Mashups

Cet article propose une synthèse sur les différentes formes de cartographie participatives, qui ont émergé à partir des années 1980 dans le cadre de l’aide au développement, et se sont épanouies dans un tout autre contexte technique, avec les cartes numériques créées à l’aide d’interfaces de programmation, associées à un internet contributif, le Web 2.0. Dans un second temps, nous abordons les enjeux de ces cartographies, en montrant qu’elles matérialisent un transfert de pouvoir, mais ne sont pas exemptes de biais et de contraintes. Enfin, l’analyse porte sur le défi qu’elles représentent pour la cartographie en tant que discipline technique et académique, et leur intérêt pour une approche géographique des territoires.

Participative cartography, undisciplined cartographyThis article provides a synthesis of the various forms of participative cartography that emerged in the 1980s in the framework of development assistance, and flourished in a completely different context, with the digital maps created through application programming interfaces, associated with a collaborative and participatory internet, the Web 2.0. Secondly, we address the key issues of these cartographies, by showing that they materialize a transfer of power, but are not free from bias and constraints. Finally, the analysis relates to the challenge they represent for cartography as a technical and academic discipline, and their interest for a geographical approach of territories.

Winner of a 2012 FACE OUT grant from the Council of Literary Magazines and Presses. In the tradition of William Burroughs’ cut-ups and avant-garde collage, Michael Leong’s new book-length poem dismantles and re-sutures three disparate sources: T.S. Eliot’s classic essay “Tradition and the Individual Talent,” Wikipedia articles about the chemical elements, and the periodic table. The result is a visually striking array of typographic forms and an explosive fusion of dictions. Clever in both concept and compositional execution, Cutting Time with a Knife is a bold experiment that explores the limits of invention, authorship, and originality.

We present a query formulation language (called MashQL) in order to easily query and fuse structured data on the web. The main novelty of MashQL is that it allows people with limited IT skills to explore and query one (or multiple) data sources without prior knowledge about the schema, structure, vocabulary, or any technical details of these sources. More importantly, to be robust and cover most cases in practice, we do not assume that a data source should have-an offline or inline-schema.

In this Essay, I sketch out some First Amendment and Due Process issues that arise from recent efforts by the World Intellectual Property Organization (“WIPO”) to revise U.S. copyright law. My focus will be on the WIPO Treaty on Audiovisual Performances (the “AV Treaty” for short). The AV Treaty expands upon other efforts to make it unlawful to reproduce or use nonliteral material having substantial value to another author; display or perform fragmentary content having substantial value to a record company or movie studio; or make a movie or YouTube video by transforming, recasting, or adapting information having substantial value to a corporation. Under WIPO's leadership, U.S. copyright law is moving to transfer more of the social value associated with copyrighted work to the copyright owner, and away from subsequent authors and consumers.

The Essay describes WIPO and its role in expanding copyright-like rights via the AV Treaty and statutes such as the Digital Millennium Copyright Act (“DMCA”). It analyzes key provisions of the AV Treaty for whether they change U.S. law, or merely globalize its existing rules. Article 5 of it states that independently of any economic rights, and even after the transfer of them, a performer has a right as to his or her fixed, live performances, to object to any distortion, mutilation or other modification of his performances that would be prejudicial to his reputation, taking due account of the nature of audiovisual fixations. Article 6 seems to grant a broad new right to restrict the “communication” of unfixed performances not already broadcast, to which right some exceptions “may” be granted, but do not have to be granted. Article 12 contemplates additional royalties to be paid to performers; irrespective of existing contracts relating to performances embodied in movies, songs, television shows, or video games. Article 15 of the AV Treaty could provide legal reinforcement to efforts to utilize digital rights management and technological protection measures so as to restrict the fair use of performances. Article 16 of the AV Treaty requires parties to provide civil remedies against those who negligently facilitate the availability or distribution of a performance, knowing or having reason to know that the credits or terms of use have been omitted.

The Essay describes the threat posed to the First Amendment by the AV Treaty’s proposed changes to U.S. law. The AV Treaty alters the traditional contours of copyright in the United States by introducing moral rights, and outlawing the making available of performances even without distributing them. The Essay analyzes these First Amendment threats using the rubric provided by Eldred v. Ashcroft. It also outlines the Due Process concerns that arise from the AV Treaty’s vague language and arbitrary distinctions. The statutory damages that may be available under U.S. law if ordinary copyright remedies are extended to performance rights will threaten the Excessive Fines Clause of the Eighth Amendment, as well as Due Process. Moreover, the Essay points out that the Trans-Pacific Partnership Agreement may multiply all of the censorial provisions of the AV Treaty, by stating that criminal copyright infringement shall include instances of related rights infringements that have no direct or indirect motivation of financial gain. The AV Treaty may also interact with proposals such as the Stop Online Piracy Act, which would make it easier for corporations or executive agencies to seize web sites that do not themselves infringe copyrights, but that might facilitate acts of infringement.

World Intellectual Property Organization, WIPO, audiovisual, performances, treaty, WCT, WPPT, phonograms, fixation, unfixed, authorship, copyright, fair use, First Amendment, Due Process, YouTube, Facebook, Pinterest, Twitter, eBay, Amazon.com, Google, Yahoo!, Flava, SOPA, moral rights

Turntables and Tropes is the first book to address remix from a communicative perspective, examining its persuasive dimensions by locating its parallels with classical rhetoric. Through identifying, recontextualizing, mashing up, and applying rhetorical tropes to contemporary digital texts and practices, this groundbreaking book presents a new critical vocabulary that scholars and students can use to analyze remix. Building upon scholarship from classical thinkers such as Isocrates, Quintilian, Nāgārjuna, and Cicero and contemporary luminaries like Kenneth Burke, Richard Lanham, and Eduardo Navas, Scott Haden Church shows that an understanding of rhetoric offers innovative ways to make sense of remix culture.

A speculative examination of some manifestations of contemporary Horror through the lens of the Zombie; this article considers the relationship between Zombie Apocalypses, Zombies as agents (or not), and wider aspects of genre and theory including comic books and graphic novels, Science Fiction, and Fantasy.   

It surveys multimedia interest in zombies, mash-up novels, alternate universes, and the meetings of zombies with a range of other tropes in diverse narratives.

Full article online; please follow the link to read more.

In 2009, scholars and journalists hailed YouTube remix artist Kutiman's 8-video musical opus Thru-YOU as an icon of democratic cultural production. This article builds from a close reading of those videos—and survey of press coverage and relevant scholarly literature—to ask why people attributed agency to the remixed rather than the remixer when fragments were appropriated from essentially private citizens rather than celebrities. Those fragments are analyzed through a new tripartite framework for understanding the commons as a "goldmine," "pot of dirt," and "cutting room floor." The concept of "transparency" allows reconception of remix neither as "bottom–up" cultural force nor as embodying the postmodern quality of being multiperspectival, but rather as subjugating individuals within the singular nonperspective of scientism.

The thesis of this essay can be stated quite directly: Slavoj Žižek, despite having little to say about mashup and remixing in any direct way, engages this new media phenomena in both theory and practice, providing contemporary culture with both a conceptual understanding of the mashup and a carefully executed illustration of its methodology. The examination of this will proceed by way of two movements. The first investigates how Žižek's work, especially his general interest in "short circuiting," provides theoretical insight for understanding the mashup and its cultural significance. The second turns things around, demonstrating how the mashup explains and describes Žižek's own compositional practices. In other words, the first part explains the mashup by way of Žižek, while the second explains Žižek by way of the mashup.

Winner of a 2013 &Now Award.  The Philosophy… is, in the words of the author, “a genetic splicing of two classic essays on composition.”  Using Poe’s “The Philosophy of Composition” (1846) and Stein’s “Composition as Explanation” (1926), Michael Leong has “lifted out individual words and phrases from the two source texts and used them to slowly accrete linked assemblages of verbal tesserae” and, in the process, intentionally constructed a novel work of constraint–based, conceptual poetics.  It enacts the phenomenology of finding language, of imagination-at-work, while performing a critique of editorial and authorial ethics.

Critical evaluations of audio mash-ups and remixes tend to congregate around two poles. On the one hand, these often clever recombinations of recorded music are celebrated as innovative and creative interventions in the material of bland commodity culture. On the other hand, they are often reviled as derivative, inauthentic, and illegal because they do nothing more than appropriate and reconfigure the intellectual property of others. This essay does not side with either position but identifies and critiques the common understanding and fundamental assumptions that make these two, opposed positions possible in the first place. The investigation of this matter is divided into two main parts. The first considers the traditional understanding of technologically enabled reproduction and the often unquestioned value it invests in the concept of originality. It does so by beginning with a somewhat unlikely source, Plato's Phaedrus—a dialogue that, it is argued, originally articulates the original concept of originality that both determines and is reproduced in the theories and practices of sound recording. The second part of the essay demonstrates how the audio mash-up deliberately intervenes in this tradition, advancing a fundamental challenge to the original understanding and privilege of originality. In making this argument, however, the essay does not endeavor to position the mash-up as anything unique or innovative. Instead, it demonstrates how mash-ups, true to their thoroughly derivative nature, plunder, reuse, and remix anomalies that are already available in and constitutive of
recorded music.

This article discusses the artist Garrett Lynch’s residency in Second Life® at Yoshikaze ‘Up-in-the-air’, HUMLab, Umeå University in Sweden. The artist’s mixed-reality live performance and installation work in the ‘virtual’ world, part of a wider artistic practice on networks, focuses on the identity and role of the artist within an environment mediated by networked technology. The residency enabled the continuation of this practice and facilitated through the site of the residency the development of ideas of space and place as they relate to identity. Eleven works, predominantly performance based, were produced during the residency that explored the breadth of the Virtuality Continuum. Each investigated the boundary between the ‘virtual’ and the ‘real’ and how creative practice can be produced at their intersection. Techniques of juxtaposition, framing, layering, folding, combination and mixing were employed throughout. Works involved performance across multiple ‘real’ and ‘virtual’ spaces and used specifically built props and environments in-world, performance software for a number of computing and mobile devices and Web 2.0/Second Life mash-ups. A number of recurring themes emerged in the development of work, including liminality, new frontiers, augmented or mixed presence and vision, which formed thematic strands of research. It is these thematic strands, their development and use that form the structuring of this article.

Published in Volume 2, Issue 2 of Metaverse Creativity.

One doesn’t need to look far to find examples of contemporary locations of cultural opposition. Digital piracy, audio mashups, The Onion and Wikipedia are all examples of transgression in our current mediascape. And as digital age transgression becomes increasingly essential, it also becomes more difficult to define and protect.

The contributions in this collection are organized into six sections that address the use of new technologies to alter existing cultural messages, the incorporation of technology and alternative media in transformation of everyday cultural practices and institutions, and the reuse and repurposing of technology to focus active political engagement and innovative social change.

Bringing together a variety of scholars and case studies, Transgression 2.0 will be the first key resource for scholars and students interested in digital culture as a transformative intervention in the types, methods and significance of cultural politics.

Much has been written about the Chinese-born Hong Kong-based film director Wong Kar-wai and his films, particularly in relation to the socio-cultural contexts of Hong Kong before
and after the handover to China, and the transcultural aesthetic traditions in his works. Beyond academic and critical domains, Wong’s reputation has largely been generated by fans. Taking advantage of the large scale user-generated content associated with the director on YouTube, this essay explores day-to-day discourses that shape Wong’s persistent auteur reputation. The essay proposes a multimodal discursive and textual analysis of YouTube mashups that takes into account long-standing debates on cinephilia, media fandom and film authorship. The findings reveal a discourse of pleasure surrounding the appropriation and ownership of canonised movies, a taste homology between cinephiles and cult music fans, and tension among audiences with different identity politics. The circulation of these videos in the public domain by different agents can be seen as the exchange of ‘forms of capital’ (Bourdieu, 1993: 2) that creates distinctions among transcultural fan groups, which are connected in an ad-hoc basis. In the process, the reputation of the director as a film auteur is affirmed, expanded, and occasionally challenged.

#Musica_Dispersa
Rubén López Cano
Editorial: Musikeon Books (Barcelona)
Año de publicación. 2018
ISBN:  978-84-945117-1-4
http://rlopezcano.blogspot.com.es/2018/04/musica-dispersa-apropiacion-influencias.html

Palabras clave:
Identidad y modos de existencia de las piezas musicales. Apropiación. Reciclaje musical. Intertextualidad. Préstamos e influencia. Reutilización. Plagio. Música grabada. Autenticidad y discursos de legitimación. Covers y versiones. Remix. Sampleo. Mashup. Memes musicales. Escucha digital. Pacto perceptual.

Citas, alusiones, paráfrasis, apropiaciones, collages, arreglos, adaptaciones, covers, versiones, sampleos, remixes y memes; son formas de revisitar músicas preexistentes, apropiarse de algunos de sus elementos y reutilizarlos legítimamente o no, para producir más música. De Hildegard von Bingen a Dj Danger Mouse, todas las culturas musicales de todas las épocas han empleado estos recursos. Pero mientras sus procedimientos son unos cuantos y no han cambiado mucho a lo largo de la historia, su valoración y relación con ideales estéticos, principios legales y discursos de autenticidad y legitimidad artística, se han transformado radicalmente. Si para los compositores de las cortes de Aviñón o Milán del siglo XIV y XV citar ingeniosamente una y otra vez las canciones de los grandes maestros del pasado era un valor estético en sí mismo que les reportaba reconocimiento y prestigio, con las leyes de propiedad intelectual actuales, Beethoven, Schubert o Brahms no serían más que delincuentes comunes.

La escucha digital no se limita a la portabilidad, ubicuidad y recuperación inmediata de nuestros contenidos privados. Es también el acceso súbito, nunca antes visto, a una inconmensurable cantidad de músicas de tiempos y espacios distantes y dispersos. Es la posibilidad de la escucha en serie, casi simultánea, de varias interpretaciones, arreglos, versiones y variantes de la misma pieza y la percepción directa de parecidos y coincidencias entre músicas distintas cuya detección solía ser prerrogativa exclusiva de especialistas. Navegar por la red en busca de la canción, versión o interpretación adecuada, nos revela hasta qué punto las nociones de innovación y originalidad, la creación exnovo, el genio solitario que crea un universo personal sin deudas con su pasado o su entorno inmediato, constituye un ideal que a menudo colisiona con las prácticas reales.

Música dispersa muestra que la creación musical es menos una epifanía y más una conversación infinita entre creadores de todos los tiempos quienes con sus intercambios, apropiaciones y repeticiones, vertebran su propia civilización musical dotando de significado nuestras experiencias auditivas. Nos lleva de la mano por los entresijos de diversos procesos y registros de reciclaje; analiza críticamente los discursos de autenticidad que han mediado en nuestra relación con lo musical desde el papiro hasta el iPad o el móvil; detalla los diversos pactos perceptuales implícitos con los que "disculpamos" nuestros placeres con la música grabada; pasa lista a los vanos intentos por reducir la música a objetos cerrados, concluidos y completos y manejables; y propone que el desafío mayor de la reciente remezcla y reciclaje digital no es su aparente saqueo indiscriminado del descomunal archivo musical atesorado en dos mil años y que ahora parece que se nos viene encima, sino su diáfana capacidad para mostrarnos que la música es un fluir indómito cuyo poder y originalidad está mucho menos afincado en su materia física, sus estructuras o componentes, o incluso en la genialidad inconmensurable de creadores, compositores, productores y postproductores. Su valor emana fundamentalmente de nuestra íntima historia personal con cada pieza, obra o canción.

Apresenta-se neste trabalho uma arquitetura para integração entre serviços web para
criação de aplicações híbridas e sociais. Esta arquitetura é vista como um símbolo de mudança
de paradigma no que se refere a desenvolvimento de aplicações para web.
Hoje as aplicações relevantes para as pessoas são híbridas, pois misturam em sua
estrutura conteúdo de mais de uma fonte de dados, e sociais, pois dizem respeito a atividades
e perfis pelos quais as pessoas criam suas vidas virtuais na web.
Inseparável desta arquitetura, também é apresentada uma ferramenta voltada ao
desenvolvedor de aplicações que retira de sua agenda as horas gastas com programação
repetitiva e adequação às especificações de serviços e o oferece em troca a possibilidade de,
visualmente, lidar com a grande massa de dados sociais disponíveis na web. Acredita-se num
desgaste do termo usuário e na web feita de pessoas e idéias, algumas destas idéias, espera-se,
serão mais facilmente colocadas em prática com ajuda deste trabalho.

"El videoclip ha dejado de ser un producto televisivo para encontrar un espacio en internet, donde las posibilidades de la web 2.0 han dado lugar a una audiencia creativa que ha desarrollado nuevas tipologías (Lip dub, mash-up, literal video,
etc.) y ha transformado el modelo de autoría y las dinámicas tradicionales en las industrias culturales.

Palabras Clave: Videoclip. Internet. Autoría. Mash-up. Lipdub.
"

In the twenty-first century, the remix, the mashup, and the reboot have come to dominate Western popular culture. Consumed by popular audiences on an unprecedented scale, but often derided by critics and academics, these texts are the ‘monsters’ of our age—hybrid creations that lurk at the limits of responsible consumption and acceptable appropriation. Like monsters, they offer audiences the thrill of transgression in a safe and familiar format, mainstreaming the self-reflexive irony and cultural iconoclasm of postmodern art. Like other popular texts before them, remixes, mashups, and reboots are often read by critics as a sign of the artistic and moral degeneration of contemporary culture. This is especially true within the institutions such remixes seem to attack most directly: the heritage industry, high art, adaptation studies, and copyright law.
With this context in mind, in this thesis I explore the boundaries and connections between remix culture and its ‘others’ (adaptation, parody, the Gothic, Romanticism, postmodernism), asking how strong or tenuous they are in practice. I do so by examining remix culture’s most ‘monstrous’ texts: Frankenfictions, or commercial narratives that insert fantastical monsters (zombies, vampires, werewolves, etc.) into classic literature and popular historical contexts. Frankenfiction is monstrous not only because of the fantastical monsters it contains, but because of its place at the margins of both remix and more established modes of appropriation. Too engaged with tradition for some, and not traditional enough for others, Frankenfiction is a bestselling genre that nevertheless remains peripheral to academic discussion. This thesis aims to address that gap in scholarship, analysing Frankenfiction’s engagement with monstrosity (chapter one), parody (chapter two), popular historiography (chapter three), and models of authorial originality (chapter four). Throughout this analysis, Mary Shelley’s 1818 novel Frankenstein remains a touchstone, serving as an ideal metaphor for the nature of contemporary remix culture.

International journal of Web & Semantic Technology (IJWesT) is a quarterly open access peer- reviewed journal that provides excellent international forum for sharing knowledge and results in theory, methodology and applications of web & semantic technology. The growth of the World- Wide Web today is simply phenomenal. It continues to grow rapidly and new technologies, applications are being developed to support end users modern life. Semantic Technologies are designed to extend the capabilities of information on the Web and enterprise databases to be networked in meaningful ways. Semantic web is emerging as a core discipline in the field of Computer Science & Engineering from distributed computing, web engineering, databases, social networks, Multimedia, information systems, artificial intelligence, natural language processing, soft computing, and human-computer interaction. The adoption of standards like XML, Resource Description Framework and Web Ontology Language serve as foundation technologies to advancing the adoption of semantic technologies.

(Originally posted before publication, but now out, in 2023.)  Thanks to many acts of critical recuperation, large and small, the poetry from exile now feels like an integral part of Ovid’s body of work.   But should it?  This paper will seek to recover a sense of the strangeness of Ovid’s final works:  not so much ‘Ovid, death and transfiguration’ (in the title of the volume for which this piece is intended) as ‘Ovid, undeath and disfiguration’.  In particular, as a guerilla response to the poet’s own habitual description of his departure from Rome in 8 CE as a funeral, and his existence in Pontus as that of a dead man walking, I shall mobilize a 2009 pop-culture mash-up of a literary classic which has become a break-out hit among Anglophone millennials and literary scholars alike, Pride and Prejudice and Zombies (‘co-authors’ Jane Austen and Seth Grahame-Smith), a work whose literal inserts and interpolations into a canonical text are at once the opposite of allusive art and a surprisingly effective instance of it.  With its deformations of a great work of polite fiction, a Regency classic, what can PPZ teach us, by analogy and contrast, about the undoing of civilized literature, and of civilized life itself, on the shores of the Black Sea?  Is Tomis, like PPZ’s Longbourn, Netherfield and Pemberley, the locus of a ‘zombie’ apocalypse?  And are we sure that we still recognize the poet we love in the zombified Ovid himself, as he limps with uneven gait toward an uncertain bimillennium along with the two ‘co-authors’ who have usurped his oeuvre, Augustus Caesar and ‘Ibis’?
In Joseph Farrell, John Miller, Damien Nelis, Alessandro Schiesaro (eds.), Ovid, Death, and Transfiguration (Brill: Mnemosyne Supplements 2023), 251-66, the volume of a 2017 conference in Rome marking the 2000 year anniversary of Ovid's (presumed) death.

Found Footage denomina el tipo de cine realizado con material de archivo como un objeto encontrado: películas caseras, históricas de archivo, anuncios, películas pornográficas, reportajes, documentales, programas de televisión... que se remonta, remezcla e incluso distorsiona, con el fin de generar una nueva obra audiovisual. Su apropiación es significativa en las películas de collage o cine reciclado, los documentales, y, actualmente, en otras obras como los videoclips y las sesiones de vjs. Sus orígenes se remontan a los años 50, sin embargo, en una época en la que es posible hacer películas con un teléfono móvil o a partir de imágenes tomadas de YouTube, una de las tendencias de mayor crecimiento en el ámbito cinematográfico es el metraje encontrado. En este artículo se analizará cómo las nuevas posibilidades de apropiación de metraje en Internet, así como las nuevas tecnologías digitales de distribución, exhibición, y (post) producción, propician el desarrollo continuo y la revitalización de este tipo de cine, para aportar, además, sus propias contribuciones estéticas.

Popular music studies, since its inception, has been centrally concerned with the ways music participates in processes of individual and collective identity construction. This dissertation argues that the field must also be concerned with the ways music participates in processes that counter the existential effects of identification. I argue that perception of music as imitation and, more specifically, a form of perception I refer to as "the event of pastiche," is often a significant force in the service of such non-identificatory processes. Through discussions of music perceptible as imitations of 1950s rock & roll, 1960s French pop, 1970s "stadium rock," and 1980s electrofunk, and discussions of the practices of mashup, sample-pop, and chiptune music, I locate the conditions through which musicians and listeners have used sound to foster thought and feeling that they simultaneously affirm as the property of some Other. I offer conclusions based both on textual analysis of recorded and live musical "works" and discourse analysis both from written sources and field research. The dissertation offers new frameworks for the understanding of musical imitation and opens the field of popular music studies to the study of a social function, non-identificatory practice, previously untheorized in the field.

This dissertation examines the emergence of new musical aesthetics and practices based around networked media technologies, from remix music to file sharing, and argues that these “configurable” technologies and practices compel us to
reexamine our assumptions about both cultural production and social organization. The research is multi-theoretical and multi-methodological, bringing together elements of cultural studies, social network analysis, personality psychology, art history, and musicology, and drawing data primarily from personal interviews with musicians, music industry executives, and attorneys, as well as self-reported attitudes about emerging cultural practices from a survey of 1,765 American adults.

I begin by reviewing the social history of musical regulation, and the resistance that this regulation has engendered. I also propose a mechanism by which musical aesthetics influence social organization, helping to explain the universality  of musical regulation and resistance across a broad range of social milieus. I argue that the dialectical tension between these opposing ethics has operated as a vital engine of aesthetic innovation. However, I argue, this process is bounded by a discursive framework that overdetermines our understanding of music’s role in society, and that both sustains and is sustained by dominant social institutions.

Next, I demonstrate that configurable technologies and practices undermine the discursive boundaries that have been in place for the past two centuries, which I term the “modern ontological framework.” I draw upon interview and survey data to explore the ways in which musicians, lawmakers, and everyday people are developing new ways to understand music and cultural production, as the definitional binaries underpinning the modern framework continue to erode into shades of gray.

Finally, I analyze these data in an effort to determine whether a new discourse based on configurability may be replacing the modern framework, and what such a discourse might entail in terms of social organization. I describe five principles: Configurable Collectivism, The Reunion of Labor, The Collision of Public and Private, The Shift from Linearity to Recursiveness, and The Emergence of DJ Consciousness. Their net effect, I argue, suggests a roadmap for the emergence of new social forms and institutions in the networked age.

""As map-based visualizations of documents become more ubiquitous, there is a greater need for them to support intellectual and creative high-level cognitive activities with collections of non-cartographic materials — documents. This dissertation concerns the conceptualization of map-based visualizations as tools for sensemaking and collection understanding. As such, map-based visualizations would help people use georeferenced documents to develop understanding, gain insight, discover knowledge, and construct meaning.

This dissertation explores the role of graphical representations (such as maps, Kohonen maps, pie charts, and other) and interactions with them for developing map-based visualizations capable of facilitating sensemaking activities such as collection understanding. While graphical representations make document collections more perceptually and cognitively accessible, interactions allow users to adapt representations to users’ contextual needs. By interacting with representations of documents or collections and being able to construct representations of their own, people are better able to make sense of information, comprehend complex structures, and integrate new information into their existing mental models. In sum, representations and interactions may reduce cognitive load and consequently expedite the overall time necessary for completion of sensemaking activities, which typically take much time to accomplish.

The dissertation proceeds in three phases. The first phase develops a conceptual framework for translating ontological properties of collections to representations and for supporting visual tasks by means of graphical representations. The second phase concerns the cognitive benefits of interaction. It conceptualizes how interactions can help people during complex sensemaking activities. Although the interactions are explained on the example of a prototype built with Google Maps, they are independent of Google Maps and can be applicable to various other technologies. The third phase evaluates the utility, analytical capabilities and usability of the additional representations when users interact with a visualization prototype – VIsual COLlection EXplorer. The findings suggest that additional representations can enhance understanding of map-based visualizations of library collections: specifically, they can allow users to see trends, gaps, and patterns in ontological properties of collections.""

The newer version of VICOLEX is available at: http://abuchel.physics.uwo.ca/~obuchel/VICOLEX/map4.php

Mario Wienerrother's Musicless Musicvideos series have recently surfaced on the Internet and since 2006, they have gained millions of views as a humorous YouTube sensation. As a professional sound designer, he re-edits already released and often widely known music videos by depriving them of music and adding a different, entirely sonic audio track that he records himself. All of these reworkings seem to raise the same hypothetical question: what if these audiovisual excerpts were deprived of their most signifying aural expression, namely music? Would they still have the same meaning? Would they tell the same 'story'? This article aims to explore Wienerroither's practices and the effects they provoke on our understanding of the aesthetic conventions of the music video. As a first step, I will provide a detailed account of the process for realizing the Musicless Musicvideos by drawing on an interview I carried out with the author. Secondly, I will investigate a number of Wienerroither's productions in relation to (1) the aesthetic conventions of music video and (2) the practical realm of Foley artistry. The objective of the article is to demonstrate how, by relying on
a sound-centred practice, Musicless Musicvideos undermine the overall balance between the visual and the aural elements in a typical music video.

O desejo de estabelecer correspondências entre som e imagem vem intrigando e suscitando inúmeros questionamentos e analogias há séculos. Esta pesquisa visa levantar questões relativas ao sonoro e ao visual, discutir a prática dos mashups enquanto estética própria, e sugerir uma reflexão sobre a cultura remix da qual emerge. Copiar, cortar ou colar agora são ações intrínsecas ao cotidiano do ciberespaço, em que a recombinação da informação evidencia-se como prática usual. Nesse contexto, questões referentes à colaboração, interação e autoria, assim como a conceitualização da prática, sustentam-se a partir dos estudos de Lev Manovich e Lúcia Santaella. Essa conceitualização é fundamentada na maleabilidade do código binário e na transposição de um meio a outro. Constata-se que o processo formador do mashup, baseado na fórmula “a+b=c”, ou seja, na combinação de duas ou mais fontes para formação de algo novo, é o mesmo adotado nos diferentes períodos da história, variando apenas na forma e no relacionamento entre os conceitos antecessores às tecnologias e mídias emergentes. Partindo desta premissa, tentamos identificar e conceituar a estética do mashup. Para tanto, foram elaboradas quatro etapas. Na primeira, um levantamento histórico, baseado principalmente na “obra de arte total” proposta por Wagner e no “efeito Kuleshov”. O conceito é discutido na segunda etapa, a partir de textos de Eisenstein e do movimento da Música Visual. Na terceira, associamos a dimensão visual da música aos aspectos relacionados à linguagem hipertextual dos meios digitais. E, por fim, com o objetivo de dar visibilidade a essa tendência contemporânea, examinamos, como objeto de estudo, o álbum-mashup virtual “Thru You”,do músico Kutiman, onde “o que você vê é o que você ouve”.

Palavras-chave: a+b=c; Remix; Mashup

The desire to establish correspondences between sound and image has been intriguing and bringing up several issues and analogies for ages. This research aims to raise questions related to sound and visual fields, discuss the practice of mashups as a particular aesthetics and propose a reflection about the remix culture from where it comes from. Coping, cutting and pasting are nowadays intrinsic actions of cyberspace where recombining information has become an usual practice. In this context, questions related to collaboration, interaction and copyright, as well as the conceptualization of the practice are supported by the studies  of Lev  Manovich  and Lúcia  Santaella. This concept is  based on  the malleability of the binary code and on the conversion of one media into another. It was realized that the mashup forming process, based on the formula a+b=c, in which the combination of two or more sources generates something new, is the same that has been being adopted throughout human history, varying only in form and in the relation between the concepts that precede the emerging media and technologies. Based on this premise, we tried to identify and form a concept of the mashup aesthetics. Therefore, four stages were elaborated. In the first one, a historical approach based mainly on the Gesamtkunstwerk proposed by Wagner and on the Kuleshov effect. The concept is discussed in the second stage having as a starting point texts by Eisenstein and the scene of Visual Music. In the third, we associate the visual dimension of the music to the aspects related to the hypertextual language of the digital media. And finally, aiming to give visibility to that Contemporary trend, as study object we examined the virtual mashup-album “Thru You” by the musician Kutiman, in which “what you see is what you hear”.

Keywords: a+b=c; Remix; Mashup

Remix--or the practice of recombining preexisting content--has proliferated across media both digital and analog. Fans celebrate it as a revolutionary new creative practice; critics characterize it as a lazy and cheap (and often illegal) recycling of other people's work. In Of Remixology, David Gunkel argues that to understand remix, we need to change the terms of the debate. The two sides of the remix controversy, Gunkel contends, share certain underlying values--originality, innovation, artistic integrity. And each side seeks to protect these values from the threat that is represented by the other. In reevaluating these shared philosophical assumptions, Gunkel not only provides a new way to understand remix, he also offers an innovative theory of moral and aesthetic value for the twenty-first century.

A web 2.0 (vagy webkettő) megkülönböztető tulajdonságai nem technikai, hanem kommunikáció-, média és művészetelméleti eredetűek. Miközben a korábban uralkodó, szerkesztő és hivatásos kommunikátor központú paradigmával szemben radikális tartalom előállítási eltérést látunk, megfigyelhető, hogy a hangsúly a közzétételről a megosztásra, a passzív jelenléttől a részvétel felé tolódott. Mind a felhasználói, mind a szolgáltatói attitűd megváltozott. A szolgáltató blogok, wikik, közösségi oldalak esetében csupán keretet biztosít, és azt a felhasználók töltik meg tartalommal. Ezzel tehát megszűnik a web írásvédettsége, és nyílttá válik a megszólaló pozíciója. Az információcsere indításához, vagy a kommunikációs folyamatba való bekapcsolódáshoz, annak ellenére, hogy a web 2.0 kontextusa technikailag determinált, nincs szükség jelentős, tanult technikai ismeretekre.

This paper analyzes potential uses of Web 2.0 tools in e-learning. Some of the more popular Web 2.0 tools are briefly explained. Self-assessment scales were developed intended to measure various constructs that could be associated with the use of Web 2.0 tools. These constructs were related to higher levels of information literacy, innovativeness, technological curiosity, internet access, stimulating environment, use of the Internet/web for information exchange, etc. The subjects in our study were informatics students, who were highly information literate. The results of our study indicate that all of the investigated constructs are associated with the use of Web 2.0 tools. Conclusions are drawn regarding the use of the results of our research to facilitate the adoption of Web 2.0 tools by students in more advanced e-learning environments.

From Ancient Times to the Present Day, writers have remarked on the unique power of music to evoke emotions, signal identity, and bond or divide entire societies, all without the benefit of literal representation. According to Aram Sinnreich, this power helps to explain why music has so often been regulated in societies around the globe---and why those regulations have been consistently resisted.

Mashed Up chronicles the rise of "configurability," an emerging musical and cultural moment rooted in today's global, networked communications infrastructure. Based on interviews with dozens of prominent DJs, attorneys, and music industry executives, the book argues that today's battles over sampling, file sharing, and the marketability of new styles such as "mash-ups" and "techno" presage social change on a far broader scale.

`Aram Sinnreich is a sage guide to the emerging, perplexing, and downright vital world of configurable culture. He brings together a potent combination of deep academic learning, leading industry analyst credentials, and performing artist street cred. No one knows better than Sinnreich how music and technology are co-evolving."---Michael Heller, author of The Gridlock Economy: How Too Much Ownership Wrecks Markets, Stops Innovation, and Costs Lives.

"The greatest strength of this book is the broad, interdisciplinary range of its appeal: audiences interested in musicology, digital rights, street culture, and many other subjects will find it interesting, and it is written in a style that members of the general public would also appreciate. It is a book that could be assigned to undergraduates who are music majors and for courses in which intellectual property is a theme."---Elizabeth Losh, author of Virtualpolitik: An Electronic History of Government Media-Making in a Time of War, Scandal, Disaster, Miscommunication, and Mistakes.

"Young people who make new music by sampling existing work, who `mash up' existing cultural materials to convey entirely new messages, have been portrayed as thieves and copyright violators. Yet, as Aram Sinnreich eloquently teaches, what they are actually doing is pioneering new forms of cultural creation."---Howard Rheingold, author of Virtual Community: Homesteading on the Electronic Frontier.

"Mashed Up is an intellectual/emotional romp, filled with insights into the pleasures and paradoxes of our high-tech musical universe. Aram Sinnreich is an original thinker, a brilliant brother, and a bad mammajamma."---David Ritz, author of Divided Soul: The Life of Marvin Gaye.

This article examines user-generated music remix videos critiquing or commenting on Donald Trump throughout the 2016 election cycle. Our aim is to discover not just whether remix was used as a vehicle of critique or support, but how remix affordances have been adapted into a rhetorical language for these purposes. Above and beyond the remixes’ unique qualitative characteristics, we identify four specific rhetorical tactics that appear consistently, which we call “witnessing,„ “pwning,„ “incongruity,„ and “noisification.„ Ultimately, we argue that these tactics yield a complex, nuanced, and yet widely understood and broadly accessible language of critique and commentary through remix.

This paper proposes a mashup development methodology for end users. The fast-paced development of mashup editors has created a wealth of features and approaches that end users can facilitate. Meanwhile, there is not sufficient work on mashup development methodology to guide end user developers. The first part of the study is dedicated to investigate mashups mainly from end user perspective. The second part is in order to deliver mashup application methodology for information mashup editors to develop business mashup which has particularly been evolved during a study dedicated to experimenting mashups in the School of Postgraduate Studies (SPS) Admission Unit in Universiti Teknologi Malaysia (UTM). The suggestion considers over 10 corresponding type of mashup editors that were tried even though 2 of them were used in the particular study. During the experiment, the mashup development methodology gets shape in iterative and incremental manner until reaching its final general form. The work can hopefully be used to guide both researchers and end user mashup developers.

This article situates the novel-as-mashup, first popularised by Seth Grahame-Smith’s Pride and Prejudice and Zombies (2009), within twenty-first-century neo-Victorianism. Using several key examples of these mashup texts, it embarks on a discussion of postmodernism’s ironic nostalgia, exploring the limits of such irony through questions of hermeneutics and ethics that are currently relevant in the field of neo-Victorian studies. Is it possible to find any stable meaning (or meaningful irony) in a text that is made up of other texts? What happens when texts are wilfully or inadvertently misread, and how do we approach instances where misreading causes harm, or reproduces problematic ideologies? Can texts that do not use the past seriously still be ironic, and if not, what does this mean for commercial, parodical genres like the novel-as-mashup?

An important pillar of Linked Open Government Data is to be able to mix datasets by using common ontologies in order to infer new knowledge. The open government datasets to be mashed-up by developers may be subject to distinct licenses, legal notices, terms of use, and applicable law and regulations from multiple jurisdictions. Within this complex ecosystem there is a need to create semi-automatic tools supported by an ontology to help technical reusers of Public Sector Information to utilize datasets according to their intended purpose and in compliance with the legal obligations that govern the rights to reuse the data. Unfortunately, some researchers may avoid considering all the legal frameworks that apply in the domain of Open Government Data and limit their investigation to only the area of licenses. To enable wider, compliant utilisation of mashed-up open data, we have analysed the European Union (EU) legal framework of reuse of Public Sector Information (PSI), the EU Database Directive and copyright framework and other legal sources (e.g., licenses, legal notices, terms of use) that can apply to open government Datasets. From this deep analysis we now model several major concepts in an Ontology of Open Government Data Licenses Framework for a Mash-up Model (OGDL4M). There have been earlier ontologies for creative commons or open licenses, but they did not anticipate the other legal constraints that arise from Open Government regulations. The OGDL4M ontology will be used for qualifying datasets in order to improve the accuracy of their legal annotation. The Ontology also aims to connect each applicable legal rule to official legal texts in order to direct legal experts and reusers to primary sources. This paper aims to present the modules of the OGDL4M ontology in depth and to describe some preliminary evaluation. Keywords: open government data mash-up, licensing of open government data, legal ontology

Celem tekstu jest analiza funkcjonowania literackiego mash-upu w Polsce. W ramach owego zjawiska literackiego, będącego częścią kultury remiksu, teksty należące do kanonu literackiego są uzupełniane o dodatkowy tekst, często zawierający elementy należące do estetyki literatury grozy, horroru i fantasy. Początków owego gatunku należy upatrywać w „Dumie i uprzedzeniu i zombie” autorstwa Jane Austen i Setha Grahame’a-Smitha wydanej w 2009 roku. . W swoim rozdziale skupiam się na dwóch – jedynych do tej pory polskich powieściach z gatunku mash-up: „Przedwiośniu żywych trupów” (2012) Stefana Żeromskiego i Kamila Śmiałkowskiego oraz „Faraonie wampirów” (2013) Bolesława Prusa i Konrada T. Lewandowskiego.
W moich analizach opisuję modyfikacje wprowadzone przez autorów do oryginalnych tekstów powieści i ich wpływ na zmianę wydźwięku dzieła, a także rozważam powody malej popularności gatunku w Polsce,

[Published in Joshua Neves and Bhaskar Sarkar, eds. Asian video cultures: in the penumbra of the global. Duke University Press, 2017.]

What might the study of media forms and their consumption tell us about modes of political participation? My case study is the mobilization centred on the politically moderate demand for the formation of the Telangana state within India. This was no uprising against a dictatorship or the first baby step towards a democratic government. The duration and scale however was impressive even by Indian standards. The mobilization coincided with large scale digitization of " content " and rapidly increasing levels of access to the internet in India. Most importantly, it was accompanied by a spurt in online activity that was for the most part generative of a lot of content that Lawrence Lessig would call "crap". This chapter looks at pro-Telangana YouTube videos and asks whether and how they are political.

U ovom radu je prikazan WebCall – „state of the art“ webco servis, koji integriše web i telefoniju i omogućava pozivanje javnih telefonskih brojeva, „klikom na dugme“ sa web strane bilo kog web brawsera, primenom http protokola, i bez desktop aplikacija ili dodataka za browser. WebCall je realizovan integracijom web i telco clouda u jedinstveni servis, primenom SOAP servisa i korišćenjem najboljih osobina oba domena.
Primenjen je u Sellex.rs web market platformi za lakšu i bržu komunikaciju u realnom vremenu posetioca portala, sa  prodavcima ili tehničkom podrškom, čime se znatno štedi vreme, smanjuju troškovi kupovine i prodaje i unapređuje korisničko iskustvo.