Cultures have to be made – created – and they are
made by mixing ‘new’ elements with ‘pre-existing’ elements in the manner
of ‘conversations’.(p.97)
Read/Only culture emphasizes the consumption of professionally produced cultural tokens or artifacts. The relative few produce cultural items for the many to view, read, listen to. As Lessig (ibid.: 28) puts it, a Read/ Only culture is a culture that is ‘less practiced in performance, or amateur creativity, and more comfortable (think: couch) with simple consumption’. (p.98)
Read/Write culture, on the other hand, is one in which those who ‘read’ the resources of their culture also wish to ‘add to the culture they read by creating and re-creating the culture around them ... using the same tools [e.g., certain kinds of musical instruments, image capturing and enhancing tools, writing and drawing technologies] the professional uses’ (ibid.). (p.98)
When thinking about "remixing" as a "Writing" practice, it becomes more like "curating" as "remixing" is the practice of putting and organizing selected things together. Then, Reading Only practice can also be taken as "Writing" practice I think. When one browses the web pages and digital artifacts, one's choices and selections are archived as the history/traces. This history affects on what ads are popping up on one's Facebook page, and what suggested automatic searching words are first showing when one is googling. Depending on "Reading" activities, one's browsing experiences are shaped differently as browsers remember what one has been looking at and listening to. Just by consuming, one is curating one's experiences, in other words, experiences of the past curate, guide and "write" what one can experience in the present and the future.
Read/Only culture emphasizes the consumption of professionally produced cultural tokens or artifacts. The relative few produce cultural items for the many to view, read, listen to. As Lessig (ibid.: 28) puts it, a Read/ Only culture is a culture that is ‘less practiced in performance, or amateur creativity, and more comfortable (think: couch) with simple consumption’. (p.98)
Read/Write culture, on the other hand, is one in which those who ‘read’ the resources of their culture also wish to ‘add to the culture they read by creating and re-creating the culture around them ... using the same tools [e.g., certain kinds of musical instruments, image capturing and enhancing tools, writing and drawing technologies] the professional uses’ (ibid.). (p.98)
When thinking about "remixing" as a "Writing" practice, it becomes more like "curating" as "remixing" is the practice of putting and organizing selected things together. Then, Reading Only practice can also be taken as "Writing" practice I think. When one browses the web pages and digital artifacts, one's choices and selections are archived as the history/traces. This history affects on what ads are popping up on one's Facebook page, and what suggested automatic searching words are first showing when one is googling. Depending on "Reading" activities, one's browsing experiences are shaped differently as browsers remember what one has been looking at and listening to. Just by consuming, one is curating one's experiences, in other words, experiences of the past curate, guide and "write" what one can experience in the present and the future.
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| I think google knows that I am in NYC |
In some remixes the creators aim both to elicit listeners’ recognition of the
original aura(s) and to evoke listeners’ judgement that this is, nonetheless,
something new – a new song (ibid.: 30). (p.105)
This kind of exploration, however, will likely not convey much of a sense of the operational (technical, skill) aspects of the practice, or the experiential and ‘existential’ dimensions of remixing music, far less any approximation to an insider or fan perspective. This can only proceed from a personal focus or interest or passion and from ‘taking up the tools’ through supported hands-on involvement, and with a good introductory source to hand, such as Erik Jacobson’s (2010) how-to account of music remix.(p.107)
This kind of exploration, however, will likely not convey much of a sense of the operational (technical, skill) aspects of the practice, or the experiential and ‘existential’ dimensions of remixing music, far less any approximation to an insider or fan perspective. This can only proceed from a personal focus or interest or passion and from ‘taking up the tools’ through supported hands-on involvement, and with a good introductory source to hand, such as Erik Jacobson’s (2010) how-to account of music remix.(p.107)
In terms of knowledge and skills, this kind of remix requires such things
as identifying the need or purpose to be served by a mashup, the kinds of
APIs and programming tools that will be needed, where any required data
will come from – the kind of database to be added to the mix in cases where
data are needed – determining the level of coding skills presupposed for
building the mashup and, in the event of not having the required coding
knowledge, finding out where and how to get it or, alternatively, whether
there are tools that can create a component without the need for coding. (p. 109)
The context becomes important element of content. Shared by whom, played where and when decides the matter of why and what.
Technology is not anymore the exclusive property of professionals. The barrier of technology is getting lower and lower so more people can access to the "Remix" practices. On the other hand, the aesthetics the software program have are not something that one can easily modify. The functions of software have, for example in PhotoShop, it is impossible to work outside of its offered effects (although there are plenty possibilities to mix and remix to play). Even more than two platforms can be used together, still "the paradigm" is what always there as a basement. People can play, write, and remix things within the system that built by coding (systems of basic paradigms), but it means that there is another level of writing, which is coding the program where people use as their platforms of writing practices.
The context becomes important element of content. Shared by whom, played where and when decides the matter of why and what.
Technology is not anymore the exclusive property of professionals. The barrier of technology is getting lower and lower so more people can access to the "Remix" practices. On the other hand, the aesthetics the software program have are not something that one can easily modify. The functions of software have, for example in PhotoShop, it is impossible to work outside of its offered effects (although there are plenty possibilities to mix and remix to play). Even more than two platforms can be used together, still "the paradigm" is what always there as a basement. People can play, write, and remix things within the system that built by coding (systems of basic paradigms), but it means that there is another level of writing, which is coding the program where people use as their platforms of writing practices.
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