I det rådande informationssamhället där utbytet av information och digitalt material har blivit mer framträdande än någonsin tidigare har även upphovsrättsfallen kring dess användande och återanvändande blivit allt mer aktualiserade. I denna uppsats har vi sökt att studera hur normer kring skapande och originalitet har påverkat kreativa aktörers syn på återanvändning och rekontextualisering under det senare 00-talet och tidiga 2010-talet. Genom att utveckla metoden interkontextualitet har vi studerat hur människan och hennes kognitiva processer influerar rättsfall som rör just deriverade verk och/eller rekontextualisering. Den digitala tekniken har fört med sig nya normer kring skapande tillika hur information förmedlas mellan människor, vilket resulterat i förändrade konsumtionsmönster och en remixkultur där individuella verk inte ses som statiska enheter utan som levande, sammanlänkade uttryck. Kognitiva processer kan ha bidragit till denna remixkultur och i sin tur mer generaliserade attityder från mediadistributionsbolag och myndighetsorganisationer. Med bakgrund av detta söker vi att förespråka en mer öppen syn på de interkontextuella samband som binder kreativa verk och deras bakomliggande kreatörer till varandra. Att se kreativa uttryck som en del i den globala meme-pool,där människor tillsammans bygger vidare på vårt kulturella arv, kan vara ett steg i att motverka skadlig egoism kring det egna skapandet. / In the current information society where the exchange of information and digital material has grown to become more prominent than ever before, so has the copyright cases regarding the usage and reusage of said materials become increasingly actualized. In this thesis, we’ve sought to study how norms surrounding creation and originality has affected the views on reuse and recontextualization of creative actors during the latter parts of the 2000’s as well as the early 2010’s. By developing the method intercontextuality, we’ve been studying how mankind and her cognitive processes influence court cases concerning derivative works and/or recontextualization. The digital technology has brought forth new norms surrounding creation as well as how information is mediated between people, which has resulted in changed consumption patterns and a remix culture where individual works are no longer viewed as static entities, but as living, interconnected expressions. Cognitive processes may have contributed to this remix culture and in turn more generalising attitudes from media distribution companies and government organizations. We proceed to advocate a more open view on the intercontextual connections that bind all creative works and their underlying creators together. To view creative expressions as a part of the global meme-pool, where together people keep building on our cultural heritage may just be a step towards preventing harmful egoism surrounding one’s own creations.

Made available in DSpace on 2016-04-26T18:16:20Z (GMT). No. of bitstreams: 1 Maria Teresa Tavares Costa.pdf: 8371940 bytes, checksum: c5b7d46b730f1b5eb97dc72ae4084cc0 (MD5) Previous issue date: 2007-07-30 / Ctrl+C Authorship on the Net studies the new formats of creation that emerged from the Internet. By aiming beyond the discussions around a legal point of view, this work focusses on asthetic and critical parameters of online art experiences, which point towards the redefinition of the concept of authorship in the realm of digital media e the very context of contemporary culture. In order to cruise this itinerary, the text starts from an understanding of the technical particularities of the network, related to the symbolic exchanges established in its environment. In a first phase, the research investigates the concept of Network Culture through the social-technical relations which are its components. On the discussion proposed by Alexander Galloway concerning the protocols that rule the communication flux on the Internet, the concepts of code and interface are articulated, aiming to define a language digital objects. The theories of Lev Manovich, Margot Lovejoy, Florian Cramer and Jay David Bolter & Richard Grusin are utilized in order to further develop these discussions. After defining the specifities of the Network Culture, it became possible, in a second instance, to analyze de development of what Lawrence Lessig denominates as Remix Culture, in other words, a social configuration marked by semiotic appropriation and recontextualization typical of those new digital technologies. About Lessig s concept are discussed the aesthetic parameters of the remix cultures on the terrain of network culture through Eduardo Nava s analysis in parallel with the concepts of modularity and remixability by Lev Manovich, digital aura in Michael Betancourt and remix as consumption from Nicolas Bourriard. From the methodological perspective, a mapping and analysis of Internet projects that discuss the concepts above referred and contribute for the reconfiguration of the contemporary notion of authorship is accomplished. Among them: AfterSherrieLevine.com/AfterWalkerEvans.com , by Michael Mandiberg, 2001, and Society of the Spectacle (A Digital Remix) by Mark Amerika, Trace Reddell and Rick Silva, 2004. Such an empirical corpus was split into two categories proposed by Eduardo Navas: Selective and Reflexive Remix. The typologies of agency suggested by these works bring up questions such as the production and consumption relations, interactivity, property, control and micropolitics, as well as pointing towards the definition of both to the very own aesthetics and politics of the intercrossing between network culture and remix culture / Ctrl+C - autoria na rede estuda os novos formatos de criação que emergiram na Internet. Para além das discussões do ponto de vista jurídico, o trabalho concentrase em parâmetros estéticos e críticos de experiências de arte em rede que apontam para a redefinição do conceito de autoria no âmbito das mídias digitais e no próprio contexto da cultura contemporânea. Para dar conta deste percurso, o texto parte de um entendimento das particularidades técnicas da rede relacionadas às trocas simbólicas que nela se estabelecem. Em uma primeira etapa, a pesquisa investiga o conceito de Cultura de Rede através das relações sócio-técnicas que a compõem. Sobre a discussão de Alexander Galloway em relação aos protocolos que governam o fluxo de comunicação na Internet, os conceitos de código e interface são articulados com o objetivo de definir uma linguagem própria dos objetos digitais. Para estas discussões são utilizadas as teorias de Lev Manovich, Margot Lovejoy, Florian Cramer e Jay David Bolter & Richard Grusin. Após a definição das especificidades da Cultura de Rede, tornou-se possível, em um segundo momento, analisar o desenvolvimento do que Lawrence Lessig denomina Cultura Remix, ou seja, uma configuração social marcada pela apropriação e recontextualização semiótica típica das novas tecnologias digitais. Sobre o conceito de Lessig, são discutidos os parâmetros estéticos das práticas de remix no âmbito da cultura de rede através da análise de Eduardo Navas em paralelo com os conceitos de modularidade e remixabilidade de Lev Manovich, aura digital em Michael Betancourt e remix como consumo a partir de Nicolas Bourriaud. Do ponto de vista metodológico, realizou-se um mapeamento e análise de projetos concebidos para a Internet que discutem os conceitos tratados acima e contribuem para a reconfiguração da noção de autoria na contemporaneidade. São eles: AfterSherrieLevine.com/AfterWalkerEvans.com , de Michael Mandiberg, 2001 e Society of the Spectacle (A Digital Remix) de Mark Amerika, Trace Reddell e Rick Silva, 2004. Tal corpus empírico dividiu-se entre duas categorias propostas por Eduardo Navas Remix: Seletivo e Remix Reflexivo. As tipologias de agenciamentos que estes trabalhos sugerem colocam em pauta questões como as relações de produção e consumo, interatividade, propriedade, controle e micropolítica das redes digitais, além de apontar para a definição de uma estética e política próprias do entrecruzamento entre cultura de rede e cultura remix

Made available in DSpace on 2016-04-29T14:23:48Z (GMT). No. of bitstreams: 1 Randolph Aparecido de Souza.pdf: 2953752 bytes, checksum: 949dcc91b6de02061dbf28192a5d8e57 (MD5) Previous issue date: 2009-03-24 / This research discusses the mashup practice, particularly the one of web applications, while own aesthetics, that translates a contemporary sensibility, reflex of the remix culture of which emerges. Copy, cut or paste are now intrinsic actions to the daily of the cyberspace, where the recombination of information is evidenced as usual practice. In this context, how to identify and relate the mashup aesthetics? Such scenery incites the further study concerning mashups, in search to trace a descending and contemporary overview by means of investigation and identification of its origin, structure and practical in the digital medium. To debate these issues was accomplished a historical redemption, in order to present the concepts and artistic movements precursors relative to its essence. The mashup comprehension advances in scope of the remix sphere. The issues referring to collaboration, interaction and authorship, as well as the conceptualization of the practical, based on the malleability of the binary code and the transposition between a medium to another one; will be sustained from the studies of Lev Manovich and Eduardo Navas. Thus, the analysis of the structure and functioning of mashups applications in the digital medium, demarcated by means of the considerations from Duane Merrill, consists in better assimilation to these reflections, since specifies the technological characteristics that define them. In intention to reorganize the several mashups models found in the net, it makes mapping inspired on Merrill s classification, however, propose own categories; supported in case studies made through the analysis of web sites that use the technique. With effect, it verifies that the mashup process former, based on combination of one or more sources for formation of something new, is the same adopted in different periods, in other words, is not entirely innovative; varies only the form of employment applied, in the relationship of the predecessors concepts to the technology and emerging medias. Finally, it emphasizes the importance of the proposed classification for mashups mapping in the revelation of organic categories, that allow thus to illustrate the fluid movements of associations and inter-relationships characteristic of its organization, in an accurate portrait of the universe of unlimited possibilities of imbrication in which they inhabit / Esta pesquisa discute a prática mashup, particularmente a de aplicativos web, enquanto estética própria, que traduz uma sensibilidade contemporânea, reflexo da 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, como identificar e relacionar a estética do mashup? Tal cenário incita a um estudo mais aprofundado acerca dos mashups, em busca de traçar um panorama descendente e contemporâneo mediante investigação e identificação de sua origem, estrutura e prática no meio digital. Para debater estas questões foi realizado um resgate histórico, a fim de apresentar os conceitos e movimentos artísticos precursores relativos à sua essência. A compreensão de mashup avança no âmbito da esfera remix. As questões referentes à colaboração, interação e autoria, assim como a conceitualização da prática, fundamentada na maleabilidade do código binário e da transposição entre um meio a outro; sustentam-se a partir dos estudos de Lev Manovich e Eduardo Navas. Desse modo, a análise da estrutura e funcionamento dos mashups de aplicativos no meio digital, demarcada por meio das considerações de Duane Merril, consiste em melhor assimilação a estas reflexões, visto que especifica as características tecnológicas que os definem. No intuito de reorganizar os vários modelos de mashups encontrados na rede, efetua-se mapeamento inspirado na classificação de Merril, entretanto, propõem-se categorias próprias; amparadas em estudos de casos efetuados através da análise de web sites que se utilizam da técnica. Com efeito, constata-se que o processo formador do mashup, baseado na combinação de uma ou mais fontes para formação de algo novo, é o mesmo adotado nos diferentes períodos, ou seja, não é totalmente inovador; varia-se apenas a forma de emprego aplicada, no relacionamento dos conceitos antecessores à tecnologia e mídias emergentes. Por fim, ressalta-se a importância da classificação proposta para o mapeamento dos mashups na revelação de categorias orgânicas , que permitem assim ilustrar os movimentos fluidos de associações e inter-relações característicos de sua organização, num retrato acurado do universo de possibilidades ilimitadas de imbricamentos em que habitam

Drawing upon the opportunity that the Internet and social media provides anyone with internet access to create, consume, publish and produce digital content, this study aims to examine one of the new means of communication. In today’s digital society creating content and communicating across boarders is easier than ever, but actually getting the point across is not – with an evergrowing number of posts, users and sites there is a struggle close the gap between posting a message and actually having it noticed. This study examines memes – normally seen as easily understood jokes – as means of accessible and simplistic communication by qualitatively examining fifteen feminist memes on Twitter. The study aims to see what the memes are conveying in means of social criticism and feminist orientations, their relation to the online feminist discourses and, lastly, explore the memes’ potential role in the political sphere. The theoretical framework firstly explains memes in relation to Henry Jenkins’ participatory culture, Lawrence Lessig’s remix culture and relates memes to the political sphere based on both Limor Shifman’s meme theory and the two theories mentioned above. Secondly, first-, second- and third-wave feminism is introduced along with radical feminism and the feminist concept of sisterhood. Lastly, the social constructivism sets the groundwork for the study’s choice of method; critical discourse analysis. The critical discourse analysis is used in a modified version along with the ‘verbal-visual unity’; a method designed to take the memes structure – the combination of text and images – into account. These methods are used to identify themes, connotations, modality, interdiscursivity, social criticism and the feminist orientation of the memes. The result reveals that there are four main points of social criticism emphasized in the memes; regarding body norms, regarding belittling of women’s opinions and actions, regarding patriarchal structures and regarding men in general. The main feminist orientation visible in more than half the memes is radical feminism, while second-wave feminism is visible in a third. Meanwhile, the memes’ relation to the feminist discourses varies; smaller discourses have low levels of interdiscoursivity, while the main discourse for online feminism show high levels. The study shows that memes’ – potential – roles in the political sphere are as means of spreading opinion, as ways of constituting new norms in a new reality, and as means of shifting the structures of power in society.

I mitten av 1990-talet närmare bestämt 1996 gjordes en film kallad Diary of a Camper. Filmen handlade om en person som satt och lurpassade på sina fiender i ett datorspel. Det som var speciellt med denna film var inte handlingen eller något fantastiskt kameraarbete. Nej det som var speciellt var det faktum att filmen spelades in i ett datorspel. Denna film anses vara startskottet för machinimakulturen som idag omfattar flera tusen utövare världen över.Det var personerna bakom Diary of a camper som myntade uttrycket machinima som är en sammanslagning av de engelska orden ”machine” och ”animation” alltså maskin och animation. Det finns en annan tolkning där ordets andra stavelse är ”cinema” istället för ”animation” men den officiella ska vara det tidigare. Vad än ordet machinima är ihopsatt av är det en filmteknik där kreatören eller producenten spelar in sin historia i ett TV- eller datorspel. I denna uppsats tittar vi närmare på machinimakulturen och vad för regler, attityder och förhållningssätt som finns i denna tilldags dato, anno 2010, något outforskade arena.