“Remediation” Book Chapter Published in The Routledge Encyclopedia of Citizen Media (2021)

A chapter I wrote on “Remediation” has been published in The Routledge Encyclopedia of Citizen Media (Routledge, 2021), edited by Mona Baker, Bolette B. Blaagaard, Henry Jones, and Luis Pérez-González. 

https://www.routledge.com/The-Routledge-Encyclopedia-of-Citizen-Media/Baker-Blaagaard-Jones-Perez-Gonzalez/p/book/9781138665569

Remediation by Owen Gallagher in The Routledge Encyclopedia of Citizen Media

Remediation by Owen Gallagher in The Routledge Encyclopedia of Citizen Media (2021)

Abstract

Remediation broadly refers to the representation of one medium within another medium, often, in practice, leading to the incorporation of the ‘old’ into the ‘new’. This process can occur in a number of different ways, from the faithful adaptation or translation of a text into another media form, to the improvement, refashioning, absorption or repurposing of content into a more advanced technological state. This can have the effect of causing the medium of consumption to become either more transparent or more opaque, highlighting its relative immediacy or hypermediacy, respectively.

The theory of remediation is important within the sphere of citizen media because non-affiliated citizens are increasingly expressing themselves publicly using remediated content such as remixes, memes, mashups and bricolage. The figure of the independent remixer or meme-artist has become representative of a cultural desire to ‘talk back’ to the media, to politicians and big business, to highlight injustices, expose irresponsible behaviour and engage in various forms of socio-political action, potentially inspiring real change.

This entry considers the role of remediation in citizen media, focusing on a number of relevant examples and case studies from the past decade where newer forms of remix have been used to engage in political discourse or support social action. For example, critical remix video has emerged as an extremely potent form of citizen media production through its remediation of existing source material in order to critically engage with ideological biases and highlight perceived wrongs. The Cambridge Dictionary offers an alternative definition of remediation as “the process of improving or correcting a situation”, which, as this entry shows, is precisely what citizen-engaged remix aims to do.

References

Bolter, Jay David and Richard Grusin (2000) Remediation: Understanding new media, Cambridge: MIT Press.

Deuze, Mark (2006) ‘Participation, Remediation, Bricolage: Considering principal components of a digital culture’, The Information Society 22(2): 63-75.

Jenkins, Henry (2006) Convergence Culture: Where Old and New Media Collide, New York:  NYU Press.

Jenkins, Henry et al. (2017) ‘Participatory Politics’, in Eduardo Navas, Owen Gallagher and xtine burrough (eds) Keywords in Remix Studies, New York: Routledge, pp.230-245.

Gallagher, Owen (2018) Reclaiming Critical Remix Video: The Role of Sampling in Transformative Works. New York: Routledge, pp. 131-204.

McLuhan, Marshall (1994) Understanding Media: The extensions of man, Cambridge: MIT Press.

Navas, Eduardo, Owen Gallagher and xtine burrough (2015) ‘Section IV: Politics’, in Eduardo Navas, Owen Gallagher and xtine burrough (eds) The Routledge Companion to Remix Studies, New York: Routledge, pp.321-408.

Cultural Appropriation

The Pearl Monument was visually striking. It is reminiscent of the world cup in some ways. It consists of 6 white curved pillars emanating from the ground and reaching towards the sky. The 6 pillars represent the six Gulf Cooperation Council (GCC) countries of Saudi Arabia, Bahrain, Qatar, Kuwait, Oman and the United Arab Emirates. Atop these pillars rests a giant, white spherical pearl. Bahrain is famous for its pearly industry historically and so the overall monument was originally a symbol of cooperation towards a common goal between the GCC countries. How ironic. On Feb 14,2011, protestors seeking political reform congregated at the Pearl Roundabout with the monument at the centre of their protest camp. They were subsequently removed from the roundabout by GCC forces, an army made up of Saudi, UAE and other GCC soldiers. “Cooperation towards a common goal.” The protestors tried to come back and were shot down with some casualties. Following international pressure, the protestors were allowed to return to the Pearl Roundabout. Weeks later, protestors disrupted traffic by blocking roads and highways and a brutal military crackdown was imposed. The protestors camp was burned out, protestors removed and then in a final act of defiance, the Pearl Monument was brutally demolished – a symbol of resistance was torn down to represent a victory over the protestors. In the following weeks, miniature pearl monuments began to spring up around the villages of the island. Makeshift ¼ size replicas with curved white pillars and inflatable white balls on top. The reaction of the police and military was swift. They came in and demolished those too. After the original monument came down, what had become known as ‘Pearl Square’ in international media (really a roundabout, traffic circle or rotary) was landscaped and actually physically transformed from a roundabout into a traffic crossroads, a square with traffic lights. Difficult to believe. So, the monument was appropriated by the protestors and began to appear on posters, banners, t-shirts, flags, etc and became a symbol of the fight for freedom and democracy. Then it was reclaimed by the authorities and destroyed. A powerful symbol – too powerful to be allowed to remain.

Digital Appropriation

Digital Appropriation – if someone were to look pack on this time period objectively from the future, they would be able to observe the emergence or evolution perhaps of a number of new media production practices that rely upon digital appropriation as their foundation. Digital here refers to digital technologies – 1s and 0s, interchangeable, malleable, networked, modular, as opposed to analogue – specific to the medium, difficult to mix and match, fixed. Permanent. Some examples of digital appropriation have their roots in the cut, copy and paste culture enabled by digital editing software. First we had simple programming languages like BASIC or LOGO that had a command line where the user would input text based commands and actions could be copied, automated, repeated ad infinitum. The Word Processor certainly has a major role to play in the development of this way of thinking. In contrast to typewriters and even electronic typewriters with built in tip-ex, word processors like Microsoft Word and its predecessors enabled the user with the ability to easily and instantly correct any errors, make changes, cut out sections of text and past them somewhere else, copy a letter format and edit the details and so on. This encouraged experimentation, dramatically increased speed and workflow and instantly did away with the idea of typing carefully so as to avoid making mistakes (typos).
This was extended further with the evolution of the primarily text-based web where text could be easily copied or digitally appropriated from a web page and pasted or repurposed into a word document, perhaps an essay or report of some kind. Of course, HTML web pages themselves are equally as malleable but only for the web author who has access to FTP uploading for the web space in question. The consumer was still largely passive except for the added =ability to customize viewing settings, increase font sizes, and so on and of course the ability to copy and paste the content. As other media types became easily digitizable, photographs, illustrations, graphic design, music, video, games… and editing software for each was developed, nbaased on the same new set of rules of cut, copy and paste. Infinite malleability. Easy to change, mix, combine, appropriate, repurpose, sample, remix. Photoshop and desktop publishing software, audio recording, editing and mixing software, multimedia, web design and animation. Video capture, editing, post-production special effects and so on. The idea of collage from the early 20th century, physically cutting and pasting extant materials in the creation of new works became the cornerstone of a whole entirely new set of media practices, lowered the barriers to entry and dramatically increased the amount of work produced.

Appropriation

What is digital appropriation? More fundamentally, what is appropriation? It is the unauthorized taking of something by someone and reuse of it in a different context. It is not the same as theft or stealing. But what’s the difference? The rule of scarcity certainly plays a part. The notion that if someone steals a car, the original owner no longer has the car. It is a rivalrous object. Whereas if a song is appropriated, a sample reused in another context, the original song is still intact and as available as before the appropriation took place. It is non-rivalrous. Taking, copying and reusing the song does not affect the availability of the ‘original’. There are decisions that must be made and taken into consideration when something is being appropriated. The word ‘repurposing’ is integrally linked with appropriation. The intimation is that by appropriating an object, the appropriator is making an ethical decision to put the object where they believe it rightfully belongs.
Perhaps the most well know example of appropriation is the story of Robin Hood, who would ‘steal from the rich to give to the poor.’ A moral judgment that is certainly open to debate. Robin appropriated money from the those that he felt came into possession of it through corruption, injustice, under-handedness and repurposed it by putting it into the hands of the ‘poor’ who had no way of coming into possession of the money themselves and who Robin felt were oppressed and taken advantage of by the rich. Certainly an objective observer could look at the situation and see that it was not fair – unequal – the rich were far better placed than the poor. But it is questionable whether Robin’s actions can be justified or considered right or wrong. Morally, from his perspective, he felt that a greater wrong than his appropriation and repurposing of the money was being instigated by the rich on the poor through their own appropriation via taxes of any measly money the poor may have had. So in a sense, he was merely returning the money to its rightful owners. The rich stole from the poor first, so Robin was simply returning the money to where it should have been in the first place. From this perspective, his apparently illegal actions appear justified, if bordering on vigilantism and clearly the lesser of two evils.
Money is an interesting one. Can money be owned? If you are in possession of €50, do you own it? It is utterly useless unless you can exchange it for something else. It is meta in this sense – it sits on top of fundamental ‘properties’. Music is similar. Music cannot be owned. It is useless unless someone listens to it. An mp3 file never listened to is utterly valueless, although we may say that it has the potential to be listened to. There is a lot more that needs to be said on appropriation.