Abstract and Keywords
In Intertextuality and Hypertextuality in Recorded Popular Music, Lacasse identified early examples of interactive remixing. In the decade since Lacasse argued that such practice signified “just the timid beginning” of a new type of artist-fan interaction, the practice has undoubtedly proliferated among the popular music mainstream. This research builds on Lacasse’s work; the recent phenomenon of interactive remixing is examined in four online fan community case study contexts. The wider implications of such (inter)activity are discussed and evaluated as being the ongoing “democratization” of not only technology but recording and production skill sets and workplaces; the artist’s assumption of technology ownership and varying degrees of technological literacy and ability among members of their fan community; and the marked shift of remixing practice away from the professional realm of dedicated mix and mastering engineers, toward the fan and listener.
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