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In this article, we investigate the attitudes expressed by members of the Czech electronic music and hip-hop scenes (musicians and music producers) regarding copyright and how copyright affects their work in terms of sampling or remixing third-party recordings. We present their opinions on what measures would help improve the situation regarding the complex settlement of rights. Lastly, we investigate the ethical standards upheld by producers when sampling or remixing third-party material vis-à-vis the use of copyrighted music recordings and related rights. [ABSTRACT FROM AUTHOR]

Background and objectives: Erythrocyte sedimentation rate test guides dentists in the suspicion of inflammatory reactions or infections of the dental focus. In 1981, Kondi mentioned that any delay after blood sampling for the purpose of determining the ESR can lead to a false shortening of the result. The literature indicates that failure to determine within 1 hour and remixing of blood are not recommended. The objectives of our study were to verify the stability of the determinations within 4 hours after storage at room temperature and after 12 hours of refrigeration, involving also the remixing manoeuvre. Materials and Methods:The study was performed in the “St. SpiridonˮHospital of Iași, Romania, on 75 samples, taking also into account the rejected samples presenting source of error. Results: The study showed that 4 (5.33%) samples had an inadequate volume, 3 (4%) showed erythrocyte and fibrin in suspension, preventing the interpretation of the result, whereas the clot was identified in 4 (5.33%) samples. Following 4 hours after the first determination, respectively after 12 hours of refrigeration, rebalancing at room temperature and remixing, forout of the 64 (85.33%) determinations the results were comparable showing a close correlation (r = 0.988 / 0.993 / 0.990, p

Although education is framed as a future‐oriented enterprise, we often fail to serve the diverse futurities of youth, particularly in formal learning environments. The cultural norms of formal learning environments are rooted in dominant ways of being and knowing and this shapes how learning environments and learning technologies can be designed. As a result, the futures youth can envision for themselves in these spaces are often static and limited by the dominant culture. As a move toward supporting youths' diverse cultural backgrounds and experiences, we ask how youth develop relationship with culture through creating culturally centred multimedia projects. Guided by a case study approach, we collected thirty‐six remixing multimedia projects from twelve sixth graders, who created these projects for three culturally centred learning activities over a school year. Findings share one case from each learning activity to demonstrate how students represent their relationships with culture through three forms of symbolising. Implications from this work reject the settled expectations of dominant culture in formal learning environments and, instead, invite youths' knowledges and experiences through remixing with multimedia. Practitioner notes What is already known about this topic Formal learning environments are shaped by norms rooted in the dominant culture but are often assumed to be acultural spaces. Multimedia technologies have been leveraged to engage youth with culture in the classroom. Remixing is a sociocultural learning process that allows youth to reimagine their lived experiences. What this paper adds Sixth graders' relationships with culture were mediated by remixing with multimedia resources in a series of culturally centred multimedia projects. Forms of symbolising in students' remixing works reveal diverse relationships with their own culture and other cultures. Culturally centred multimedia projects afford the development of intertwined and reciprocal relationships with one's own culture and other cultures. Implications for practice Formal learning environments and embedded learning activities often operate on static or limited relationships between youth and their diverse range of cultural experiences. Engaging with multimedia projects can develop students' relationships with their own culture and other cultures in a reciprocal way. Supporting the development of diverse relationships with culture is crucial to designing a culturally centred learning environment. What is already known about this topic Formal learning environments are shaped by norms rooted in the dominant culture but are often assumed to be acultural spaces. Multimedia technologies have been leveraged to engage youth with culture in the classroom. Remixing is a sociocultural learning process that allows youth to reimagine their lived experiences. What this paper adds Sixth graders' relationships with culture were mediated by remixing with multimedia resources in a series of culturally centred multimedia projects. Forms of symbolising in students' remixing works reveal diverse relationships with their own culture and other cultures. Culturally centred multimedia projects afford the development of intertwined and reciprocal relationships with one's own culture and other cultures. Implications for practice Formal learning environments and embedded learning activities often operate on static or limited relationships between youth and their diverse range of cultural experiences. Engaging with multimedia projects can develop students' relationships with their own culture and other cultures in a reciprocal way. Supporting the development of diverse relationships with culture is crucial to designing a culturally centred learning environment. [ABSTRACT FROM AUTHOR]

The use of Open Educational Resources (OER) for training in public administration has yet to see a wide adoption globally, mostly due to challenges related to the discovery and reuse of high-quality OER for training purposes. These challenges, combined with the general lack of openness in the public sector, have greatly impacted the penetration of OER in public administration. This paper presents a case study on the use of OER for expanding and enhancing curricular and resource sharing in public administration in Greece. Within this case study, an OER authoring and sharing platform was introduced to the Greek public sector, employing crowdsourcing methods for supporting trainers and trainees in authoring, sharing, reusing and remixing OER. The paper presents the deployment of this platform and the use of OER in the context of training programmes in the Greek public sector and reports on the lessons learned and the impact on public administration. The results of the case study showed that the use of OER was very positively received by civil servants, with a remarkable response, through active participation and engagement that led to the enhancement of existing OER and the co-creation of new ones for public administration. [ABSTRACT FROM AUTHOR]

This article explores the formal localization of Open Educational Resources (OER) in Ghana, focusing on the remixing of human rights courses for youth and young adults. While working with an NGO that focuses on providing educational resources to low-bandwidth areas, partner teachers in Ghana remixed openly-licensed human rights content provided by the Geneva Office for Human Rights Education (GO-HRE) for local delivery. Localization is crucial to ensure relevance and accessibility of educational materials to diverse learners. By adapting materials through localization, educators can address cultural and contextual mismatches, thereby enhancing comprehension and learning outcomes for a wider range of students. This process acknowledges and respects the diversity of learners and promotes inclusivity in education. This study examines the challenges faced by teachers in formal localization and identifies principles that guide effective localization practices. The research methodology involved qualitative interviews with facilitators who taught a human rights course using OER. The results revealed two main challenges of formal localization: conceptual newness and burdensome effort. Participants lacked awareness of the concept of remixing and open licensing, and they faced challenges related to the demanding nature of the localization process. However, two key principles for effective formal localization emerged: focusing on method and leveraging teacher knowledge. Teachers sought to localize the delivery and method of instruction rather than the subject matter, and they leveraged their own knowledge of students and pedagogical practice to adapt the content. Results highlight the assumptions, implications, and recommendations for OER designers and researchers. Designers should consider the cultural and contextual differences between global and local contexts and collaborate with local teachers to facilitate effective formal localization. Informal localization, driven by social relationships and practical choices, is also recognized as a significant aspect of OER adaptation. [ABSTRACT FROM AUTHOR]

Background and objectives: Erythrocyte sedimentation rate test guides dentists in the suspicion of inflammatory reactions or infections of the dental focus. In 1981, Kondi mentioned that any delay after blood sampling for the purpose of determining the ESR can lead to a false shortening of the result. The literature indicates that failure to determine within 1 hour and remixing of blood are not recommended. The objectives of our study were to verify the stability of the determinations within 4 hours after storage at room temperature and after 12 hours of refrigeration, involving also the remixing manoeuvre. Materials and Methods:The study was performed in the “St. SpiridonˮHospital of Iași, Romania, on 75 samples, taking also into account the rejected samples presenting source of error. Results: The study showed that 4 (5.33%) samples had an inadequate volume, 3 (4%) showed erythrocyte and fibrin in suspension, preventing the interpretation of the result, whereas the clot was identified in 4 (5.33%) samples. Following 4 hours after the first determination, respectively after 12 hours of refrigeration, rebalancing at room temperature and remixing, forout of the 64 (85.33%) determinations the results were comparable showing a close correlation (r = 0.988 / 0.993 / 0.990, p <0.001) with the first determination. Conclusions: The study showed that performing the test 4 hours after sampling, refrigerating and remixing the sample does not influence the stability of the determination, so that, also in the case of dental patients, the moment of sampling and the time elapsed until the determination of the test, do not influence the therapeutic conduct. [ABSTRACT FROM AUTHOR]

This article explores the formal localization of Open Educational Resources (OER) in Ghana, focusing on the remixing of human rights courses for youth and young adults. While working with an NGO that focuses on providing educational resources to low-bandwidth areas, partner teachers in Ghana remixed openly-licensed human rights content provided by the Geneva Office for Human Rights Education (GO-HRE) for local delivery. Localization is crucial to ensure relevance and accessibility of educational materials to diverse learners. By adapting materials through localization, educators can address cultural and contextual mismatches, thereby enhancing comprehension and learning outcomes for a wider range of students. This process acknowledges and respects the diversity of learners and promotes inclusivity in education. This study examines the challenges faced by teachers in formal localization and identifies principles that guide effective localization practices. The research methodology involved qualitative interviews with facilitators who taught a human rights course using OER. The results revealed two main challenges of formal localization: conceptual newness and burdensome effort. Participants lacked awareness of the concept of remixing and open licensing, and they faced challenges related to the demanding nature of the localization process. However, two key principles for effective formal localization emerged: focusing on method and leveraging teacher knowledge. Teachers sought to localize the delivery and method of instruction rather than the subject matter, and they leveraged their own knowledge of students and pedagogical practice to adapt the content. Results highlight the assumptions, implications, and recommendations for OER designers and researchers. Designers should consider the cultural and contextual differences between global and local contexts and collaborate with local teachers to facilitate effective formal localization. Informal localization, driven by social relationships and practical choices, is also recognized as a significant aspect of OER adaptation.

This essay argues for a close attention to the use of sound in the audiovisual aesthetics of Isaac Julien's seminal New Queer Cinema film Looking for Langston (1989). The analysis relies on Amber Musser's work on "sensation" as an analytic for corporeal knowledge production and performs a series of close readings that highlight the influential role of musical remixing practices in the film's synchronization of sound and image. Remixing practices such as sampling provide a music‐based conceptual vocabulary, which helps to illuminate how the montage of Looking for Langston is structured by its sonic elements. The essay shows how Looking for Langston promotes an open‐ended orientation toward the archive that eschews artifact discovery and epistemologies of certainty. Instead, embracing the possibilities of archival work that is guided by our bodily sensations and desires, the film offers an alternative disposition toward queer of color archives that celebrates the possibilities of speculative fantasy, opacity, and disorientation. Furthermore, the essay shows, not only is the film's use of sound interesting in its divergence from the conventions of sound synchronization within many documentary and narrative cinematic forms, but the film is also particularly notable for how it actively draws on practices from contemporary musical culture (specifically late 1980s house music) in order to produce a thoroughly sound‐based cinematic montage. [ABSTRACT FROM AUTHOR]

Interpretative struggles of global crises are increasingly being reflected on social media networks. TikTok is a relatively new social media platform that has achieved substantial popularity among young people in many parts of the world and is now being used to disseminate and make sense of information about the Russian invasion of Ukraine. Through a user-centered sampling approach, we collected 62 TikTok videos and conducted an in-depth qualitative analysis of them and their uploading profiles to explore how the war was being represented on the platform. Our analysis revealed a strong prevalence of remixing practices among content creators; that is, they recontextualise images, sounds and embodied self-performance within the platform-specific affordances of trends. We found that distant suffering is mediated through the emotive online self-performance of content creators, cuing their audiences toward appropriate emotional responses. Trending sounds situate videos within a singular-motif and context-diverse environment, facilitating what we theorize as affective audio networks.

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This article explores collaborative conversation as a method to surface multiple perspectives on community engagement and forms of knowledge creation in the Congruence Engine project. Our exchanges naturally converged around four main areas: the multiple meanings of the term ‘community’ and the nature of these relationships; the modes and spaces for engagement; the different nature of knowledge emerging from these interactions; and, finally, a series of practical issues and challenges that can act as potential barriers. The article also reflects on the opportunities of dialogic writing to enable participatory, inclusive and polyvocal approaches in the development of a national collection.

Seeing a multiplicity of understandings as a strength for interdisciplinary projects, this article draws on four keywords for the Congruence Engine project and explores their meaning and relevance to the project from the perspective of three research fellows with different roles and disciplinary backgrounds. The article aims to demonstrate the productive ways that different understandings of the terms People, Improvisation, Memory and Network meet and form opportunities for mutual learning and collaborative dialogue. [ABSTRACT FROM AUTHOR]

This article explores collaborative conversation as a method to surface multiple perspectives on community engagement and forms of knowledge creation in the Congruence Engine project. Our exchanges naturally converged around four main areas: the multiple meanings of the term 'community' and the nature of these relationships; the modes and spaces for engagement; the different nature of knowledge emerging from these interactions; and, finally, a series of practical issues and challenges that can act as potential barriers. The article also reflects on the opportunities of dialogic writing to enable participatory, inclusive and polyvocal approaches in the development of a national collection. [ABSTRACT FROM AUTHOR]

This article considers the recent efforts of a Britain-based record label to license and remix field recordings collected in Malawi by Hugh Tracey. In particular, I argue that the initiative's charitable ends should be weighed against musical production and marketing practices that shortchange Malawi and Malawians. Drawing on fieldwork, interviews, and discourse analysis in Malawi and South Africa, I ask how the project portrays the source materials it utilises and the uptick in cultural awareness it seeks to engender. Factors I focus on include: characterisations of Tracey and his archive, the musical production process, strategic publicity that accompanied the album's release, and the project's charitable and musical impacts in contemporary Malawi. Altogether, the article articulates and advocates for a critical approach to musically tinged humanitarian projects in the global South. [ABSTRACT FROM AUTHOR]

Although there is a growing call for L2/EFL teachers to connect the words they teach in classrooms with the world students participate outside classrooms, opportunities for L2/EFL students to engage with civic participation (CP) in language curricula remains limited. Drawing on student-authored videos from a digital multimodal composing (DMC) programme in China, this study reports on students' manifestation of CP during DMC. Data from student-authored videos, classroom observation, and interviews reveal that the students used DMC for three forms of CP, including advocacy of the sexually discriminated, fundraising efforts for the left-behind children stricken by poverty, and promoting civic learning of disease-related knowledge and protection measures. The findings also reveal that these forms of CP were manifested by the students' creative remixing of videos and visuals and ingenious layering of student-generated narrations based on their authentic concerns and community experiences. Implications on how DMC can be used to facilitate students' CP in language curricula are discussed. [ABSTRACT FROM AUTHOR]

This article traces the parallel development of lynching culture and the fandom surrounding the black athletic body. While only recently have fan studies scholars started to theorize the relationship between racism, sports, and fandom activity, their shared history goes back to at least Jack Johnson, the first black boxer to win the heavyweight championship. From this first encounter with the black athletic body, sports fans with white supremacist leanings have employed lynching iconography and rhetoric to discipline athletes who challenged the general perception of how a public black figure out to behave. I argue that not only is racialized fan violence directed toward black athletes a common occurrence, but that the logics of lynching culture are deeply and perhaps irrevocably intertwined with those of sports fandom writ large. [ABSTRACT FROM AUTHOR]

In this paper, we explore how a light projection sought to convey a range of qualities: conviviality, a sense of place, playfulness, defamiliarisation, and the affective and sensory capacities that were experienced through walking in the distinctive, liminal realm of Bendigo Creek in Victoria, Australia. The projection aspired to solicit a sensory and affective empathy that chimed with the experiences of an earlier event in which dozens of pedestrians were filmed walking in the creek. The projection contributed to a local campaign to reappraise the much‐maligned creek as a local public amenity. We discuss the productive potential of solitary and collective walking and, subsequently, the attributes of the projection in its static and mobile manifestation. In so doing, we suggest that publicly engaged, inclusive, creative practice can offer potent place‐making possibilities. [ABSTRACT FROM AUTHOR]

Open educational resources address the crisis college students face purchasing textbooks. Although academic librarians play a prominent role implementing the open educational resource solution, by engaging faculty in their use and creation, librarians could go further. At the College of New Rochelle, instruction librarians teamed up with the Scholarly Communications Librarian to revise and remix an already existing information literacy textbook. This case study outlines how an open educational resource textbook was altered and localized to reflect students' lived reality. The textbook was used in a credit-bearing information literacy course for the College's Liberal Arts adult education B.A. program. [ABSTRACT FROM AUTHOR]

Abstract: Dividing‐wall columns can separate multicomponent mixtures and offer large energy savings over conventional column sequences. The separation of a mixture of four alcohols was studied in a Kaibel column and a fully extended Petlyuk column or Sargent arrangement, respectively. The flow paths of intermediates are different so that the Sargent arrangement could save more energy. Remixing of intermediates is unavoidable in the Kaibel column because each of them cannot detour all around both ends of the dividing wall. The Sargent arrangement exhibits the desired detouring paths and the remixing of intermediates is alleviated but still occurs in the prefractionator and the middle column. Finally, an alternative configuration of the Sargent arrangement is proposed which presents a better thermodynamic efficiency. [ABSTRACT FROM AUTHOR]

Ozone dissolution system design is important for meeting transfer efficiency (TE) goals. Large sidestream pump flow (L) and high venturi inlet pressure improves TE but increases operating cost. Ozone TE was examined at a 25 gpm (97-Lpm) pilot-scale sidestream system with (SSw-dg) and without (SSwo-dg) degas separation. Under constant ozone dose conditions, process operating parameters were varied including sidestream gas/liquid (G/L) ratio, venturi-inlet water pressure, venturi-outlet water pressure, feed gas pressure, and ozone gas concentration. Performance results included determination of TE, ozone exposure (CTHDT), and hydraulic detention time (THDT). Several design aspects of sidestream ozone systems were examined to improve mass transfer by using remixing devices, protecting ozone gas piping from corrosion, calculating sidestream ozone residual, and driving force for mass transfer. Moisture contamination of ozone supply lines may cause corrosion and/or decomposition of ozone gas that releases heat and destroys ozone. Ozone gas piping design is critical to prevent trapping water that might enter gas pipe during power outage or when units are offline. During plant operation below design flow, multiple constant speed pumps or variable speed pumps were evaluated to reduce overall operating costs. [ABSTRACT FROM AUTHOR]

The reuse of existing knowledge is an indispensable part of the creation of novel ideas. In the creative domain knowledge reuse is a common practice known as 'remixing'. With the emergence of open internet-based platforms in recent years, remixing has found its way from the world of music and art to the design of arbitrary physical goods. However, despite its obvious relevance for the number and quality of innovations on such platforms, little is known about the process of remixing and its contextual factors. This paper considers the example of Thingiverse, a platform for the 3D printing community that allows its users to create, share, and access a broad range of printable digital models. We present an explorative study of remixing activities that took place on the platform over the course of six years by using an extensive set of data on models and users. On the foundation of these empirically observed phenomena, we formulate a set of theoretical propositions and managerial implications regarding (1) the role of remixes in design communities, (2) the different patterns of remixing processes, (3) the platform features that facilitate remixes, and (4) the profile of the remixing platform's users. [ABSTRACT FROM AUTHOR]

Among the many challenges posed by contexts of social transformation and extensive mobility is the question of how multilingual voice may carry across media, modalities and context. In this paper, we suggest that one approach to this complex problem may be to look at multilingual voice from a sociolinguistic perspective of performance. Our focus here is thus on how marginalised voices on the periphery of Cape Town become mainstreamed within the city’s hip-hop community. Specifically, we ask how emcees sample local varieties of language, texts and registers to stage their particular stylisation of voice. By way of conclusion, we make brief recommendations with respect to the study of multilingualism in South Africa and how the stylisation of local voices in Cape Town hip-hop could inform studies on multilingual policy and planning.

It is too easy to make light of ‘new literacies’ by saying things like: “Well, there are always newer ones coming along”. Such remarks suggest new literacies have a similar kind of life trajectory to an automobile: new in 2009, semi-new in 2010, and old hat by 2011. Against this kind of “that’s so yesterday” perspective, we suggest in this article that ‘new literacies’ are best understood in terms of an historical period of social, cultural, institutional, economic, and intellectual change that is likely to span many decades – some of which are already behind us. We associate new literacies with an historical conjuncture and an ascending social paradigm. From this perspective we suggest that the kinds of practices we currently identify as new literacies will cease to be ‘new’ once the social ways characterizing the ascending paradigm have become sufficiently establised and grounded to be regarded as conventional. Furthermore we suggest that at the heart of the idea of new ethos stuff is the idea of technological change aligning with a range of increasingly popular values.

It is too easy to make light of ‘new literacies’ by saying things like: “Well, there are always newer ones coming along”. Such remarks suggest new literacies have a similar kind of life trajectory to an automobile: new in 2009, semi-new in 2010, and old hat by 2011. Against this kind of “that’s so yesterday” perspective, we suggest in this article that ‘new literacies’ are best understood in terms of an historical period of social, cultural, institutional, economic, and intellectual change that is likely to span many decades – some of which are already behind us. We associate new literacies with an historical conjuncture and an ascending social paradigm. From this perspective we suggest that the kinds of practices we currently identify as new literacies will cease to be ‘new’ once the social ways characterizing the ascending paradigm have become sufficiently establised and grounded to be regarded as conventional. Furthermore we suggest that at the heart of the idea of new ethos stuff is the idea of technological change aligning with a range of increasingly popular values.It is too easy to make light of ‘new literacies’ by saying things like: “Well, there are always newer ones coming along”. Such remarks suggest new literacies have a similar kind of life trajectory to an automobile: new in 2009, semi-new in 2010, and old hat by 2011. Against this kind of “that’s so yesterday” perspective, we suggest in this article that ‘new literacies’ are best understood in terms of an historical period of social, cultural, institutional, economic, and intellectual change that is likely to span many decades – some of which are already behind us. We associate new literacies with an historical conjuncture and an ascending social paradigm. From this perspective we suggest that the kinds of practices we currently identify as new literacies will cease to be ‘new’ once the social ways characterizing the ascending paradigm have become sufficiently establised and grounded to be regarded as conventional. Furthermore we suggest that at the heart of the idea of new ethos stuff is the idea of technological change aligning with a range of increasingly popular values.

This article examines learning opportunities of music production tasks by an exemplary unit on dub reggae following an action research approach. It addresses the educational areas of sound design, musical knowledge, analysis and listening skills, taking the sound of dub reggae as starting point for learner-centred activity. The main premise is to advocate music production technology as an effective tool for music learning allowing students to experience techniques of music production first hand, vividly illustrating creative approaches of remote musical cultures, their successive influence on popular music, and aesthetic experiences special to technologically created sound. The overall goal is to facilitate a higher 256 J ournal of Music, Technology & Education awareness and a more detailed understanding of produced sound, and practical competences of integrating technological sound into musical action. The study took place within two vocational college courses for social and health (N = 10; 7 women, 3 men; average age 21 years) and art and design (N = 9; 5 women, 4 men; average age 18.3 years), and aimed to investigate the methodical practicability and the success of the suggested educational approach. It provides preliminary insights along with recommendations for improvements and further applications. [ABSTRACT FROM AUTHOR]

Within online innovation communities, remixing (i.e., the community's use of an existing innovation as source material or inspiration to aid in the development of further innovations) is an interesting form of knowledge collaboration. This study investigates an open theoretical question: Why are particular innovations remixed by online innovation communities? Some innovations languish, while others are widely remixed. Community members (even those unknown to the innovation's creator) may remix, taking the source innovation in directions the original innovator may have never imagined. Within online innovation communities, remixing is not bound by some of the constraints to knowledge collaboration found in more traditional environments. To address our research question, we begin with variables constituent to innovation diffusion theory, essentially remixing this long-established theory to predict cumulative remixing in online innovation communities, using arguments grounded in the user innovation and learning literatures. We also consider two forms of communication that are relevant to knowledge sharing in online communities (online community interaction and front page presence). Regression analysis (using data pertaining to 498 3D printable innovations) shows that community interaction is highly influential in determining which innovations are remixed by the community. Conversely, the innovation having a presence on the community's front page does not have a significant effect on remixing. Observability has an inverse-U-shaped relationship with remixing; this suggests the value placed on experiential learning. Fuzzy set qualitative comparative analysis (fsQCA) is used as a supplementary analysis technique (with robustness testing), and the results are largely consistent with regression findings but offer interesting insight into innovation configurations that consistently result in remixing from the community. Within specific configurations, fsQCA results indicate a contingent effect of observability and complexity; that is, under certain conditions, complex innovations are more likely to be remixed by the community. [ABSTRACT FROM AUTHOR]

Among the many challenges posed by contexts of social transformation and extensive mobility is the question of how multilingual voice may carry across media, modalities and context. In this article, we suggest that one approach to this complex problem may be to look at multilingual voice from a sociolinguistic perspective of performance. Our focus here is thus on how marginalised voices on the periphery of Cape Town become mainstreamed within the city's hip-hop community. Specifically, we ask how emcees sample local varieties of language, texts and registers to stage their particular stylisation of voice. By way of conclusion, we make brief recommendations with respect to the study of multilingualism in South Africa and how the stylisation of local voices in Cape Town hip-hop could inform studies on multilingual policy and planning. [ABSTRACT FROM PUBLISHER]

In this article we argue that there is a trade-off between generativity and originality in online communities that support open collaboration. We build on foundational theoretical work in peer production to formulate and test a series of hypotheses suggesting that the generativity of creative works is associated with moderate complexity, prominent authors, and cumulativeness. We also formulate and test three hypotheses that these qualities are associated with decreased originality in resulting derivatives. Our analysis uses a rich data set from the Scratch Online Community—a large website where young people openly share and remix animations and video games. We discuss the implications of this trade-off for the design of peer production systems that support amateur creativity. [ABSTRACT FROM PUBLISHER]

We might sometimes note that listeners are divided in their ascription of authenticity to sampling in music: the essence of unoriginality for one, the found-object building block of real creativity for the other. This article explores how the use of existing music and sampling in particular might be re-perceived in the discourse of repetition, authenticity, creativity and originality, and collapses the gap in how types of existing music have been used over the last millennium, so that we might reconcile the difference in the technological means of replication across the centuries with the repetition of schema in the way extant music is reused, and that we might see the sameness of 'sampling' and 'quotation' in new music as well as the differences. This article hopes to encourage an understanding for the composer-producer engaged in replication and re-presentation (through sampling, remixing, covering, etc) that his or her creative acts can be unveiled as 'honest' (if not always lawful), and that whilst shifting technologies may make the sonic landscape different, the composer driving the technology need not bear the accusation of unoriginality when the repetition of schema is unveiled. [ABSTRACT FROM AUTHOR]

A number of contemporary factors have combined to create a situation that encourages and supports international collaboration among institutions of higher education. Factors such as the globalization of the economy, the increasingly international nature of higher education, and the development of an inexpensive and virtually worldwide system of communication, the Internet, have all played their part. This paper focuses on one aspect of international collaboration-the creation and dissemination of information resources and information/educational technologies, such as software. Movements such as Open Source and Open Access have encouraged colleges and universities to consider alternatives to the dominant model for acquiring everything from college textbooks to academic computing software. Today for-profit companies supply most such resources to institutions, faculty, and students. The open source software approach is an alternative based on collaboration between both institutions and individuals, and it is a viable alternative to commercial, for-profit development and dissemination systems. Today, open access journals, for example, compete with journals from commercial publishers and provide free access to anyone via the Internet. Resources such as the courseware management system, Moodle, and the multipurpose software package, Sakai, are examples of open source software-developed resources that are widely used today in higher education. The OpenCourseware initiative at Massachusetts Institute of Technology is an example of free and open dissemination of course resources. Variations of the open source software model support the creation of everything from infrastructure software such as Sakai to remixable textbooks. Remixing is, in fact, a major advantage of the approach Connexions, based at Rice University, has taken to create information resources for educational use. Open access, open source, and other similar approaches can be subsumed under the term open education. That movement is a viable, and rapidly growing, alternative for the creation and distribution of information and information technology resources for higher education that is particularly suited to collaborative, international partnerships. [ABSTRACT FROM AUTHOR]

In this article, the authors argue that copyright law, conceived of in an “analog” age, yet made stricter in our present Digital Age, actively stifles creativity among today’s student creators, both by its bias toward content owners and its legal vagueness. They also illustrate that copyright law is too stringent in protecting intellectual content, because physical and virtual objects have different properties. They conclude with a call to revise copyright for new media content that meets the needs of both content creators and pre-existing media content owners, and that, most importantly, benefits the education of the creative and innovative mind in today’s mediacentric classrooms. [ABSTRACT FROM AUTHOR]

The publishing buzzword of the last few years has undoubtedly been 'open access'. But typically this has referred to scientific journal publishing, only recently expanding to include humanities research. This article goes further in asking what might an open access literary culture look like? Developments around online publishing, electronic-books, print on demand and digital libraries see publishers facing challenges on every side. How might publishers' traditional role as gatekeepers of literary culture be similarly usurped in an environment characterized by networked books, wiki-novels and fictional 'rip and burn' practices? Outlining three exciting recent experiments in open-access literature, this article considers what the digital future of literature might look like, and what its impact will be on writers, publishers and readers. [ABSTRACT FROM AUTHOR]

Today we come across new media art projects as post-industrial art services that occur at the intersection of contemporary art, new economy, post-political politics (activism, hacktivism), technosciences and techno lifestyles. The artwork is not a stable object anymore, it is a process, an artistic software, an experience, a service devoted to solving a particular (cultural and non-cultural) problem, a research, an interface which demands from its user also the ability for associative selection, algorithmic (logical) thinking and for procedures pertaining to DJ and VJ culture, such as mixing, cutting, sampling and recombination. The art service is not so much the manufacturing of things as it is a process of reshaping the thing, moving it, repurposing it, connecting it and incorporating it into new contexts and relations. The service presupposes a problem, a challenge or an order to be solved or carried out. The performer of the service is always faced with a certain task, challenged to solve it in a sequence of steps, chosen as economically as possible. The service therefore ends with a solution of the problem (or its removal) and not with the manufacturing of a finished object. The service always implies an algorithmic procedure that has to be as rational as possible, economical, divided into phases, steps, instructions needed for it to be carried out. By defining the new media art in terms of post-industrial service activity, the traditional concepts of aesthetic and autonomous art are left behind and replaced with novel theoretical devices, e.g. software, repurposing, remixing, recombination, rewriting and hybridization. [ABSTRACT FROM AUTHOR]

Objectives: Dermal exposure to polycyclic aromatic hydrocarbons (PAHs) and the role of an industrial by-product, coal fly ash, on workers' PAH exposure were investigated during stone mastic asphalt (SMA) paving and remixing.Methods: PAH exposure was measured at eight sites during the laying of SMA containing coal fly ash or limestone (conventional SMA) as the filler. Six of the surveys were carried out during SMA paving and two during remixing of SMA (hot recycling at the paving site). Dermal PAH exposure was measured by hand washing (using sunflower oil and wiping with Kleenex tissues) before and after the work shift, and by placing exposure pads on the workers' wrists during the work shift. The analyses included 15 native PAHs from the hand-washing samples determined using high-performance liquid chromatography equipped with a two-channel fluorescence detector and 16 native PAHs and four methylated PAHs from the exposure pads using gas chromatography with mass-selective detection.Results: The PAH results obtained using the pad and hand-washing methods (concentrations after the work shift) were equivalent and showed a strong correlation (r = 0.757, P < 0.001, N = 23 for total PAHs). There was a statistically significant difference between pre- and post-shift samples as measured by hand washing. The skin contamination by PAHs was significantly higher (P < 0.01) during remixing than during SMA paving. The variation in PAH contamination on the skin explained more of the variation in the excretion of urinary 1-hydroxypyrene and phenanthrols than the variation in the respiratory PAH concentrations.Conclusions: The industrial by-product investigated in asphalt, coal fly ash, had no statistically significant effect on the workers' dermal PAH exposure. The dermal exposure of paving workers to PAHs was higher during remixing than during SMA paving. [ABSTRACT FROM AUTHOR]