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Br?vig, Ragnhild
(2023).
Users’ Freedom of Expression in the Digital Era .
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Br?vig, Ragnhild
(2023).
You’re not supposed to sample and rely on copyright exceptions.
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Br?vig, Ragnhild
(2023).
Publishing Panel (on the publishing of Parody in the Age of Remix).
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Br?vig, Ragnhild
(2023).
Crisis in the Flow of Remixes and in the Maintenance of Copyright Exceptions.
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Br?vig, Ragnhild
(2023).
Presentation of the book Parody in the Age of Remix.
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Br?vig, Ragnhild
(2023).
Crises affecting the economy, production, and consumption of music: Perspectives from remixers.
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Br?vig, Ragnhild
(2023).
Wakeful Sleep and Sleepy wakefulness in EDM.
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Br?vig-Hanssen, Ragnhild
(2021).
Rhythm, Repetition, and Expectations.
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Hui, Alan
(2020).
Revenue assignment in music sampling: the challenge of who owns and who owes.
Vis sammendrag
More about the conference and paper here: https://www.hf.uio.no/iakh/english/research/projects/creative-intellectual-property-rights/events/changing-regimes-of-authorships-.html
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Br?vig-Hanssen, Ragnhild & Jones, Ellis Nathaniel
(2020).
Detection Algorithms and their Implications for Participation: The Case of Mashups.
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‘Mashup’ is a form of music that, in its use of samples from existing popular music recordings, has often been seen as an exemplar of the participatory cultural environment that many expected the internet to foster. It is a musical form that remains widely produced and consumed today. However, the contemporary internet is a complex environment for media distribution, with dominant platforms making use of a wide range of automatic and algorithmic regulatory tools in order to police, monitor, and remove unwelcome content – including that which is seen, rightly or wrongly, as copyright infringing. Drawing on recent empirical research on and with mashup producers – including 30 semi-structured interviews and an extensive survey (n=92) – this article explores the impact of platform regulation on mashup music today. It concludes that current regulation has significant stifling effects on this kind of remix creativity, including a substantial impact on where mashup producers distribute their music, on the aesthetics of their music, and – most pertinently – on their overall motivation to create. Having outlined these key findings, we argue that the ‘shutdown’ status of mashup producers raises profound questions concerning the balance between regulating online content in terms of protecting the artists’ rights, and cultivating participation and culturally valuable artistic expression. As such, this paper offers a timely contribution to scholarship on the complex relationship between popular music and new media in its critical exploration of internet’s detection algorithms and their implications for mashup music and cultural participation more generally.
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Br?vig-Hanssen, Ragnhild
(2020).
“Parody in the Age of Remix and Takedowns” .
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Br?vig-Hanssen, Ragnhild
(2020).
A Doubled Now: Parody Theories.
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Jones, Ellis Nathaniel
(2020).
Mashups, musicians, and majors: the politics of participatory culture today
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Jones, Ellis Nathaniel; Mangaoang, ?ine & de Boise, Sam
(2020).
Panel discussion: online participatory music cultures today.
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Jones, Ellis Nathaniel
(2020).
The historical role of ‘mashup culture’ in envisioning a democratic media environment.
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Br?vig-Hanssen, Ragnhild
(2020).
Presentasjon av MASHED-prosjektet.
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Br?vig-Hanssen, Ragnhild
(2020).
Mashup Music, Intertextuality, and Copyright.
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Br?vig-Hanssen, Ragnhild
(2020).
Playful Rhythms and Mosaic Flow.
Vis sammendrag
Humor or fun are at the very heart of popular music and prompts its embrace, in turn, of playfulness. This paper points to musical examples that expose their fragmented construction and discusses how such mosaic rhythms and grooves can create a feeling of humor and playfulness, as well as unique feelings of pleasurable beauty. I argue that the aesthetics of this music to a large extent relies on the listener’s conceptions of two or more simultaneous “time planes” with two different sets of logic––the logics of the experienced now and the logics of some actual or imagined past. That is, fragmented rhythms are experiences as a parallel and contrast to some model or background text; their meaning relies on hearing them within two different contexts. Moreover, despite being experienced as fragmented, they are also experienced as coherent; a coherent fragmentedness that amounts to a mosaic flow. The dual nature or doubled experience of fragmented rhythms, which differs from music representing a coherent temporal structure, arguably creates a tension that is at the center of the vigor and the enjoyment of these playful rhythms. These discussions will draw on, in particular, Michael Apter’s (1982) theory of synergies and Brian Sutton-Smith’s (2001) notion of imaginative worlds, Yury Tynyanov and other parody scholars’ notions of a doubled-planed existence, and Victor Shklovsky’s (1989) notion of defamiliarization.
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Br?vig-Hanssen, Ragnhild
(2020).
Slutten p? mashup musikk?
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P? starten av 2000-tallet eksploderte internett med s?kalte mashup-videoer som utelukkende besto av samples fra tidligere musikkinnspillinger. De siste ?rene har vi sett en nedgang i mashups samtidig som flere internett-plattformer har tatt i bruk algoritmiske verkt?y for ? regulere innholdet p? nettsidene, blant annet innhold som bruker opphavsberettiget materiale uten tillatelse. Har dette en sammenheng? Hvordan opplever mashup produsentene selv disse nye reguleringsverkt?yene som har blitt tatt i bruk, og hvordan stiller denne musikken og disse reguleringsveikt?yene seg i forhold til opphavsrett?
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Br?vig-Hanssen, Ragnhild & Jones, Ellis Nathaniel
(2020).
Slutten p? remix? Spenningsforholdet mellom mashup-musikk og automatiske reguleringsverkt?y.
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Kjus, Yngvar; Br?vig-Hanssen, Ragnhild; Asker?i, Eirik; Hartung, Mike; Wergeland Juell, Magnus & Karoliussen, Sara
(2019).
Musikkprodusentens rolle.
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Musikkprodusentens rolle
- Hva skal til for ? lykkes som studioprodusent?
- Hvordan balanserer studioprodusenter hensyn til kunstneriske m?l og markedsm?l?
- Hva skyldes ubalansen i antall kvinnelige og mannlige studioprodusenter? Hvordan kan den utfordres?
Debattleder: Yngvar Kjus (f?rsteamanuensis ved IMV)
Med Sara Karoliussen (artist, produsent, ex-IMV)
Magnus Wergeland Juell (nylig uteksaminert MA-student ved IMV)
Ragnhild Br?vig-Hanssen (f?rsteamanuensis ved IMV og RITMO)
Michael Scott Hartung (produsent)
Eirik Asker?i (f?rsteamanuensis ved H?gskolen i Innlandet, ex-IMV)
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Br?vig-Hanssen, Ragnhild & Aareskjold, Jon Marius
(2019).
Vocal Chops and its Aesthetics.
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Br?vig-Hanssen, Ragnhild
(2019).
Presentation of the MASHED-project.
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Br?vig-Hanssen, Ragnhild; Jones, Ellis Nathaniel; Hui, Alan; Perrett, Josh & Manning, Maddie
(2019).
Promo video of the research project MASHED: Mashup Music, Copyright, and Platform Regulation.
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Br?vig-Hanssen, Ragnhild; Jones, Ellis Nathaniel & Perrett, Josh
(2019).
Invitation video for survey participation related to the research project MASHED: Mashup Music, Copyright, and Platform Regulation.
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Br?vig-Hanssen, Ragnhild & Sinnreich, Aram
(2019).
Paper on the Panel Resist, Rebel, Remix: Politics and Practice in Digital Culture.
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Br?vig-Hanssen, Ragnhild
(2019).
Humor, Parody and Mashups.
Vis sammendrag
Due to the affordances of new digital technology and user-generated Internet platforms, we have, during the last decade, witnessed an explosion of remixes, here understood broadly as works based on prior material. One such remix is mashup music, which primarily relies on the editing and combining of recognizable popular songs. In this paper I argue that while the dominating theories of humor and parody are focusing on verbal puns and/or literary texts, they prove useful to the study of audiovisual musical remixes, such as mashups. Mashups often seek to exploit an incongruity between the mashed tracks in a way that associates them despite their divergences. As such, they are often constructed in a manner reminiscent of linguistic jokes as theorized by Raskin (1985), Attardo & Raskin (1991), and Veatch (1998), among others. Yet, the incongruity and congruity/resolution factors are in these audiovisual mashups distributed differently than in literary jokes. I further argue that mashups conforms to the concept of parody as theorized by, among others, Hutcheon (2000) and Rose (1993). I then use mashup music as a lens through which to consider the much-debated relationship between humor and parody.
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Br?vig-Hanssen, Ragnhild
(2019).
Musical Fragmentation and Pleasure.
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Br?vig-Hanssen, Ragnhild
(2019).
Presentation of MASHED; TIME; and MusFrag.
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Br?vig-Hanssen, Ragnhild & Aareskjold, Jon Marius
(2019).
Vocal Chops and it's aesthetics.
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Br?vig-Hanssen, Ragnhild; Théberge, Paul; Lefford, Nyssim; Provenzano, Catherine & Williams, Alan
(2019).
Methodology Panel.
Vis sammendrag
Technology and Studio Practices in Record Production Research: Object, Subject, Variable and Data Collection Tool.
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Br?vig-Hanssen, Ragnhild
(2019).
Mashup and Parody.
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Br?vig-Hanssen, Ragnhild & Aareskjold, Jon Marius
(2019).
Vocal chops and Rhythm.
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Br?vig-Hanssen, Ragnhild
(2019).
Musical Fragmentation and Dual-Planed Temporality.
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Jones, Ellis Nathaniel; Hesmondhalgh, David & Rauh, Andreas
(2019).
Bandcamp and SoundCloud as alternative music platforms.
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Jones, Ellis Nathaniel & Hyland, Patrick
(2019).
Negotiating conceptions of “lo-fi” authenticity in collaborative work.
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Br?vig-Hanssen, Ragnhild
(2019).
Music Listening - Meso time.
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Hui, Alan
(2019).
Norwegian copyright limitations and exceptions following Pelham v Hütter.
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Jones, Ellis Nathaniel
(2019).
The historical role of ‘mashups’ in envisioning a democratic media environment.
Vis sammendrag
At the time of its emergence in the mid-2000s, many scholars and commentators saw ‘mashup’ music – the re-combining of recognizable samples from existing pop songs into new works – as emblematic of the digital age. Mashups were enabled by easy-to-use production software and, more importantly, the global distributive capacity of online networks, and as such became a repository for hopes (and fears) that the internet would bring about a radical re-working of relations between ‘everyday’ creativity and the cultural industries, especially in the realm of copyright.
In this paper, I argue for the historical relevance of mashups by inverting this standard narrative of technological enablement. Rather than showing how mashups utilised the internet, I suggest that the more lasting legacy is how the internet utilised mashups. I employ the sociological concept of ‘articulation’ to show how the aesthetic characteristics of mashups were put to work in order to present the emerging social web as a specific kind of participatory media environment. Crucially, mashups helped to suggest that participation in and through ‘new media’ might necessarily entail the ‘borrowing’ of old media – legally or otherwise. This helped lobbyists like the Electronic Frontier Foundation frame existing media rights holders as luddites attempting to hold back a (purportedly unstoppable) tide of vernacular creativity. It also suggested that the archetypal form of online culture was particularly immaterial (mashups seemed devoid of ‘physical’ embodied sound-making) and particularly easy to make, helping to characterise online culture as particularly un-laboured (and unpaid) semiotic play.
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Bishop, Sophie & Jones, Ellis Nathaniel
(2019).
Just a folk theory? User understandings of algorithms as media critique.
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It is becoming commonplace in social media studies to refer to users’ “everyday” understandings of algorithms as “folk theories”. In this paper we suggest this concept offers a restrictive view of both algorithms and the people who engage with them. Our theoretical contribution to the study of online participation draws on our empirical research on cultural production and platformisation, using cases from influencer cultures, DIY musicians and mashup artists. The literature on folk theories often positions everyday engagement with algorithms as individualistic and complicit; we argue that algorithmic practices are often agentic acts of resistance.
Implicit in the “folk theory” concept is the premise that there exists an authoritative, falsifiable understanding of how algorithms “actually” operate, about which users are either guessing, mistaken or uninformed. It is true that most users don’t know how algorithms operate in technical terms. But considering algorithms as socio-cultural phenomena expands the remit of what folk theories might address. The pertinent issue may not so much be about how algorithms work, as what purposes they serve, and for whom.
Going by this socio-cultural definition, platform users’ so-called “folk theories” are often highly astute, and involve nuanced understandings of the power dynamics and economic incentives in play. Our point is not just that the folk theory concept can be patronizing (especially when our own scholarly understandings of algorithms are hardly comprehensive) but that it conceives of users “readings” of algorithms in personal–psychological terms, when they might be more fruitfully conceptualized as critical engagements with media power.
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Br?vig-Hanssen, Ragnhild
(2019).
Mashups as Bisociative.
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Hui, Alan
(2019).
Platform regulation of mashup makers in a post-Brexit UK.
Vis sammendrag
Over one decade ago, Lawrence Lessig described how the Apple had removed mashup maker Girl Talk’s album Night Ripper from iTunes (Lessig, 2008). He yearned for copyright laws that encouraged Girl Talk and other participants in Read/Write culture to create and re-create the culture around them. Instead, he saw copyright wars reinforcing Read/Only culture, espousing a system where professionals create and amateurs consume. He argued that Read/Write culture could only flourish under different regulation. A decade on, Night Ripper is now available on iTunes, Spotify, Amazon Music and other platforms. And mashups, GIFs and memes are commonplace across platforms. But have we come close to the system Lessig envisioned?
This paper considers the regulatory landscape that mashup makers traverse on contemporary music platforms. It considers platform regulation in the context of UK copyright laws and the uncertain relationship between UK and EU law in post-Brexit UK. It sketches the scale and scope of regulation of mashups, as part of Read/Write culture.
It observes the rise of UK regulation ostensibly targeting Read/Only culture, and questions whether mashups have again been the innocent bystander. Recent UK copyright enforcement measures include a UK domain registrar suspending the Sowndhaus mashup website (Maxwell 2017), and courts ordering internet service providers to block websites hosting torrents and unauthorised live-streaming. The threat of enforcement also led to Google Search and Microsoft Bing removing copyright-infringing search results under a Code of Practice. The UK has also introduced copyright exceptions for quotation, parody, pastiche and caricature which permit some Read/Write uses. How have these regulatory mechanisms worked in tandem? This paper argues that content ID systems, ostensibly designed to tackle Read/Only infringement, also regulate mashups and other Read/Write culture. Content ID systems such as Zefr and Dubset have become commonplace and influential across music and social media platforms, but received less attention in literature than platforms such as YouTube and Spotify (Vaidhyanathan 2011, Eriksson et al. 2019).
It considers how the recently passed EU Copyright Directive may affect music licensing and amplify the role of content ID systems, both in deterring infringement and safeguarding reliance on copyright exceptions. Does the directive mark a change in regulation to ‘licence first, ask questions later’ (Erikson 2019)? If so, how might content ID systems evolve to enable licencing agreements? Alternatively, does the directive establish stronger rights to quote and make parodies, and therefore aid the making of mashups?
Finally, the paper adapts Vaidhyanathan’s concept of ‘trust bias’ from search engines to content platforms (Vaidhyanathan 2011). Does the availability of mashups on content platforms contribute to user trust of suggestions, playlists and ranked search results? Should mashup makers and mashup communities trust content platforms, despite concerns over streaming royalties, opaque content moderation outcomes, and the complexity of copyright? With the imminent Brexit or implementation the EU Copyright Directive, I consider possible futures for platform regulation of music. If courts no longer oversee website blocking decisions, or content platforms are required by law to moderate content, how does this affect systems of trust?
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Hui, Alan; Br?vig-Hanssen, Ragnhild & Jones, Ellis Nathaniel
(2019).
Grey Tuesday (Musikk I gr?sonen).
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Hva betyr kreativitet og originalitet, og hvem definerer disse begrepene? Hva er de konkrete konsekvensene av mangel p? en konseptuell klarhet p? kreativitet og originalitet? Dette er sp?rsm?lene som interesserer forskergruppen MASHED. For ? fors?ke ? besvare disse sp?rsm?lene skal forskergruppen se p? Mashups.
Mashups er en musikksjanger som kombinerer og redigerer annen innspilt musikk til et nytt, og avhengig av hvem du sp?r, unikt lydspor. Dette kan gj?res ved ? kombinere vokalspor fra én innspilling med instrumentalspor fra en annen til en A+B-Mashup, eller ved ? kombinere vokal- og instrumentalspor fra flere innspillinger til en Megamix-Mashups. Sosiale media plattformers implementering av algoritmiske reguleringsverkt?y har fornyet den langvarige debatten om hvordan en slik musikalsk l?nekultur kan forsvares juridisk og hvordan dette p?virker ytringsfriheten.
Programutvalget ved Institutt for musikkvitenskap inviterer Ragnhild Br?vig-Hanssen, Ellis N. Jones og Alan Hui til en ?pen samtale om Mashup-musikk, opphavsrett, kreativitet og originalitet. Etter samtalen vil det v?re ?pent for sp?rsm?l fra salen.
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Eidsvold-T?ien, Irina
(2019).
A viewpoint on sustainability in the cultural ecosystem-
through a performers and copyright perspective
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Vis sammendrag
Claiming copyright for performers in a greater way will add to sustainability in the cultural ecosystem
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Br?vig-Hanssen, Ragnhild; Aareskjold, Jon Marius & Sandvik, Bj?rnar
(2018).
EDM Producers' Reflections on Groove.
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Br?vig-Hanssen, Ragnhild
(2018).
Panel ved boklansering av Yngvar Kjus bok "Live and Recorded: Music Experience in the Digital Millennuim".
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Jones, Ellis Nathaniel
(2018).
Imagining an audience in DIY music.
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Jones, Ellis Nathaniel
(2018).
Are platforms 'deskilling' musicians?
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Jones, Ellis Nathaniel
(2018).
DIY as the new default.
Vis sammendrag
The event seeks to analyse the following questions: to what extent do the divisions between labels, distributors, and stores still obtain after the internet? Do notions of 'major', 'independent', and 'DIY' still carry the same descriptive and analytical meaning in light of self-publishing platforms like Bandcamp, or do we need new concepts to capture the ways in which popular, unpopular, fringe and underground musicians move between institutions and fields? How should we theorise the complex relations between musical media - CD, vinyl, cassette tape, streaming - in contemporary popular musics, and what roles do institutions play in mediating these relations? Are platform-based musical institutions more labile and transitory than their bricks-and-mortar precursors, or is this view now outdated in the age of the 'normal internet'? With the 'gig economy' ascendent--a concept derived from musical labour that is today used to capture the precarity of 21st century work--analysing musical labour and its supporting institutions seems more important than ever. Does musical work serve as barometer for current labour conditions?
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Br?vig-Hanssen, Ragnhild & Sinnreich, Aram
(2018).
Do You Wanna Build a Wall? Remix Tactics in the Age of Trump.
