Critical Evaluation Of Remix Culture

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Critical evaluation of remix culture brings us to the focus of who are benefited and privileged for accessing to remix culture and what are borrowed and arranged in creating the new. In postmodern era,advance technology become a strong driving force for ‘remix culture’, whereby its widespread global information database enabled artist to easily access, manipulates and references other people’s work or artifacts into their own creative blends. A brief look at the art history reveals that remix culture is actually nothing innovative or new, but actually long existing with human culture. Especially for recent years ‘remix practice’ certify its familiarity with artist through prolific works from all different kinds of artistic fields. Such as Stella McCartney’s fashion work CHINATOWN PLAID (2013); a remix of Asian culture with high fashion, Yasutoshi Ezumi’s fashion work from Tokyo spring collection 2016; a deconstructed fashion work from architectural form and a digital appropriation portrait of Mona Lisa.

Through out the 20th century the emerge of advance technology enabled a more globalised scope of art, prompting a shift in the creative practice in favor of a more and more passive “read-only” (RO) culture (Lessig, 2008). “The 20th century was the first time in the history of human culture when popular culture had become professionalized, and when the people were taught to defer to the professional,” (Lessig, 2008) Professor Lessig states. In other hand, widespread access to
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