Remix Culture & Creative Commons | Lawrence Lessig

Talk di Lawrence Lessig su Remix culture e Creative Commons. – Talk by Lawrence Lessig on Remix culture and Creative Commons.

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Remix culture 

Il Remix secondo Wikipedia

Il remix è il risultato della modifica di un prodotto mediale attraverso l’aggiunta, la rimozione o il cambiamento di una o più delle sue parti (letteralmente remix vuol dire ri-modifica). Una canzone, un’opera d’arte, un libro, un video o una fotografia possono tutti essere “remixati”. La caratteristica principale del remix è quella di modificare un prodotto per creare qualcosa di nuovo. Fonte Wikipedia

Lawrence Lessig e la Remix culture

Per Lawrence Lessig, fondatore di Creative Commons, la remix culture ovvero lo smontaggio-rimontaggio di immagini, testi, codice, suoni e video prelevati dal web rappresenta, e non da oggi, il moderno paradigma compositivo che ha definitivamente mandato in soffitta il mito dell’autorialità e dell’originalità.

Lessig infatti è da sempre sostenitore di pratiche culturali e creative basate sul riciclo-rielaborazione di contenuti digitali preesistenti anche se è lo stesso giurista ad affermare che questi contenuti vanno comunque inquadrati all’interno di una adeguata cornice legislativa.

Remix culture ed economia circolare della rete

Se internet è come un immenso calderone da dove poter riciclare-trasformare materiale di ogni genere allora forse siamo di fronte a una sorta di economia circolare della rete dove tutto inizia e si esaurisce all’interno di essa.

Remix Culture e Dada Remix

Dada Remix sono dei video-pastiche della durata di un minuto ciascuno che mescolano tra loro immagini di artisti contemporanei prese dal web, oggetti animati e musica pop, synthpop e house.

Questi video sono “sfacciatamente” a favore dell’utilizzo libero e creativo delle risorse presenti su internet in sintonia con lo spirito originale della remix culture.

Dada e Neo Dada

Il nome del progetto video (Dada Remix) è un omaggio ai precursori storici del “collage taglia e cuci” contemporaneo, ovvero ai movimenti artistici d’avanguardia Dada e Neo Dada.

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Remix culture 

The remix according to Wikipedia

A remix is a piece of media which has been altered or contorted from its original state by adding, removing, and changing pieces of the item. A song, piece of artwork, books, video, poem, or photograph can all be remixes. The only characteristic of a remix is that it appropriates and changes other materials to create something new. Wikipedia source

Lawrence Lessig and Remix culture

According to Lawrence Lessig, founder of Creative Commons, remix culture – that is, disassembling and reassembling  of images, text, code, sounds, and video sourced from the web- represents the modern compositional paradigm that has effectively and permanently sent the myth of authorism and originality packing.

Lessig, in fact, has always been a supporter of cultural and creative practices based on recycling or reworking pre-existing digital content , even though he is also a law professor  who says that this content must still be framed within an adequate legislative framework.

Remix culture and the circular web economy

If the Internet is like an immense cauldron into which we can dip in order to recycle and transform material of all kinds, then we are faced with a sort of circular web economy, where everything starts and ends up within its confines.

Remix Culture and Dada Remix

Dada Remixes are one-minute video-pastiches that combine images by contemporary artists found on the web, with animation, as well as pop, synthpop, and house music.

These videos are blatantly in favor of the free creative use of internet resources, in line with the original spirit of remix culture.

Dada and Neo Dada

The name of the project (Dada Remix) is an homage to its historic precursors of contemporary “cut and paste collage”, the Dada and Neo Dada avant-garde artistic movements. 

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“Remix culture, sometimes read-write culture, is a society that allows and encourages derivative works by combining or editing existing materials to produce a new creative work or product. A remix culture would be, by default, permissive of efforts to improve upon, change, integrate, or otherwise remix the work of copyright holders. While combining elements has always been a common practice of artists of all domains throughout human history, the growth of exclusive copyright restrictions in the last several decades limits this practice more and more by the legal chilling effect.”

“Remix culture has created an environment that is nearly impossible for artists to have or own “original work”. Media and the internet have made art so public that it leaves the work up for other interpretation and, in return, remixing.”

“The arrival of the Internet in the late 1990s and early 2000s created a highly effective way to re-implement a “remix culture” in all domains of art, technology and society. Unlike TV and radio, with a unidirectional information transport (producer to consumer), the Internet is inherently bidirectional, enabling a peer-to-peer dynamic. This accelerated with Web 2.0 and more user-generated content due to Commons-based peer production possibilities. Remixes of songs, videos, and photos are easily distributed and created.”


“The line “good artists copy; great artists steal,” attributed to Pablo Picasso and appropriated by Steve Jobs  in a 1995 interview, is in some ways at the core of much of the aesthetic endeavors that engage modern technology.

Jobs freely admitted to being “shameless about stealing great ideas,” and many of today’s bedroom artists might be said to have taken this mantra to heart. Meaningful appropriation remains a key tenet of creativity and innovation, whatever form they take, and Jobs understood this better than most; so do those whose natural form of expression is the remix or mash-up.

From Duchamp to Damien Hirst, artists have consistently challenged the idea that meaning ascribed to objects is permanently fixed. All cultural artifacts are open to re-appropriation. As with much else, technology has made this process easier and more visible. The news report, the cult TV show, the summer blockbuster, the chart hit or iconic photograph – all are open to endless reinterpretation by anyone with the right software. As Cory Doctorow  puts it: the Internet is “the world’s most efficient copying machine.”

He goes on to make the point that “Copying stuff is never, ever going to get any harder than it is today. Hard drives aren’t going to get bulkier, more expensive, or less capacious. Networks won’t get slower or harder to access. If you’re not making art with the intention of having it copied, you’re not really making art for the 21st century.”

The best examples of this kind of creative work are often marked by a reframing of the original narrative, and so produce a fresh perspective on both the source material and the context in which it first existed.

One could argue that remix culture has been around as long as the idea of “culture” itself.”


Copy, Transform, Combine | Creativity is a remix | Kirby Ferguson