Mashup vs Remix - a tale of two text types

What are the similarities and differences between these two moving image commentaries? Below are some definitions and interesting examples.

A Remix - is an alternate version of an original source, a newly created version from source material. Elements are re-assembled in a new way.

A Mashup - is a version using multiple sources sometimes with little or no relation, often lampooning or referring to another text or source. It is a derivative work with properties of intertextuality where a texts' meanings are shaped and informed by other texts.

This bricolage idea of use what you have is not a new one, but with the easy availability of multiple texts and technology, the remix and mashup are moving from messages passed between peer groups into broader realms of social commentary and education. Aided by the speed of social networking, they can move from one phase to another in a matter of hours.

A Fair(y) Use Tale by Eric Faden - a remix illustrating copyright law, derivative but not lampooning. It's a great example of remix explaining Fair Use and Copyright law. Note that he cites his sources at the end.



The measurements for fair use involve elements of criticism, news reporting, teaching and parody. Keep these in mind as you review the following pieces below.

Once Upon a Time in Afghanistan - Jason Stakeman's remix incorporating mashup techniques intended to educate the viewer about the war in Afghanistan as well as comment on American foreign policy and culture. It compares the US invasion with the westerns of John Ford.

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Edward vs Buffy - a remix by Rebellious Pixels/Jonathan McIntosh lampooning the romance genre in a mashup style and commenting on male/female relationships.


And another by Rebellious Pixels - a remixed commercial for a popular SUV.


Here's a mashup lampooning the Twilight series and the music video Wanted Dead or Alive that was created to market fake engagement rings by Ms. Taken.



Here's a mashup of a mashup - the Hitler video parody. Using a clip from the 2004 German film Der Untergang (Downfall), these videos number in the hundreds at least. Seeing Bruno Ganz as Hitler rant about current events and setbacks seems to have an endless appeal. The film's director Oliver Hirschbiegel seems to get the spirit in which they are presented, while Constantin Films, the production company, has requested the videos be removed.

Open Source – The End of Scarcity means More

IBM has estimated that the amount of digital information will double every 11 hours in 2010.

That’s an abundance of unlimited content, access, and information. Something barely imaginable. It is frightening and exciting at the same time. It is a huge paradigm shift for a culture used to a previous world driven by scarcity, preciousness and exclusivity.

The potential here is best understood in the context of education.

At Itunes U any number of amazing and free lectures from places like MIT, the Sorbonne, Cambridge and UNC Chapel Hill can be downloaded.

It’s a remix of the traditional idea of education: get some experts, people eager to learn and start a discussion. Where it takes place is less relevant, though to draw students the content must be strong and the sense of Bakhtinian sobornost – “togetherness” or “true sense of community” must still exist.

More control and choice for learners creates a P2P environment where students are both learners and teachers as well as creators and consumers. Knowledge flows freely rather than being stockpiled.

A unique example of this is happening at Purdue University. They have designed an app called Hotseat. It functions like Twitter for the lecture hall and in fact was developed with the idea that students were already texting anyway -- why not create a faculty endorsed distraction to focus that back channel discussion? With this app, students are commenting on the commentary and asking questions. Student to student sharing has been embraced by Purdue rather than seeing it as a threat for it’s potential to encourage cheating and non independent learning. In this way, redundant academic work becomes more vibrant and open. Hotseat is remediative - a new way of showing an old media form. Ie; the "class discussion" experience.

The Spectacular Society: why the open source movement could lead to a conscious revolution for social justice

Kite running in Afghanistan is a dangerous sport. Lives are endangered in this endeavor so distracting that Afghans have plunged to their death from great heights or been gravely injured chasing their beloved kites, as precious and revered as baseball and apple pie for Americans.

Guy Debord, the author of “The Society of the Spectacle” suggests that mass media offers a distraction by showing a fake reality to obfuscate the degradation of capitalism. After being subjected to a few minutes of the reality TV series “The Real Housewives of New York” in a physician’s waiting room, one might suspect he was on to something.

Could distraction be the metaphor for our involvement in international conflict? Is the pursuit of war a massive spectacle to distract the ordinary citizen? The phrase, “Go fly a kite” comes to mind. In other words, beat it, so the important work can get done.

Victor Klemperer’s writing regarding the language used by the Nazi regime illustrate the importance of observing how those in power manipulate language. Ironically after surviving the oppression of this regime as a Jew he went on to serve in the Volkskammer of the former German Democratic Republic, one of the most oppressive states of the 20th century.

Repeated negative images, news of death and failure, unemployment, the continuing spill of oil into the Gulf all cause us to suffer from “compassion fatigue”, burn out, secondary traumatic stress disorder. Where political events and our private lives in the post 911-era intersect, it appears that scaremongering and schadenfreude create compassion fatigue which in turn is remedied tidily by spectacle.

The disconnect caused by spectacle has also engendered a sense of desperation for contact. We are so obsessed with the need to be ‘in touch” that we repeatedly reach out to our colleagues and family members via text message and Facebook. In a dislocated, spectacular world, our constant seeking of reassurance that everything’s “okay” drives us as intensely as the Afghan kite runners.

A little distraction is probably okay, within the realm of normal even. But how can we be assured that we aren’t completely disconnected from human suffering and injustice? One way is by reclaiming the message we’re given. If everyone can possess the means to reshape the images and messages sent to us, then meaning can be re-framed and the hegemony of those who have power over our language can be challenged.

New meaning can be recreated, communities formed and social change created. In this way, much like the open source software movement, open data and information access can be the tools of compassionate social change.

Towards a more robust discourse of meaning in media

Open source media paves a new way of communicating ideas collaboratively so that the old models of journalism and documentary narrative no longer apply. The monopoly of a handful of media moguls is crumbling. Bloggers, citizen journalists and aggregators have disrupted the system of distribution and now provide ever expanding alternatives to the traditional distribution streams. A new, New Journalism is on the rise with social networking creating a linchpin culture of leaders within this movement.

One of these cultural linchpins is the Brave New Foundation’s Brave New Educators (BNE) project. BNE’s mission is to engage people in a narrative to provide context and meaning. By using access to primary sources of moving imagery we practice constructing meaning and use these sources to create a new, unique and evolving sense of perspective in a digital form narrative.

BNE creates an incubator for social change by engaging educators and their student scholars with the catalysts of shock, shame, fear, and anger – the elephants in the room that people avoid.

Though critics may suggest that this bricolage methodology is documentary filmmaking 2.0, however documentaries don’t fully engage their audience. They tend to present an “ain’t it awful” scenario, leaving the viewer feeling disengaged and disempowered. The difference with the experience of Brave New Educators is that the activity of remixing exposes the creator to the negative material while allowing them to move through it and create their own narrative from it, thus empowering students and giving them essential tools for critical thinking in a media convergent society. These multimedia, hypertextual digital texts are light years from the traditional, dry college essays. Students in the BNE pilot program reported that while they found the material surprising, shocking and disturbing, it was the act of engaging with material they found uncomfortable that helped them gain new perspectives and create their own narrative.

Collaboratively involving others in a collective organized movement is a work of activism. Remixed narratives ignite the thought process and become a catalyst for collaborative change. In this way, ideas function as viruses, jumping from place to place until they go viral and create a wave of participatory culture that has the power to effect real change. This sharing and collaboration produce an innovative hybrid in the truest democratic form – organized chaos. The wisdom of crowds is founded on diverse opinions and ideologies. The new media is the catalyst for that.

The argument for new media in education - how the digital literacy movement is changing the way we think about things

With the explosion of new methods of distribution for both static and moving images as well as hypertexts, a significant paradigm shift has occurred in communication. Anyone with access to the internet can create, report, comment, remix, distribute and culture jam a variety of texts and discourses in an eclectic mix creating complicated notions of culture, tradition, value, gender and political views. These views challenge the traditional canon by allowing practitioners of these methodologies to become skilled curators of a digital world. Participatory and collaborative engagement in non-linear or chronological fashion allows content creator s to construct narrative threads, provide context and therefore create meaning for human expression in our personal lives, business communications and creative endeavors.

Humans are natural born storytellers. We create mythologies, our narratives to make sense of our world. Narrative forms are determined by the technology available at hand. From Homer the blind poet, to the medieval minstrel, to the craftsman working over his Gutenberg press to the teenager in her bedroom remixing Twilight clips for friends on her laptop – we are compelled to make sense and meaning in our lives. The message is the same, it is merely the scope that has expanded concentrically. Books made it far easier to transport ideas, film and television allowed us to express these ideas globally and the internet is taking that further still with the hypertext – allowing the content creator to utilize multiple media to explode narrative and expand understanding. Never before have we been able to present differing views on the same subject in a simple way at the same time. The vector of new media rejects the hierarchical structure model for a changeable, open and idea infused units of information transmitted from one party to another in an interactive currency of ideas.

This commodification is in direct challenge to the old, closed model wherein the currency of ideas is based on scarcity. The commodification of these ideas has contributed to the current clash between those in power seeking to sustain the commodity paradigm versus those who subscribe to the open source modality of representing and understanding the world. The topography of this open sourced contemporary discourse is a richly diverse one, creating deeper complexity in each iteration. This is the crux of the open source movement. If the user group decides that the idea is owned and utilized by the group in a participatory way, then the idea cannot become monetized in the established ways.