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Which clippings match 'Copy-and-paste Culture' keyword pg.1 of 1
29 OCTOBER 2017

Artists appropriate when they adopt imagery, concepts and ways of making art other artists have used at other times

"Appropriation, first of all, is a common technique. People appropriate when they make things their own and integrate them into their way of life, by buying or stealing commodities, acquiring knowledge, claiming places as theirs and so on. Artists appropriate when they adopt imagery, concepts and ways of making art other artists have used at other times to adapt these artistic means to their own interests, or when they take objects, images or practices from popular (or foreign) cultures and restage them within the context of their work to either enrich or erode conventional definitions of what an artwork can be. As such, this technique could be described as comparatively timeless, or at least, as being practiced as long as modern society exists. For, ever since labour was divided and the abstract organization of social life alienated people from the way in which they would want to live, appropriation has been a practice of getting back from society what it takes from its members. At the same time, appropriation can be understood as one of the most basic procedures of modern art production and education. To cite, copy and modify exemplary works from art history is the model for developing art practice (neo)classicist tendencies have always championed. During the last two centuries this model was repeatedly challenged by advocates of the belief that modern individuals should produce radically new art by virture of their spontaneous creativity. The postmodern critics of this cult of individual genius in turn claimed that it is a gross ideological distortion to portray the making of art as a heroic act of original creation. Instead they advanced the paradigm of appropriation as a materialist model that describes art production as the gradual re-shuffling of a basic set of cultural terms through their strategical re-use and eventual transformation."

(Jan Verwoert, 2007)

ART&RESEARCH: A Journal of Ideas, Contexts and Methods, Volume 1. No. 2. Summer 2007, ISSN 1752-6388



2007 • acquiring knowledge • adopting concepts • adopting imagery • adopting ways of making art • appropriation practicesArt and Research (journal)art historyart practice • artistic appropriation • artistic meansartworkauthor as geniusauthorshipcitationcite • common creative technique • copy and modify • copy-and-paste culturecopying of artistic works • Craig Owens • creative genius • creative technique • cult of individual genius • cult of the author • Douglas Crimp • exemplary works • expropriation • Frederic Jameson • genial creatorgenius myth • heroic act • ideological distortion • Jan Verwoert • making of art • materialist model • modern art • modern art education • modern art production • neoclassicist tendencies • nothing is original • original creation • pastiche • postmodern critics • radically new art • Robert Longoromantic notion of the artist • spontaneous creativity


Simon Perkins

OECD report: school technology struggles to make an impact

"Another interpretation is that schools have not yet become good enough at the kind of pedagogies that make the most of technology; that adding 21st-Century technologies to 20th-Century teaching practices will just dilute the effectiveness of teaching.

If students use smartphones to copy and paste prefabricated answers to questions, it is unlikely to help them to become smarter. Educators who want to ensure that students become smarter than a smartphone need to think harder about the pedagogies they are using to teach them.

Technology can amplify great teaching but it seems technology cannot replace poor teaching.

The impact of technology on education delivery remains sub-optimal, because we may over-estimate the digital skills of both teachers and students, because of naive policy design and implementation strategies, because of a poor understanding of pedagogy, or because of the generally poor quality of educational software and courseware.

The results suggest that the connections among students, computers and learning are neither simple nor hard-wired; and the real contributions ICT can make to teaching and learning have yet to be fully realised and exploited.

But the findings must not lead to despair. School systems need to get the digital agenda right in order to provide educators with learning environments that support 21st Century pedagogies and provide children with the 21st Century skills they need to succeed in tomorrow's world."

(Andreas Schleicher, 15 September 2015, BBC News)



2015 • 20th Century teaching practices • 21st century literacies21st Century pedagogies21st Century skills • 21st Century technologies • Andreas Schleicher • challenges and opportunities • computers and learning • copy and paste literacycopy-and-paste culturecoursewarecurriculum delivery • digital agenda • digital literaciesdigital skills • educational software • educators • impact of technology on education delivery • learning environmentsOECDpedagogy • policy design and implementation strategies • prefabricated answers to questions • Programme for International Student Assessment (PISA) • school curriculum • school systems • teaching effectiveness • technology use in education


Simon Perkins
02 NOVEMBER 2008

Copy and Paste Literacy: Literacy practices in the production of a MySpace profile

"If 'participation' is a socially oriented word that challenges the consumption/production dichotomy, then 'remix' may be its technical counterpart to bridge the reading/writing dichotomy. The word 'remix,' originally used to describe the mixing of music samples, has itself been appropriated over the past few years to describe the mixing of a variety of media forms to create new products.17 The Pew Internet and American Life Project used the word 'remix' on a recent study (Lenhart and Madden 2005) of teen content creation, implying the creation of new 'artistic' content from prior media forms.18 But there is no reason to constrain 'remixing' practices to the development of 'artistic' creations as that study defines the term. 19 If 'remixing' is used to describe the technical practices required to blend text, images, video, audio, and games in the creation and maintenance of a MySpace profile, the perception of 'simple' technical feats of copying and pasting links to media, turn into socially complex chains of appropriations of media between people.

Remixing distinguishes itself from typical notions of 'reading' and 'writing.' It parallels Ito's view that participation, 'leads to a conceptualization of the imagination as collectively rather than individually experienced and produced' (5) in that remixing media by copying and pasting is a collective technical practice; people's creations are dependent on each other in many different ways. To adapt diSessa's vocabulary, one could see remixing as a sign of a new, networked material intelligence. Through MySpace and sites like it, knowing how to re–use media in this way, socially and technically, has become foundational for communication and creative expression over the web."
(Dan Perkel)



audioauthorship • blend • collaborationcopy-and-paste culturecultural codes • diSessa • gamesidentityimagesliteracymash-upmediaMySpace • networked material intelligence • ownershipparticipationparticipatory learning • Pew Internet and American Life Project • re-useremixscriptiblesocial interactionvideo


Simon Perkins

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