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William Gibson on The Age of The Remix
wordisms writes "William Gibson of Neuromancer fame gives his thoughts on remix and innovation in the digital age, in a short essay at Wired Magazine entitled God's Little Toys. From the article: '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.'"
The remix is the very nature of the digital.
Excuse me while I gag...
I'm pretty sure his enthusiasm for the mix culture will wane the first time his new novel gets remixed and redistributed.
If Slashdot were chemistry it would look like this:Cadaverine
First, reading the article, paragraph, how many people know what the heck coruscating means? (definition here)
Anyway I don't know where the line is, but somewhere it is there albeit not a bright line. I loved the re-mix (don't remember who, don't remember the name of the song) where Steppenwolf's Magic Carpet Ride was the core of the piece but I would be disappointed if credit isn't extended and a cut of the profit isn't provided to Steppenwolf for providing the original inspiration and music. Certainly if someone were to digitally re-master any song in its purest and most original form and release that as their own work they would be guilty of out and out ripoff. But, a song with hints of the motif or melody of some other work is more subtle and probably more difficult to clearly state theft of said original work.
In classical music it was quite common for composers to "rip off" a theme or motif of another composer and incorporate it into another original work. In many cases it was considered the ultimate homage to the original creator.
I guess for me it boils down to how much is added by the "new" artist's work. Some of the re-mixes I've heard come pretty darned close to ripoffs.
Today's audience (uh huh) isn't listening at all - it's participating (uh huh, yeah). Indeed, audience is as antique a term as record (biggups to B.I.G.), the one archaically passive, the other archaically physical (what's up, foo'?). The record, not the remix (rica rica reeeemix), is the anomaly today. The remix is the very nature of the digital (Inch'allah).
Peace out, homies.
I call every physical representation of an event a "record". I think people who visualize black plastic disks when I say "record" are old fashioned. Because I mean the arrangement of physical signs, like grooves, optical pits, magnetic intensities, electrons, collected for reproduction of the event. Whether it's vinyl, CD, tape, Flash, fossils, tapestries, or even human memories. The Internet has made the physical instance of the media a detail only important to geeks. The record transcends all of those.
I'm not surprised Gibson thinks of vinyl when he thinks of "record". He's a geezer like me. And he even claimed, through the early 1990s, that he didn't write with a computer, but rather a typewriter. Not only is the already-arrived future not evenly distributed, but the departed past is still sticking around in some places.
--
make install -not war
The cor problem with remixing is that it takes something already created to make something new and different. Once everyone is doing it, then the core pieces used to create the remix will gradually dissappear. Someone, somewhere has to be making original content- otherwise there is nothing with which to cut and paste. As more and more of the arts become cut and paste, the more degenerative they will become. I think remixing is indicative of less creativety, not more.
If brevity is the soul of wit, then how does one explain Twitter?
Since we're on the subject of remixes, I think it's important to point out that many remixes are not legal. The folks at http://www.downhillbattle.org/ are working to let mixers into the ballgame, so to speak.
Also from the folks at downhillbattle.org comes http://bannedmusic.org/ which distributes some music that has been banned for copyright reasons (mixes and sampling). Included are the Double Black Album (Metallica's black album mixed with Jay-Z's black album) and the Grey Album (Beatle's white album mixed with Jay-Z's black album). There is much more stuff there, too, so check it out if you're into music advocacy.
The global economy is a great thing until you feel it locally.
Sounds a lot more like "open source" to me.
"Screw slashdot." -- Linus Torvalds
"I remixed a remix.......it was back to normal!"
Baseless and sweeping generalities (like the one I'm writing), even if dressed up by prepending "the" to common words, will always be popular since the vagueness can never be proven to be right or wrong.
But let's prove his theory, and borrow all of his newly released novels instead of buying them. As he says in the article, it belongs to us anyway.
Already years ago, Gibson was writing books that could be read/listened to in a randomized chapter sequence. I guess he really knows the subject of mixing and remixing...
This should be the role of governments. Rules after the fact allow inovation to advance at its own pace. This has lead to people who are alive today that predate automobiles.
The upcoming problem for society as a whole appears to be governments passing laws to attempt to control inovation prior to its development.
All the concerns over software patent law, genode patents, stem cell research limit the advance (whether good or bad) of inovation. More importantly they distort the natural cycle of inovation by artificually limiting some research and advancement based on todays societies values.
There was the recent SlashDot on Newton being faced with these same issues in his life. Galileo and so may others faced the same issues.
However in the end governments come and go, science, research and innovation is what endures.
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.'"
Baloney. There will ALWAYS be an audience, because not everyone is as adept at making things (even remixes require some talent - not much, but some) and not everyone WANTS to make things or finds making things interesting. There are a huge number of people, and I would submit that such a number constitutes a majority of people in general, who aren't really interested in being cultural producers of any variety. They LIKE to be entertained, they LIKE having people do that for them, and they LIKE having people do it for them in a COMPETENT manner.
Remixing is a marginal case, and while it will grow in popularity, it is just the flavour of the month until people tire of hearing Led Zeppelin being mixed over a brain dead hip hop beat with some spacey and/or glitchy atmospherics tossed in for the sake of "creativity". People will want to hear Real Music Made By Skilled Professional Musicians and remixing will go the same route of professionalisation and renewal like the rest of it.
Appealing to William Gibson as an authority is not a wise idea in this case. I have an idea - I'll OCR Mona Lisa Overdrive and remix it. Oooops! Can't really do that, can I? I have to KNOW HOW TO WRITE SCI-FI to do that. Same goes for music.
RS
Shoes for Industry. Shoes for the Dead.
Oh, I get it, Music, Video, art and literature are all objects, I can take these objects and "remix" them into a new program.... Wonder if I can use Rational Rose and Visio for my next music "sample".
It's all fun and games until the RIAA/MPAA crash your little party and remind you who owns what.
For those of you who don't know, Gibson is largely accepted as the creator of the term we are familiar with nowadays - Cyberspace and a completely new sub-genre in Science Fiction.
It is funny how in his book Neuromancer (Hugo Award, Nebula Award, Philip K. Dick Award) he presented the idea of a global information network and called it "the Matrix" in 1984.
I think we can trust his predictions. So far they have been quite accurate.
Too bad for the record industry if what he says comes true in the near future: "Who owns the music and the rest of our culture? We do. All of us.
Though not all of us know it - yet."
For the curious - Gibson is regarded as one of the experts in the field of technology and its effects on human life. Most of his books are quite dark and I think he has quite a pessimistic opinion on the future of men and technology.
In an interview, to the question of what is cyberspace, Gibson replied: "Cyberspace is a metaphor that allows us to grasp this place where since about the time of the Second World War we've increasingly done so many things that we think of as civilization. Cyberspace is where we do our banking, it's actually where the bank keeps your money these days because it's all direct electronic transfer. It's where the stock market actually takes place, it doesn't occur so much any more on the floor of the exchange but in the electronic communication between the worlds stock-exchanges.
So I think that since so much of what we do is happening digitally and electrically, it's useful to have an expression that allows that all to be part of the territory. I think it makes it easier to visualize what we're doing with this stuff.
Gibson was also asked the question:
"Some Americans claim that the Europeans are more afraid of the kind of society that you describe in your books..."
To which he answered:
"I think that the sort of societies I am describing would be more disturbing to someone who lived in a cohesive, functioning social democracy than it would be to someone who lives in the United States"
Interviewed for "Raport", Sweden's largest TV-news program. Interview done by Dan Josefsson, November 23, 1994.
A hungry bear does not dance!
As in a record of an event
The event of people
Playing music in a room
Now everything is cross-marketing
It's about sunglasses and shoes
Or guns or drugs
You choose
Ani DiFranco -- Fuel
"This story is not a song, but a record." -- Lee "Scratch" Perry
the article could be seen as a summary of the last 100 years of American culture. (or 1000 years of Western culture).
Art is the only true form of originality that exists in the world. It takes a creative mind to 'create' something from nothing.
- an image of beauty from a plain piece of canvass
- a new tool that saves a person the work of 3
- a way of thinking about ones place in the world that is of harmony with nature.
Modern society is more about consuming then it is about co-existing. The 'American' trend of sit-back and be entertained has led us to this cut&paste culture where things are just re-hashed for later use.
I believe that we are approaching the decedant state that Rome was in just before the fall.
The new renaissance should be quite entertaining.
"The price good men pay for indifference to public affairs is to be ruled by evil men." ~Plato (427-347 BC)
Please post anything you've written that can compete with Gibson's novels and then you can share your assesments of someone else's writing in such a dogmatic and prickish way.
Now there's an argument I can't stand. Being good at criticism and being good at the object of criticism are two seperate skills. Although knowledge is generally necessary, and adeptitude may help criticism, it's not outside the realm of possibility to be a good critic of something you can't do.
Information wants to be free.
Entertainment wants to be paid.
You just want to be cheap.
Techo-utopianism? Have you actually READ any of Gibson's work?
God's little toy was a floating camera in one of his books, that a character used to take footage of her life, and the life of people around her..
kind of fitting reference- remixing the video of your life, i guess.
As I watching Pink Floyd on stage the other night at Live 8, I was struck by how much more musically and lyrically rich they were compared to the other acts that we had seen. That's what music is intended to be. Not a bunch of musical wannabes who have to leech the creativity of others.
Bah.
Sometimes it's best to just let stupid people be stupid.
Hmm interesting that people get caught on the "REMIX" issue.
I just finished reading Pattern Recognition yesterday and probably now I see that article in a different light.
On the book: waaay different from anything before, it is more like a today's nover instead of close or distant future.
Much slower but I just could not put it down. The only book I could not read from him was The Difference Engine (just could not catch on the subject and gave it up on the 100th page)
Everything else I loved, including that very Gibson-ish bit on wired...
His site: a book site links to books that you can buy. You do not have to.
His blog: there is some quite interesting stuff if you take a closer look
If you think about it, we've been surreptitiously (I surreptitiously copied the word "surreptitiously" from Wired to impress you all) "remixing" technology thought recorded history. I'd hardly call it the nature of digital. Digital techniques have made it easier but the mother of invention still exists in digital media. We also shouldn't confuse inspiration with imitation; there is still a lot of innovation to enjoy. Actually, the only place lack of originality falls apart for me is in automotive distribution and mass production. I'm getting frustrated seeing the concept cars roll on to high-end auto shows only to end up with me sitting in a four-wheeled, archaic, internal combustion propelled vehicle. I want to drive the GM-Hywire. I completely understand that production costs and consumer demand dictate what manufacturers produce. But it still irritates me. kirk out.
- nightcrawler "Reality is an illusion, albeit a ver persistent one..." -A.Einstein
We have the means! I want this to happen
Hell, the distribution doesn't even need to involve copyright violation -- remixers could share their edit lists (FCP, whatever) and the recipients could apply them to their *ahem* personal DVD copies of the source material... (moral rights of the copyright holder put aside for the moment).
Is there a movie remix underground I've simply failed to break in on?