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<div class=Section1>
<p class=MsoNormal>Please distribute widely:<o:p></o:p></p>
<p class=MsoNormal><o:p> </o:p></p>
<p class=MsoNormal style='margin-bottom:12.0pt'><b><span style='font-size:15.5pt'>Call
for Papers<o:p></o:p></span></b></p>
<p class=MsoNormal style='margin-bottom:12.0pt'><b><span style='font-size:15.5pt'>Revise:
The Art and Science of Contemporary Remix Culture</span></b><br>
<br>
<i><span style='font-size:15.5pt'>Dec 2-3, 2010 </span></i><span
style='font-size:15.5pt'><br>
<i><a href="http://uow.edu.au/">University of Wollongong</a>, Wollongong,
Australia</i></span><br>
<br>
In a media saturated environment, questions about authoriality and the ownership
of cultural content have come to be increasingly urgent. A number of recent,
high profile legal cases have highlighted the difficulties involved in
adjudicating between different models of ownership and of cultural production.
Furthermore, online environments render local, fannish, and
‘amateur’ forms of cultural production (frequently drawing on
‘Big Content’) increasingly visible – sometimes to the
apparent detriment of these forms of vernacular creativity.<br>
<br>
Across audio, televisual, cinematic, textual, and other forms, proprietary
models of cultural production face challenges in managing, controlling, and
monetising content tailored for a mass audience. It is paradoxical that a
measure of success for such content is the extent to which it is - often almost
immediately - adapted and re-used by vernacular cultures. Conversely,
interventions by fans and other niche cultural producers are often understood
on the one hand to be forms of innovative appropriation and interventions in
the flow of cultural goods, and on the other to be products of unpaid labour,
raising the value of material that is already ubiquitous in an attention
economy sense.<br>
<br>
This event aims to bring together researchers whose work investigates aspects
of remixing, alongside practitioners working in remix cultures, for an
interdisciplinary and collaborative conference. We are also soliciting curated
art and video works in addition to presentations by remix practitioners and
academic papers.<br>
<br>
<b><span style='font-size:15.5pt'>Call for papers</span></b><br>
Abstracts of 200-250 words should be sent to <a
href="mailto:%20revise2010@gmail.com">revise2010@gmail.com</a> by 15 April,
2010. Please include your full name (and/or artist/fan name), email address,
and institutional affiliation (if applicable) along with the abstract. In addition
to formal academic papers, we also welcome roundtable or panel discussion
suggestions, and/or presentations by remix practitioners on their art or style.
Curated artwork exhibits and live performance submissions are also welcomed.
The following is a list of possible themes, but it by no means exhaustive.<o:p></o:p></p>
<ul type=disc>
<li class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
mso-list:l0 level1 lfo1'>Interrogating the boundaries of remix: when did
remix 'start'? What of homage, pastiche, and the cover version? How are
the boundaries between reference and appropriation established, and to
what ends?<o:p></o:p></li>
<li class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
mso-list:l0 level1 lfo1'>'Reading' remixes: the semiotics of citation.<o:p></o:p></li>
<li class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
mso-list:l0 level1 lfo1'>Literary allusion and remix in poetry: erasure
and found poetry.<o:p></o:p></li>
<li class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
mso-list:l0 level1 lfo1'>The artistic tradition of readymades.<o:p></o:p></li>
<li class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
mso-list:l0 level1 lfo1'>Remix, originality, and creative process.<o:p></o:p></li>
<li class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
mso-list:l0 level1 lfo1'>The ethics of appropriation.<o:p></o:p></li>
<li class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
mso-list:l0 level1 lfo1'>Music remix: plunderphonics, DJ culture, hip-hop,
electronic dance music sampling cultures and aesthetics.<o:p></o:p></li>
<li class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
mso-list:l0 level1 lfo1'>Intertextuality and ekphrasis: elements of one
medium surfacing in another.<o:p></o:p></li>
<li class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
mso-list:l0 level1 lfo1'>Remix offline and on: from dancefloors to
netlabels and YouTube; remix and the networked archive.<o:p></o:p></li>
<li class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
mso-list:l0 level1 lfo1'>Remixing in time: repetition and variation of
source material; remix and the reconstitution of the past.<o:p></o:p></li>
<li class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
mso-list:l0 level1 lfo1'>Histories of remix.<o:p></o:p></li>
<li class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
mso-list:l0 level1 lfo1'>Fanfiction, slash and textual innovation.<o:p></o:p></li>
<li class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
mso-list:l0 level1 lfo1'>Video: fan vidding, trailer mashups, anime music
videos, machinima.<o:p></o:p></li>
<li class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
mso-list:l0 level1 lfo1'>Remix and 'the canon': from JXL's <i>A Little
Less Conversation</i> to <i>Pride and Prejudice and Zombies</i>.<o:p></o:p></li>
<li class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
mso-list:l0 level1 lfo1'>Open source as remix.<o:p></o:p></li>
<li class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
mso-list:l0 level1 lfo1'>Visual art - digital media remix art,
appropriation, combining existing content<o:p></o:p></li>
<li class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
mso-list:l0 level1 lfo1'>Practices of appropriation and engagement with
copyright, fair use and other intellectual property doctrines.<o:p></o:p></li>
<li class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
mso-list:l0 level1 lfo1'>The aesthetics and interactions of remix
communities of practice.<o:p></o:p></li>
<li class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
mso-list:l0 level1 lfo1'>Remix economics and anti-economics.<o:p></o:p></li>
<li class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
mso-list:l0 level1 lfo1'>The role of industry in remix.<o:p></o:p></li>
</ul>
<p class=MsoNormal><br>
For more information, please email <a href="mailto:%20revise2010@gmail.com">revise2010@gmail.com</a>
or see <a href="http://revise2010.blogspot.com/">http://revise2010.blogspot.com</a>.<o:p></o:p></p>
<p class=MsoNormal><o:p> </o:p></p>
<p class=MsoNormal><o:p> </o:p></p>
<p class=MsoNormal><o:p> </o:p></p>
<p class=MsoNormal><o:p> </o:p></p>
<p class=MsoNormal>Katharina Freund<o:p></o:p></p>
<p class=MsoNormal>PhD Candidate<o:p></o:p></p>
<p class=MsoNormal>University of Wollongong<o:p></o:p></p>
<p class=MsoNormal><o:p> </o:p></p>
<p class=MsoNormal>Email: <a href="mailto:kmf077@uow.edu.au">kmf077@uow.edu.au</a><o:p></o:p></p>
<p class=MsoNormal>Telephone: +61 (2) 4221 4048<o:p></o:p></p>
<p class=MsoNormal>Blog: <a href="http://fanthropology.blogspot.com/">http://fanthropology.blogspot.com</a><o:p></o:p></p>
<p class=MsoNormal>Twitter: <a href="http://www.twitter.com/katiedigc">katiedigc</a><o:p></o:p></p>
<p class=MsoNormal><o:p> </o:p></p>
<p class=MsoNormal><o:p> </o:p></p>
<p class=MsoNormal><o:p> </o:p></p>
<p class=MsoNormal><o:p> </o:p></p>
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