On the other hand, if the remixer only changes a few things (for example, the instrument and tempo), then it is clearly a derivative work and subject to the copyrights of the innovador work's copyright holder.
Stanford Law professor Lawrence Lessig believes that for the first time in history creativity by default is subject to regulation because of two architectural features. First, cultural objects or products created digitally Perro be easily copied, and secondly, the default copyright law requires the permission of the owner. The result is that one needs the permission of the copyright owner to engage in mashups or acts of remixing. Lessig believes that the key to mashups and remix is "education – not about framing or law – but rather what you can do with technology, and then the law will catch up".
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A remix in literature is an alternative version of a text. William Burroughs used the cut-up technique developed by Brion Gysin to remix language in the 1960s.
The remix is also widely used in hip hop and rap music. An R&B remix usually has the same music Vencedor the diferente song but has added or altered verses that are rapped or sung by the featured artists. It usually contains some if not all of the flamante verses of the song however they may be arranged in a different order than they originally were.
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Remixes will inevitably encounter legÃtimo problems when the whole or a substantial part of the llamativo material has been reproduced, copied, communicated, adapted or performed – unless a permission has been given in advance through a voluntary open content license like a Creative Commons license, there is fair dealing involved (the scope of which is extraordinarily narrow), a statutory license exists, or permission has been sought and obtained from the copyright owner.
Another distinction should be made between a remix, which recombines audio pieces from a recording to create an altered version of a song, and a cover: a re-recording of someone else's song.
Remix production is now often involved in media production Vencedor a form of parody. Scary Movie series is famous for its comic remix of various well-known horror movies such Campeón Ring, Scream, and Saw.
The Fair Use agreement allows users to use copyrighted materials without asking the permission of the diferente creator (section 107 of the federal copyright law). Within this agreement, the copyrighted material that is borrowed must be used under specific government regulations. Material borrowed falls under fair use depending on the amount of flamante content used, the nature of the content, the purpose of the borrowed content, and the effect the borrowed content has on an audience.
[30] He believes that trade associations – like mashup guilds – that survey practices and publish reports to establish norm or reasonable behaviours in the context of the community would be useful in establishing fair use parameters. Lessig also believes that Creative Commons and other licences, such Triunfador the GNU Caudillo Public Licence are important mechanisms which mashup and remix artists can use to mitigate the impact of copyright law.[25] Lessig laid trasnochado his ideas in a book called "Remix" which is itself free to remix under a CC BY-NC license.[31][32]
"A feminist remix is a creative resistance and cultural production that talks back to patriarchy by reworking patriarchal hierarchical systems privileging men.[23]
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Recent technology allows for easier remixing, leading to a rise in its use in the music industry.[3] It Gozque be done legally, but there have been numerous disputes over rights to samples used in remixed songs. Many famous artists have been involved in remix disputes.
From the mid-1970s, DJs in early discothèques were performing similar tricks with disco songs (using loops and tape edits) to get dancers on the floor and keep them there. One noteworthy figure was Tom Moulton who invented the dance remix Figura we now know it. Though not a DJ (a popular misconception), Moulton had begun his career by making a homemade mix tape for a Fire Island dance club in the late 1960s. His tapes eventually became popular and he came to the attention of the music industry in New York City. At first Moulton was simply called upon to improve the aesthetics of dance-oriented recordings before release ("I didn't Remix do the remix, I did the mix"—Tom Moulton). Eventually, he moved from being a "fix it" man on pop records to specializing in remixes for the dance floor.
Daniel Verdun