This paper focuses on techniques to incorporate remix practices into studio art and design classrooms, arguing that students benefit significantly from a focus on what I term “remix pedagogy,” meaning a method and practice of teaching that brings together both the concepts and the creative use of remix tactics. Having taught many university-level studio art courses, I have noticed in my students a surprising investment in the notion of originality and authorship in their own creative practices, even as they freely participated in the exchange, reuse, and remixing of visual languages on social media and the internet. This is an important undertaking in a context in which young people's identities and world views are increasingly shaped through digital texts and interactions. Throughout, the article argues that critical discussion of digital texts and practices opens up the possibilities for students to analyze their everyday lived media experience. Edward, in a secondary school English class and an undergraduate popular culture course. The second half illustrates this potential by examining the use of one popular video remix, Buffy vs. The first half of the article explores the opportunities that remix presents to reflect on mainstream media ideologies, emerging modes of collaborative creativity, and the complexities of intellectual property. This article considers how one form of digital remix – the video remix – might be used in classrooms to introduce critical conversations about representation, appropriation, creativity and copyright. Collaboratively written by Owen Gallagher, Eduardo Navas, Mette Birk, Eli Horwatt, Mark O’ Cúlár, Martin Leduc, and Tara Zepel.Īppropriation, transformation and remix are increasingly recognized as significant aspects of digital literacy. The text is in constant revision and readers are encouraged to join in its writing. One of the group goals is that the text becomes a statement of what video could be as a reflective form of the networked culture that is developing at the beginning of the twenty-first century. Video was selected as the subject of analysis because members have a common interest in time-based media, and also because video remixing is at the forefront of media production. The emphasis on video remixing is the result of a collaborative rewriting activity among the contributors, who each wrote independent paragraphs that went through constant revisions once combined as a single text. The aim of the collaboration is to evaluate how the creative process functions as a type of remix itself in a period when production keeps moving toward a collective approach in all facets of culture. The text explores concepts of remixing not only in content and form, but also in process.
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