The 3rd chapter of Matt Mason’s book The Pirate’s Dilemma covers the history of the remix. Mason raises the question “Is youth reinventing capitalism?” and looks at how appropriation has evolved over time by looking at the remixing of music, film and fashion. He mentions that the music industry, though it generally sees remixing as an infringement of copyright, is in a way being forced to accept it. Is our “cut and paste” culture propelling industries forward or hurting them? By looking back a few years at political movements and messages propelled by music, film and images created by the people, it is clear the remix is not only enhancing the fashion, music, film and art industries but creating a fusion of cultures with common interests that allows these groups that would formerly operate individually to create mass messages and movements collectively. Mason uses the format Star Wars and uses it to write the chapter in order to show us what remixing and reinventing is; which is effective in demonstrating that remixing is not just evident in music. It is the act of taking an idea or concept and building on it to change the message/content.
For a capitalist society to function ideally, it allows for only a certain number of individuals “make it”. It is these affluent and influent minority groups that have the power to decide what we see, hear and wear (among other things.) The remix is slowly shifting this power between the “powers that be” and the mass population; and therefore may be reinventing a new form of capitalism in our society. Mason quotes Preston Nevins speaking about the abundance of creative outlets we have with today’s technology.
“Being a professional used to be the only way to go. Now that’s just one nice option you can choose. That’s a huge difference that I think is going to inevitably modify the way society structures itself.”
To create music that would reach people beyond your basement or garage was formerly reserved for mainstream record companies and the elite. Now anyone can do it. There are debates about whether using other people’s work is stealing and unoriginal. This again raises the question “who is the author” and really, is there ever just one?
“The past is now public property for us to do with as we see fit. It has been said that ‘history is written by the winners’-but these days, we can all have a shot.” (71)
I stand by the view that no idea is “original” today, in the true sense of that word. Each new idea has evolved from someone else’s, and that is inevitable in art and everything else. For art to evolve it needs a past, present and future and all of its history and development influences each other.
As copyright laws are becoming more lax, and corporate giants are getting lashed back at for punishing remixed art; we need to consider the political and social platforms and implications of our newfound power as citizens.