ARTS2090 Research Distribution Project

(Note: the following piece of writing is the final project for my ARTS2090 Modes of Publishing class at the University of New South Wales)

Remix Culture: Invading the World One Tile at a Time

http://www.flickr.com/photos/48382770@N02/4577983896/

Artistic creation, particularly in the modern era, often relies upon the reworking and subsequent combination of ideas from past generations. According to political activist Lawrence Lessig, “we can’t stop people from taking culture and remaking it in a way that expresses their ideas differently” (RiP: A Remix Manifesto, 2009). In recent years, this phenomenon, which is often referred to as “remix culture,” has caused increasing tension within the music industry between mash-up artists and copyright holders (O’Brien and Fitzgerald, 2006). However, the impact of remix culture extends well beyond the musical realm to include various other forms of publishing. This project will explore the contemporary example of the world-renowned French street artist known as “Invader,” whose unique artwork highlights a tension between independent artists, large corporations, and governments. As Invader’s situation indicates, remix culture will ultimately prevail in society, due to its invincibility and tendency to spread.

Although Invader’s work may seem simple upon first glance, his genius extends well beyond what meets the eye. Invader’s ceramic tile mosaics, which portray characters from the 1978 video game Space Invaders and other arcade classics, serve as an example of remix culture because they reproduce copyrighted video game iconography in the form of street art (Mitchell and Clarke, 2003). In addition, “Space Invader’s work mirrors the video game culture it references, acknowledging the sensory-overloaded public’s need for immediately digestible symbols” (Fairey, 2005). One common criticism of video game art, though, is that it lacks sophistication in terms of technique and purpose (Mitchell and Clarke, 2003). A closer look at Invader’s work, particularly with regards to his motives and execution, helps to disprove this criticism. Despite the fact that Invader is not the only street artist who uses video games as inspiration, his work stands apart from his peers due to a number of factors, namely its creativity and scale.

When art effectively borrows and combines different styles and elements, it can sometimes be called eclectic (Hume, 1998). Thus, would it be fair to call Invader’s work eclectic? What, if anything, do mosaics and video games even have in common? To the average person, it might not seem like much at all. Invader’s creativity and subsequent originality can be seen in the way in which he establishes a connection between mosaics and video games, two separate entities. Through his recognition of the similarity between ceramic tiles and pixilation graphics in early video games, Invader set out to construct an art project that would eventually prove to be revolutionary. In so doing, he was able to turn limitations into assets by way of his translation of pixels on a screen to tiles on a wall (Fairey, 2005). Invader’s unprecedented method of bringing video games to life by way of an ancient decorative technique indicates yet another way in which his art relates back to the topic of remix culture. His work builds upon what has come before it in order to express new ideas.

The scale of Invader’s work, arguably its greatest strength, helps put his artistic goals into perspective. Unlike many other street artists, Invader has created an international spectacle that lacks limitation, allowing him access to a large portion of the world’s population on a daily basis. Beginning with his Paris project in 1996, which now features over 500 mosaics scattered across the city, Invader has embarked on a worldwide artistic journey, during which he has plastered his work on the side of public edifices in over thirty cities worldwide, spanning five continents (Fairey, 2005). The global nature of Invader’s ongoing project can be best summarized by his own words. “I’m invading space, public space. And it was very logical… I’m invading the planet with Space Invaders characters… I put them on walls all around the world” (Bomb It! The Global Graffiti Documentary, 2007). Based upon the wide reach of Invader’s work, he has achieved something truly groundbreaking in the artistic world, in that his creations are both easily recognizable and readily accessible to many.

Aside from the artistic achievements of Invader’s work, he has highlighted a number of tensions in today’s world, mostly due to the illegal nature of his actions. One of these tensions exists between corporations and artists, while another exists between governments and artists. “The installed invaders become counterculture surveillance drones, reminding people that government and monolithic corporations aren’t the only ones watching” (Fairey, 2005). Invader’s mosaics serve not only as art, but also as a public outlet for political expression. According to Lessig, remix culture, which usually results in tension, is a sign of creativity and progress. “This is writing in the 21st century. It is literacy for a new generation. It is building a different democracy. It is building a different culture, where people participate in the creation and the recreation of the culture around us, a form of culture that has existed from the beginning of human society.” (RiP: A Remix Manifesto, 2009). That being said, how far should society be allowed to go, particularly when the bending and breaking of current laws becomes an issue? As Invader’s story suggests, the possibilities are endless.

The first tension caused by Invader’s art deals with the potential copyright protection of his subject matter. As stated before, Invader’s mosaics depict copyrighted material in the form of street art. This facet of his art results in tension between artists and copyright holders or large corporations. That being said, it seems a bit ridiculous to be accusing him of violating copyright laws, due to the fact that he is merely interpreting video game characters for his art rather than reproducing them once again in digital form. This exact dilemma of how copyright laws should be interpreted is one that remix culture seems to refer back to time and time again. The most extreme interpretation of existing copyright laws will not just make remixing more difficult, it will make it near impossible (Lessig, 2005). When speaking about the prevalent nature of remix culture as a whole, Lessig put it best by saying, “if this is a crime, then we have a whole generation of criminals” (RiP: A Remix Manifesto, 2009). Lessig is alluding to the fact that the entire modern generation has relied upon the practices of remix culture, and if society is going to punish individuals, it might as well punish everyone. On the other hand, if copyright laws are interpreted more liberally, that leaves room for remix culture to flourish and artists such as Invader to not have to deal with being called a thief.

The second tension caused by Invader deals with the fact that defacing public property is illegal. Due to the presence of his artwork in multiple nations, Invader is not only a domestic criminal, but also an international criminal. For this very reason, Invader chooses to remain anonymous, and only appears in interviews while wearing a mask (Bomb It! The Global Graffiti Documentary). This particular tension, which exists between artists and international governments, deals less with remix culture and more with purpose. Even though some people may consider Invader to be a criminal, the motivation behind his artwork reveals a sense of potential reconciliation. According to Invader himself, he believes that his work possesses the ability to raise society’s awareness about a number of factors. “If there were not artists like me, to make things in the street, there would only be advertising everywhere… It’s not there to make people happy or to show nice pictures. It’s just there to make you spend your money. That’s why I think I’m not a vandal. What I’m doing is good for the population, because it’s an alternative to advertising” (BOMB IT! The Global Graffiti Documentary, 2007). Thus, amidst all of the criminal activity, there exists a desire to reach society on an intellectual level.

The invincible nature of Invader’s artistic experiment displays the manner in which remix culture possesses the ability to overpower older media institutions and practices. His artwork has remained in most areas, due both to the difficulty of its removal and the locations he selects. “Space Invader’s mosaics are rarely removed, because they’re visible to the right people yet under the radar of the “wrong” people… He is winning the war by not bringing the wrath of the authorities, while still reminding people that underground expression is alive” (Fairey, 2005). The fact that his artwork has rarely been removed and is present in over 30 cities worldwide stands as a testament to the staying power and invincibility of his work. Likewise, Invader has remained anonymous and free of criminal charges, which further adds to his legacy. Through his work, Invader has developed a method of illegal expression that has defeated authoritative control in multiple nations and has reached an extensively wide audience.

Based on the contemporary example of the street artist Invader, which highlights a number of societal tensions, there exists an eventual tendency for remix culture to prevail in the modern age. In addition, Lessig’s ideas about the significance and necessity of remix culture help prove that artists such as Invader are essential in order for creativity and progress to occur. “The last decade is filled with extraordinarily good work by some of the very best scholars in America, mapping and sketching alternatives to the existing system. These alternatives would achieve the same ends that copyright seeks, without making felons of those who naturally do what new technologies encourage them to do” (Lessig, 2008). Therefore, if copyright can be somewhat compromised without harming anyone in the process, then it makes sense to explore alternatives to the existing system. It makes little sense at all for society to favor restriction over creativity. If this type of thinking were to become dominant, the development of new ideas would become stagnant. It seems only natural to build upon the past in order to move forward. Remix culture has existed throughout human history and will continue to do so until it becomes derailed by an opposing force. Regardless of whether it happens through mash-up music or video game street art, remix culture will emerge victorious over the forces of copyright oppression. All you have to do is walk through the streets of some of the world’s biggest cities to learn that the invasion of remix culture is everywhere.


Bibliography

Bomb It! The Global Graffiti Documentary (2007) Directed by: Jon Reiss. Los Angeles, USA. [film]. LA: Antidote Films.

Hume, Helen D. (1998) The Art Teacher's Book of Lists. San Francisco: Jossey-Bass.

Lessig, L. (2005) The People Own Ideas! Technology Review. June Issue. pp. 46-53.

Lessig, L. (2009) Remix: Making Art and Commerce Thrive in the Hybrid Economy. London: Bloomsbury.

Fairey, S. (2005) Space Invader. Swindle Magazine. Issue 03. [online] Available at: http://swindlemagazine.com/issue03/space-invader-2/ [Accessed 1 June 2010].

Mitchell, G and Clarke, A. (2003) Videogame Art: Remixing, Reworking and Other Interventions. Level Up: Proceedings of the 1st International Digital Games Research Conference. Utrecht, Netherlands: University of Utrecht Press Utrecht. pp. 338-349

O'Brien, D. and Fitzgerald B. (2006) Mashups, remixes and copyright law. Internet Law Bulletin. 9(2): pp. 17-19.

RiP: A Remix Manifesto (2009) Directed by: Brett Gaylor. Montreal, Canada. [film]. Montreal: EyeSteelFilm.