn't listening at all - it's participating. Indeed, audience is as antique a term as record, the one archaically passive, the
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07 Jul 05
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