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As promised (to the class), here’s the deck for my presentation on Remix Culture given to the SVA grad seminar last week. My apologies for the formatting – some of the fonts & images didn’t translate well to Slideshare. The audio and video didn’t translate at all, so to watch/listen to the examples, you’ll need to click on the buttons on the slides.
Remix culture
View more presentations from Tom Tenney.
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A short digital story told with photos and sound, created for my Media Practices: Concepts class. Starring Ashleigh Nankivell, and featuring a “plundered” audio collage entitled “No Place Like Home” by Martin Williams.
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Written as midterm assignment for Media Studies:Ideas
In their 1988 book, Manufacturing Consent, Noam Chomsky and Edward Herman posit a theory of “systemic propaganda” in which the mass media control content in order to serve the ends of the dominant elite. The ingredients of this model are five “filters” used to censor content, which consist of concentrated media ownership, advertising, government news sourcing, flak, and anticommunism. The cultural and technological landscape in which this theory arose is vastly different than today’s, which is characterized by interactive technologies that allow everyday citizens to manipulate media in ways that were impossible 22 years ago. At the same time, interactive technologies pose their own set of challenges to the open distribution of news and other media content. The strengthening of copyright laws benefitting corporate media creators, as well as governmental restrictions on technology, have created a situation in which government is still in control of the creation and distribution of content. Additionally, corporate media producers have engaged in practices of aggressively persecuting fans and citizen producers over intellectual property rights – forcing fan websites to be shut down, and litigating against consumers who share and remix media.
How do changing copyright laws and a participatory media landscape impact the fitters theorized by Chomsky two decades ago? To try to answer this, I will look specifically at Chomsky’s ideas of media ownership and examine how they may be challenged by contemporary media practices. I will examine not only the concept of content ownership, but also ownership of the media companies themselves and try to discern how interactive media both challenges Chomsky’s theory, as well as how it has created an environment in which new censorship filters have emerged, and whether it’s possible for old economic models to survive in the digital age.
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Hello people – I just want to make sure everyone knows about the very special show coming up at the Guggenheim. The shows are almost sold out and I encourage you to grab tix before it’s all sold out.
Details below:
Solomon R. Guggenheim Museum presents:
Coup de Foudre
A multi-media event exploring the work of Jean Cocteau by Paul D. Miller in collaboration with Melvin Van Peebles, and Corey Baker of Ballet Noir.
OCTOBER 9 @ 8pm
OCTOBER 10 @ 6pm
TICKETS: $30, $25 for members, $10 for students
DJ Spooky collaborates with Melvin Van Peebles and Corey Baker from Ballet Noir to create an interpretation of the renowned originator of Surrealism, Jean Cocteau’s first film “The Blood of a Poet.” Most of you may know the legendary film maker Melvin Van Peebles from his groundbreaking film “Sweetback’s Baaadaasss Song” but he’s also been considered a revolutionary in cinema with his influences ranging from Quentin Tarantino (who cites Peebles as one of his favorite film makers) to Wu-Tang Clan – who’ve sampled him on several occasions. Basically, he’s one of the most important film makers of the late 20th century. DJ Spooky has scored a string ensemble that will be playing my compositions live for the scenario, and all in all, it’ll be a pretty cool situation. I hope you can come out.
A remix and interpretation of Jean Cocteau’s infamous film “The Blood of a Poet” narrated by renowned film maker Melvin Van Peebles.
In conjunction with Chaos and Classicism, the Guggenheim Museum is pleased to premiere Coup de Foudre, a contemporary art and performance project based on a reinterpretation of Jean Cocteau’s classic film The Blood of a Poet (Le sang d’un poète, 1930) by Paul D. Miller aka DJ Spooky and Corey Baker, resident choreographer of the New York–based company Ballet Noir, and featuring the Telos Ensemble. Cocteau’s work in film, painting, sculpture, poetry, and theater has engaged many themes that continue to drive today’s digital and multimedia contemporary art. In the eyes of Miller and Baker, The Blood of a Poet examines the role of language in relation to cinema and dance and creates a milieu where poetry becomes imagist at every level. For Miller, Cocteau’s sense of interdisciplinary production anticipates the DJ mix through the French artist’s use of musicality and the insertion of classical forms into modern contexts. Baker sees Cocteau’s use of movement in film as animating the inanimate by setting simple images into motion. Coup de Foudre explores the ambiguous relationship between modern compositional strategies, based on sampling and digital media, and an art experience tied to cinematic history and contemporary times.
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This is the final piece for my Radio Narratives class, a ten minute audio art/umentary entitled “Off the Grid,” which profiles (to use the term loosely), three of my favorite art stars: Don Eng, John King, and Walter Gambin. Special thanks to Reverend Jen for providing some miraculous VO which pulled everything together for me in my hour of need. As always, I recommend listening with a good set of headphones. Comments and criticism are encouraged.
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This is the third of four radio pieces I’ll be posting this summer. The directive for this one was to create a piece that fit into the theme “Home” as presented on the CD put out by the Deep Wireless Festival. I chose to document my trip back to Boston, earlier this summer, for my high school reunion at the Cambridge School of Weston. I had recorded several hours of the reunion, not knowing if I would use it for anything, so it was a challenge to create something out of this stuff that I had recorded without idea or direction. I’m fairly pleased with the result, although I think parts of the narration are problematic and could use some additional editing.
As always, please listen with a good set of headphones if possible.
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