MASHED - Mashup musikk, opphavsrett og plattform-regulering (avsluttet)

• Ragnhild Brøvig (2025). Stealing From or Facilitating Hard-Working Musicians? Remixers' Code of Honor. I Eduardo Antonio Navas, Owen Gallagher & xtine burrough (Red.), The Routledge Companion to Remix Studies - 2nd Edition - Eduardo Navas. Routledge. s. 401–411. doi: 10.4324/9781003402459-33. Fulltekst i vitenarkiv Vis sammendrag

  While terms like “theft” and “piracy” have often been used to describe sampling, equating it with criminal behavior overlooks the complexities of copyright law and the ethical perspectives of remix artists. Drawing on interviews with mashup producers, this chapter reveals their perspectives and ethical guidelines regarding sampling, emphasizing the distinction between plagiarism and acknowledged appropriation, where the latter serves as a form of artistic commentary rather than a mere exploitation of others’ work.

• Ellis Jones (2021). The role of mashup music in creating Web 2.0’s democratic promise. Convergence. The International Journal of Research into New Media Technologies. ISSN 1354-8565. Fulltekst i vitenarkiv
• Alan Hui (2021). Mashup music as expression displaced and expression foregone. Internet Policy Review. 10(4). doi: 10.14763/2021.4.1604. Fulltekst i vitenarkiv Vis sammendrag

  This article focuses on mashup music, a form of sampling expression combining samples from two or more recognisable and popular music recordings into a new whole. It explains how platforms often regulate, displace and silence mashup producers, through a combination of content identification and content moderation, in spite of copyright exceptions. While there is case law from US and EU courts concerning music and unlicensed sampling, unlicensed sampling has never been found to qualify for US or EU copyright exceptions. However, it remains possible that unlicensed mashups are lawful under other copyright exceptions. Despite this uncertainty regarding the lawfulness of unlicensed mashups, content platforms have blocked and taken down mashups, and suspended and terminated user accounts. Drawing on empirical research with dozens of mashup producers that the author and his colleagues in the University of Oslo’s MASHED project conducted in 2019, this article sets out how copyright regulation and content moderation on platforms have caused mashup producers to forego their would-be expressions.

• Alan Hui (2021). Emerging frontiers: Platform regulation of mashups in and beyond an EU context. I Ann Harrison & Ann Harrison (Red.), The Present and Future of Music Law. Bloomsbury Academic. ISSN 9781501367779. s. 64–81. doi: 10.5040/9781501367809.0013. Fulltekst i vitenarkiv
• Alan Hui & Frederic Döhl (2021). Collateral Damage: Reuse in the Arts and the New Role of Quotation Provisions in Countries with Free Use Provisions After the ECJ’s Pelham, Funke Medien and Spiegel Online Judgments. IIC - International Review of Intellectual Property and Competition Law. ISSN 0018-9855. 52, s. 852–892. doi: 10.1007/s40319-021-01084-4. Fulltekst i vitenarkiv
• Ragnhild Brøvig-Hanssen & Ellis Nathaniel Jones (2021). Remix’s retreat? Content moderation, copyright law and mashup music. New Media & Society. ISSN 1461-4448. 25(6), s. 1271–1289. doi: 10.1177/14614448211026059. Fulltekst i vitenarkiv
• Terje Colbjørnsen, Alan Hui & Benedikte Solstad (2021). What do you pay for all you can eat? Pricing practices and strategies in streaming media services. Journal of Media Business Studies. ISSN 1652-2354. doi: 10.1080/16522354.2021.1949568. Fulltekst i vitenarkiv Vis sammendrag

  The role that prices play for streaming media services is yet to be comprehensively and comparatively analysed with an international outlook. In this paper, we present results on music and video streaming prices, based on analysis of a data set of prices and information on pricing models and price developments. The data set spans 2008 to 2019, five streaming services, and nine countries across four continents. We provide comparative overviews of real prices and developments over the years studied and purchasing power-adjusted pricing across countries, as well as country-by-country assessments. Finally, our results show significant divergences in the pricing practices and strategies of Spotify and Netflix. The access-based pricing structure of streaming comes forth as highly contingent on demand-side factors and competitive structures.

• Irina Eidsvold-Tøien (2020). Kunstnerisk frihet - en menneskerett. I Tore Bråthen, Eivind Furuseth & Anders Mikelsen (Red.), Hvor din skatt er vil også ditt hjerte være : Festskrift til Ole Gjems-Onstad 70 år. Cappelen Damm Akademisk. ISSN 9788202675592. s. 197–228. Fulltekst i vitenarkiv Vis sammendrag

  Artikkelen er en av mange i festskriftet til Ole Gjems-Onstad, og omhandler hvorvidt kunstnerisk frihet er en menneskerett og hvordan den i såfall er beskyttet i norsk rett. Dernest tar artikkelen for seg hvorvidt teaterforestillingene "Arv og miljø" (Den Nationale scene 2019/2010) og "Ways of seing" (Black Box 2018/2019) er beskyttet av menneskerettigheter. Det finner jeg at de er som kunstneriske ytringer, som omfatter mer enn ordene. Kunstnerisk frihet er en del av ytringsfriheten, og vil gå foran retten til privatliv, dersom formen for ytring er abstrahert fra det konkrete/private, slik kunst oftest vil være.

• Ragnhild Brøvig-Hanssen & Ellis Nathaniel Jones (2020). Detection Algorithms and their Implications for Participation: The Case of Mashups. Selected Papers of Internet Research, SPIR. 2020: AoIR2020. doi: 10.5210/spir.v2020i0.11181. Fulltekst i vitenarkiv
• Ragnhild Brøvig-Hanssen & Ellis Nathaniel Jones (2020). Remiksens retrett? Innvirkningen av plattformers gjenkjenninsprosedyrer på mashups. Norsk medietidsskrift (NMT). ISSN 0804-8452. 3(2020). doi: 10.18261/ISSN.0805-9535-2020-03-02. Fulltekst i vitenarkiv Vis sammendrag

  Mange av dagens internettplattformer bruker automatiske og algoritmiske verktøy for å gjenkjenne og moderere uønsket innhold, inkludert det som blir ansett for å krenke opphavsretten. Denne artikkelen undersøker hvordan slike gjennkjenningsprosedyrer påvirker mashup-musikk – en form for remiks som baserer seg på å kombinere (uautoriserte) utdrag av tidligere, gjenkjennelige musikkinnspillinger. På bakgrunn av intervjuer (n = 30) og en spørreundersøkelse (n = 92) med mashup-produsenter, viser vi at disse gjenkjenningsprosedyrene påvirker produsentenes kreative beslutninger og distribusjonsstrategier, og at de har en betydelig, negativ innvirkning på produsentenes generelle motivasjon for å lage mashups. Produsentenes innvendinger mot denne situasjonen vinner en viss gjenklang i de juridiske unntakene fra opphavsretten. Vi argumenterer imidlertid for at disse unntakene, som utgjør en juridisk «gråsone», ikke er lagt tilstrekkelig til rette for av plattformene. Plattformenes politisk-økonomiske makt gjør det dermed mulig for dem å «okkupere» og kontrollere denne gråsonen. Som en konsekvens er den praktiske anvendelsen av opphavsrettens unntak i denne settingen betydelig redusert.

• Ellis Nathaniel Jones (2020). Book review: Popular Music in the Post-Digital Age. Popular Music. ISSN 0261-1430. 39(1), s. 146–148. doi: 10.1017/S0261143020000045. Fulltekst i vitenarkiv
• Ragnhild Brøvig-Hanssen (2019). Humor's Role in Mashups and Remixes. I Nick Braae & Kai Arne Hansen (Red.), On Popular Music and Its Unruly Entanglements. Palgrave Macmillan. ISSN 9783030180997. s. 189–207. doi: 10.1007/978-3-030-18099-7. Fulltekst i vitenarkiv Vis sammendrag

  On Popular Music and Its Unruly Entanglements comprises eleven essays that explore the myriad ways in which popular music is entwined within social, cultural, musical, historical, and media networks. The authors discuss genres as diverse as mainstream pop, hip hop, classic rock, instrumental synthwave, video game music, amateur ukelele groups, and audiovisual remixes, while also considering the music’s relationship to technological developments, various media and material(itie)s, and personal and social identity. The collection presents a range of different methodologies and theoretical positions, which results in an eclecticism that aptly demonstrates the breadth of contemporary popular music research. The chapters are divided into three major sections that address: wider theoretical and analytical issues (“Broad Strokes”), familiar repertoire or concepts from a new perspective (“Second Takes”), and the meanings to arise from music’s connections with other media forms (“Audiovisual Entanglements”).

• Ragnhild Brøvig-Hanssen (2019). Mixing with Quotations: Mashups and Contextual Transformation. I Simon Zagorski-Thomas, Katia Isakoff, Sophie Stévance & Serge Lacasse (Red.), The Art of Record Production, Volume 2: Creative Practice in the Studio. Routledge. ISSN 9781138205109. s. 50–65. doi: 10.4324/9781315467658-4. Fulltekst i vitenarkiv
• Ellis Nathaniel Jones (2019). What does Facebook ‘afford’ do-it-yourself musicians? Considering social media affordances as sites of contestation. Media, Culture and Society. ISSN 0163-4437. s. 1–16. doi: 10.1177/0163443719853498. Fulltekst i vitenarkiv
• Ellis Nathaniel Jones (2019). Book Review: Spotify Teardown: Inside the Black Box of Streaming Music. Convergence. The International Journal of Research into New Media Technologies. ISSN 1354-8565. 25(4), s. 782–785. doi: 10.1177/1354856519854204. Fulltekst i vitenarkiv
• Ragnhild Brøvig-Hanssen & Aram Sinnreich (2019). Do You Wanna Build a Wall? Remix Tactics in the Age of Trump. Popular music and society. ISSN 0300-7766. 43(5). doi: 10.1080/03007766.2019.1650990. Fulltekst i vitenarkiv
• David Hesmondhalgh, Ellis Nathaniel Jones & Andreas Rauh (2019). SoundCloud and Bandcamp as Alternative Music Platforms. Social Media + Society. 5(4). doi: 10.1177/2056305119883429. Fulltekst i vitenarkiv Vis sammendrag

  We examine two “producer-oriented” audio distribution platforms, SoundCloud and Bandcamp, which have been important repositories for the hopes of musicians, commentators, and audiences that digital technologies and cultural platforms might promote democratization of the cultural industries, and we compare their achievements and limitations in this respect. We show that the emancipatory elements enshrined in SoundCloud’s bottom-up abundance are compromised by two elements that underpin the platform: the problematic “culture of connectivity” of the social media systems to which it must remain integrally linked and the systems of intellectual property that the firm has been increasingly compelled to enforce. By contrast, it seems that Bandcamp has been relatively stable in financial terms while being at odds with some key aspects of “platformization,” and we explore the possibility that some of the platform’s apparent success may derive from how its key features makes it attractive to indie musicians and fans drawn to an independent ethos. Nevertheless, we argue that even while in some respects Bandcamp acts more effectively as a cultural alternative than does SoundCloud, Bandcamp is also congruent economically and discursively with how platforms capitalize on the activity of self-managing, self-auditing, specialist, worker-users.

• Ellis Nathaniel Jones (2019). DIY and popular music: mapping an ambivalent relationship across three historical case studies. Popular music and society. ISSN 0300-7766. doi: 10.1080/03007766.2019.1671112. Fulltekst i vitenarkiv
• Milos Novovic (2019). Fighting European ‘Copyright Tourism’: Lessons from Defamation Laws. European Review of Private Law. ISSN 0928-9801. 27(5), s. 949–971. Fulltekst i vitenarkiv Vis sammendrag

  In the recent cases of Pinckney and Hejduk, the ECJ revised European rules on jurisdiction over online copyright infringement disputes – making it possible for claimants to bring their lawsuits in virtually any European country. Due to the application of lex loci protectionis, this choice of venue also affects the law applicable to disputes. This article shows that this results in a substantial forum shopping risk, despite safety mechanisms built into the ECJ judgments. It explains that forum shopping is not inherently bad, but that it creates major problems for copyright laws, given its potential to shift the balance between the authors and exploiters of the work. In an attempt to identify a possible solution, this article turns to the substantive implementation of de minimis principle in Principles on Conflict of Laws in Intellectual Property (CLIP) Principles. The success of this approach is illustrated through the field of media law, and specifically, the way in which United Kingdom solved the problem of libel tourism. Examining the substantive requirement of ‘serious harm’ found in the UK Defamation Act of 2013, the article proposes amending national copyright laws as to state that absent showing of the intention to target a certain Member State by the online infringing activity or, alternatively, a ‘serious harm’ suffered on its territory, no copyright infringement is to be found. This way, forum shopping in online copyright infringement cases may be stopped in its tracks, before it becomes a rampant practice in Europe

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• Ragnhild Brøvig (2023). Parody in the Age of Remix: Mashup Creativity vs. the Takedown. MIT Press. ISBN 9780262374125. 328 s. Fulltekst i vitenarkiv Vis sammendrag

  The art of mashup music, its roots in parody, and its social and legal implications. Parody needn't recognize copyright—but does an algorithm recognize parody? The ever-increasing popularity of remix culture and mashup music, where parody is invariably at play, presents a conundrum for internet platforms, with their extensive automatic, algorithmic policing of content. Taking a wide-ranging look at mashup music—the creative and technical considerations that go into making it; the experience of play, humor, enlightenment, and beauty it affords; and the social and legal issues it presents—Parody in the Age of Remix offers a pointed critique of how society balances the act of regulating art with the act of preserving it. In several jurisdictions, national and international, parody is exempted from copyright laws. Ragnhild Brøvig contends that mashups should be understood as a form of parody, and thus be protected from removal from hosting platforms. Nonetheless, current copyright-related content-moderation regimes, relying on algorithmic detection and automated decision making, frequently eliminate what might otherwise be deemed gray-area content—to the detriment of human listeners and, especially, artists. Given the inaccuracy of takedowns, Parody in the Age of Remix makes a persuasive argument in favor of greater protection for remix creativity in the future—but it also suggests that the content-moderation challenges facing mashup producers and other remixers are symptomatic of larger societal issues.

• Ellis Jones (2021). DIY Music and the Politics of Social Media. Bloomsbury Academic. ISBN 9781501359637. 184 s. Fulltekst i vitenarkiv

Se alle arbeider i NVA

• Ragnhild Brøvig & Jon Marius Aareskjold-Drecker (2025). AI and Humanities: The Role of AI-Based Tool in Music Production. Fulltekst i vitenarkiv
• Ragnhild Brøvig (2023). Crises affecting the economy, production, and consumption of music: Perspectives from remixers. Fulltekst i vitenarkiv
• Ragnhild Brøvig (2023). Presentation of the book Parody in the Age of Remix. Fulltekst i vitenarkiv
• Ragnhild Brøvig (2023). Crisis in the Flow of Remixes and in the Maintenance of Copyright Exceptions. Fulltekst i vitenarkiv
• Ragnhild Brøvig (2023). Users’ Freedom of Expression in the Digital Era. Fulltekst i vitenarkiv
• Ragnhild Brøvig (2023). You’re not supposed to sample and rely on copyright exceptions. Fulltekst i vitenarkiv
• Ragnhild Brøvig (2023). Publishing Panel (on the publishing of Parody in the Age of Remix). Fulltekst i vitenarkiv
• Ragnhild Brøvig (2023). Wakeful Sleep and Sleepy wakefulness in EDM. Fulltekst i vitenarkiv
• Ragnhild Brøvig-Hanssen (2021). Rhythm, Repetition, and Expectations. Fulltekst i vitenarkiv
• Ellis Nathaniel Jones (2020). Mashups, musicians, and majors: the politics of participatory culture today. Fulltekst i vitenarkiv
• Ellis Nathaniel Jones (2020). The historical role of ‘mashup culture’ in envisioning a democratic media environment. Fulltekst i vitenarkiv
• Ragnhild Brøvig-Hanssen (2020). Slutten på mashup musikk? Fulltekst i vitenarkiv Vis sammendrag

  På starten av 2000-tallet eksploderte internett med såkalte mashup-videoer som utelukkende besto av samples fra tidligere musikkinnspillinger. De siste årene har vi sett en nedgang i mashups samtidig som flere internett-plattformer har tatt i bruk algoritmiske verktøy for å regulere innholdet på nettsidene, blant annet innhold som bruker opphavsberettiget materiale uten tillatelse. Har dette en sammenheng? Hvordan opplever mashup produsentene selv disse nye reguleringsverktøyene som har blitt tatt i bruk, og hvordan stiller denne musikken og disse reguleringsveiktøyene seg i forhold til opphavsrett?

• Alan Hui (2020). 21 and illegal in all states? The German Pelham court confirms when sampling is illegal. IPKat. Fulltekst i vitenarkiv
• Alan Hui (2020). English Translation of Pelham v Hütter Press Release 46/20 (including decision), German Federal Court of Justice, I ZR 115/16 - Metal on Metal IV, 30 April 2020. IPKat. Fulltekst i vitenarkiv
• Ragnhild Brøvig-Hanssen (2020). Playful Rhythms and Mosaic Flow. Fulltekst i vitenarkiv 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.

• Ragnhild Brøvig-Hanssen (2020). A Doubled Now: Parody Theories. Fulltekst i vitenarkiv
• Alan Hui (2020). Revenue assignment in music sampling: the challenge of who owns and who owes. Fulltekst i vitenarkiv 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

• Ragnhild Brøvig-Hanssen (2020). “Parody in the Age of Remix and Takedowns”. Fulltekst i vitenarkiv
• Ragnhild Brøvig-Hanssen (2020). Presentasjon av MASHED-prosjektet. Fulltekst i vitenarkiv
• Ragnhild Brøvig-Hanssen & Ellis Nathaniel Jones (2020). Detection Algorithms and their Implications for Participation: The Case of Mashups. Fulltekst i vitenarkiv Vis sammendrag

  ‘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.

• Ragnhild Brøvig-Hanssen (2020). Mashup Music, Intertextuality, and Copyright. Fulltekst i vitenarkiv
• Ragnhild Brøvig-Hanssen & Morten Skipenes Smedsrud (2020). Algoritmene lammer kreativiteten. [Journal]. Apollon. Fulltekst i vitenarkiv
• Ragnhild Brøvig-Hanssen & Ellis Nathaniel Jones (2020). Slutten på remix? Spenningsforholdet mellom mashup-musikk og automatiske reguleringsverktøy. Fulltekst i vitenarkiv
• Ellis Nathaniel Jones, Áine Mangaoang & Sam de Boise (2020). Panel discussion: online participatory music cultures today. Fulltekst i vitenarkiv
• Alan Hui (2019). Norwegian copyright limitations and exceptions following Pelham v Hütter. Fulltekst i vitenarkiv
• Irina Eidsvold-Tøien (2019). A viewpoint on sustainability in the cultural ecosystem- through a performers and copyright perspective. Fulltekst i vitenarkiv Vis sammendrag

  Claiming copyright for performers in a greater way will add to sustainability in the cultural ecosystem

• Ragnhild Brøvig-Hanssen & Jon Marius Aareskjold (2019). Vocal Chops and it's aesthetics. Fulltekst i vitenarkiv
• Yngvar Kjus & Ragnhild Brøvig-Hanssen (2019). Med opphavsrett på studieplanen. [Journal]. Ballade.no. Fulltekst i vitenarkiv
• Ragnhild Brøvig-Hanssen (2019). Musical Fragmentation and Pleasure. Fulltekst i vitenarkiv
• Ragnhild Brøvig-Hanssen (2019). Music Listening - Meso time. Fulltekst i vitenarkiv
• Ragnhild Brøvig-Hanssen (2019). Mashup and Parody. Fulltekst i vitenarkiv
• Ragnhild Brøvig-Hanssen (2019). Musical Fragmentation and Dual-Planed Temporality. Fulltekst i vitenarkiv
• Ragnhild Brøvig-Hanssen (2019). Presentation of MASHED; TIME; and MusFrag. Fulltekst i vitenarkiv
• Ragnhild Brøvig-Hanssen & Jon Marius Aareskjold (2019). Vocal chops and Rhythm. Fulltekst i vitenarkiv
• Ellis Nathaniel Jones & Patrick Hyland (2019). Negotiating conceptions of “lo-fi” authenticity in collaborative work. Fulltekst i vitenarkiv
• Ragnhild Brøvig-Hanssen (2019). Presentation of the MASHED-project. Fulltekst i vitenarkiv
• Ellis Nathaniel Jones, David Hesmondhalgh & Andreas Rauh (2019). Bandcamp and SoundCloud as alternative music platforms. Fulltekst i vitenarkiv
• Ragnhild Brøvig-Hanssen (2019). Mashups as Bisociative. Fulltekst i vitenarkiv
• Sophie Bishop & Ellis Nathaniel Jones (2019). Just a folk theory? User understandings of algorithms as media critique. Fulltekst i vitenarkiv Vis sammendrag

  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.

• Ragnhild Brøvig-Hanssen & Aram Sinnreich (2019). Paper on the Panel Resist, Rebel, Remix: Politics and Practice in Digital Culture. Fulltekst i vitenarkiv
• Ellis Nathaniel Jones (2019). The historical role of ‘mashups’ in envisioning a democratic media environment. Fulltekst i vitenarkiv 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.

• Vibeke Cederkvist & Ragnhild Brøvig-Hanssen (2019). Musikkverdenen voksne ikke forstår. [Internet]. NRK.no. Fulltekst i vitenarkiv Vis sammendrag

  Bedroom pop: En undergrunnskultur.

• Ragnhild Brøvig-Hanssen & Jon Marius Aareskjold (2019). Vocal Chops and its Aesthetics. Fulltekst i vitenarkiv
• Dæhlen Marte & Ragnhild Brøvig-Hanssen (2019). Hvem er den egentlige artisten bak mashups og sample-musikk? [Journal]. Forskning.no. Fulltekst i vitenarkiv Vis sammendrag

  Sak om mashups og opphavsrettsregulering basert på intervju med Ragnhild Brøvig-Hanssen fra forskningsprosjektet MASHED ved UiO.

• Ragnhild Brøvig-Hanssen, Paul Théberge, Nyssim Lefford, Catherine Provenzano & Alan Williams (2019). Methodology Panel. Fulltekst i vitenarkiv Vis sammendrag

  Technology and Studio Practices in Record Production Research: Object, Subject, Variable and Data Collection Tool.

• Yngvar Kjus, Ragnhild Brøvig-Hanssen, Eirik Askerøi, Mike Hartung, Magnus Wergeland Juell & Sara Karoliussen (2019). Musikkprodusentens rolle. Fulltekst i vitenarkiv Vis sammendrag

  Musikkprodusentens rolle - Hva skal til for å lykkes som studioprodusent? - Hvordan balanserer studioprodusenter hensyn til kunstneriske mål og markedsmål? - Hva skyldes ubalansen i antall kvinnelige og mannlige studioprodusenter? Hvordan kan den utfordres? Debattleder: Yngvar Kjus (førsteamanuensis ved IMV) Med Sara Karoliussen (artist, produsent, ex-IMV) Magnus Wergeland Juell (nylig uteksaminert MA-student ved IMV) Ragnhild Brøvig-Hanssen (førsteamanuensis ved IMV og RITMO) Michael Scott Hartung (produsent) Eirik Askerøi (førsteamanuensis ved Høgskolen i Innlandet, ex-IMV)

• Ragnhild Brøvig-Hanssen (2019). Humor, Parody and Mashups. Fulltekst i vitenarkiv 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.

• Alan Hui, Ragnhild Brøvig-Hanssen & Ellis Nathaniel Jones (2019). Grey Tuesday (Musikk I gråsonen). Fulltekst i vitenarkiv Vis sammendrag

  Hva betyr kreativitet og originalitet, og hvem definerer disse begrepene? Hva er de konkrete konsekvensene av mangel på en konseptuell klarhet på kreativitet og originalitet? Dette er spørsmålene som interesserer forskergruppen MASHED. For å forsøke å besvare disse spørsmålene skal forskergruppen se på Mashups. Mashups er en musikksjanger som kombinerer og redigerer annen innspilt musikk til et nytt, og avhengig av hvem du spør, unikt lydspor. Dette kan gjøres ved å kombinere vokalspor fra én innspilling med instrumentalspor fra en annen til en A+B-Mashup, eller ved å kombinere vokal- og instrumentalspor fra flere innspillinger til en Megamix-Mashups. Sosiale media plattformers implementering av algoritmiske reguleringsverktøy har fornyet den langvarige debatten om hvordan en slik musikalsk lånekultur kan forsvares juridisk og hvordan dette påvirker ytringsfriheten. Programutvalget ved Institutt for musikkvitenskap inviterer Ragnhild Brøvig-Hanssen, Ellis N. Jones og Alan Hui til en åpen samtale om Mashup-musikk, opphavsrett, kreativitet og originalitet. Etter samtalen vil det være åpent for spørsmål fra salen.

• Alan Hui (2019). Platform regulation of mashup makers in a post-Brexit UK. Fulltekst i vitenarkiv 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?

• Ragnhild Brøvig-Hanssen & Aram Sinnreich (2018). Do You Wanna Build a Wall? Remix Tactics in the Age of Trump. Fulltekst i vitenarkiv
• Ragnhild Brøvig-Hanssen, Jon Marius Aareskjold & Bjørnar Sandvik (2018). EDM Producers' Reflections on Groove. Fulltekst i vitenarkiv
• Ragnhild Brøvig-Hanssen (2018). Panel ved boklansering av Yngvar Kjus bok "Live and Recorded: Music Experience in the Digital Millennuim". Fulltekst i vitenarkiv
• Ellis Nathaniel Jones (2018). DIY as the new default. Fulltekst i vitenarkiv 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?

• Ellis Nathaniel Jones (2018). Are platforms 'deskilling' musicians? Fulltekst i vitenarkiv
• Ellis Nathaniel Jones (2018). Imagining an audience in DIY music. Fulltekst i vitenarkiv

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