Week 4

Monday 7/10
Due: Blog Post #2
Talk about copyright and Blog Post #2. Share YouTube Copyright School scores. Review public domain and Creative Commons. Listen to “Revolution #9.” Begin searching for source materials to use in your remix.

Homework: Find at least two public domain works that you can use in your remix. Then find at least one Creative Commons work licensed for remix that you want to use. (See prompt for additional resources.) Keep track of where you find materials and the licensing information pertaining to each source. You’ll need to cite each one. Download all the source materials you want to use as WAV or MP3 files, if possible. (If not possible, download as whatever file you can and get in touch with me as soon as possible. You may need to figure out how to convert it.) Be sure to save all your files in one place that you can find easily while working on this project. I like to create a folder on my desktop and save all the project materials there until I’m done. I also keep a Word file there with notes about each file and a link back to where I downloaded it. Figure out a method that works for you—just stay organized.


Tuesday 7/11
Lab day: Meet at CDSC. Bring headphones. Discuss remix materials. Introduction to Audacity. Quick overview of online synths for creating your own track.

Homework: If you did not install it during class, download and install Audacity now. Before anything else, download and install the LAME MP3 encoder, which will allow you to export your remix as an MP3 file. (Note the copyright reasons for this weird workaround.) At this point you can also download additional plug-ins, filters, and effects if you want, although it’s not necessary for this project. You’ll need to follow the instructions provided on the Audacity wiki-Manual. If you can’t get the software to install correctly, be sure to get help during class tomorrow. If all goes well, you can begin working on your project by importing your source files into a new Audacity project. For guidance, watch this how-to video on Audacity basics, this how-to for quick multi-track editing tips, and this how-to on mash-ups. Note that if you plan to create your own beat, it’s probably easier to start with that and then import your source materials once it’s in place. Now begin tinkering! The research part is over; it’s time to use your ears and have fun.


Wednesday 7/12
Lab day: Meet at CDSC. Bring headphones. Work on remixes.

Homework: Continue working on your remix. If you have not already, create your own track to add to the remix. (See prompt for some suggestions about how to do that.)


Thursday 7/13
Due: Project 2
Lab day: Meet at CDSC. Bring headphones. Discuss artist statements. And continue working on remixes.

Homework: Finish remix and artist statement. Export your remix as an MP3 file, then save it as an Audacity Project (which will allow you to continue working on it in the future, if you wish). Send me the MP3 file as an email attachment. Paste the artist statement into the body of your email. I will upload each of these remixes to SoundCloud, then feature them on our course page. If you do not wish to participate or to be identified by name, please make a note in your email. Project 2 due tonight by 9pm.


Friday 7/14
Meet back at classroom to listen to some of the remixes and begin discussing the final unit. How do we understand obscenity? How do we regulate it in the age of online sharing?

Homework: Read Stephanie Morrow’s short essay on LegalZoom, “How Is Obscenity Regulated on the Internet?” For a little extra background information, see also the Electronic Frontier Foundation’s brief description of Nitke v. Ashcroft and their brief editorial on the ruling. Pay attention to the legal issues that the case raised, then think about how those compare to the ethical and cultural issues at stake. We will need to separate out the various issues that get tangled up in discussions of obscenity. At the same time we will need to distinguish between our own feelings and the various perspectives that judges and social media platforms have to consider when facing questions of obscenity.