Erkki Huhtamo, “From Kaleidoscomaniac to Cybernerd"
(You do not need to read Jonathan Crary's Technologies of the Observer that is listed as required reading in the syllabus)
Question:
First, discuss one thing that you found interesting about Craig Baldwin's Sonic Outlaws with regard to re-mix and copyright. This can be regarding the way that the film was made (i.e. style) or the themes explored within it.
Second, define (in your own words) the concept of "topoi" that Erkki Huhtamo introduces in his article - how does he define the term and how does he relate it back to technologies such as the kaleidoscomaniac, the stereoscomaniac, and the cybernerd? In other words, what do these technologies have in common? What link does he establish between topoi and the media archaeology method?
72 comments:
In regards to the film, the part that I found the most intriguing was the part in which we saw the "weather guy" tapping into someone's telephone conversation. Not only was that scene incredibly intriguing to watch on so many levels but it also changed the pace of the film as well. In the beginning, we see a majority of quick shots and fast paced action as well as a mixture of sounds and elements of history that were unknown to us. Here about an hour os so into this film we see this one scene that isn't quick, as a matter of fact, it has no cuts what so ever and continues through for a good 10 or so minutes. That is unheard of in cinema...not only that but it also was a very controversial topic-wire tapping!! That is a topic that is huge as of now and I believe this film was made a little over 10 years ago...so obviously this topic was just beginning to become big back then. I would like to wonder what type of copyrights went into that scene itself especially with the filming of a private conversation.
In regards to the "topoi" I was slightly confused during the entire thing, however, I did think that three kaleidoscomaniac, stereoscomania, and cybernerd are very similar to the diagram that was given to us in lecture on the first day of class depicting how media archeology is linked...it isn't a straight line, it is like a web with many junctions and connections. This is similar when looking into a kaleidoscope we see many ways of looking at one object...many different points of view...it's similar in how we as people look at certain topics in the media...I guess one example I could give is how the media tabloids exploit certain celeberities and make them out to be extremely important or even events that may seem to an average person pretty mediocore...whereas sometimes other people worship this information...very much like a kaleidoscope....I believe, I could be wrong.
The thing that stuck out most to me was the style of filmmaking. The film had a haphazard, shifty feel that was at once both intriguing and disturbing. All the random snatches of other media strung together to contrive a cohesive new thought added to the feeling of remix that he was addressing. The whole film was made very low quality, giving it a home-movie type tangibility. This tangibility of message made me feel empowered as a viewer, as if I could take the knowledge I was given and start exercising more fully my right to free speech.
Topoi:
Erkki Huhtamo defines "topoi" as "topics", or in an historical sense, "storehouses of trains of thought", "systematically organized formulas serving a purpose, namely, composing of orations". They are building blocks of culture, a way of describing how a culture forms and evolves. Basically it means that topoi is a way of following trends that feed into culture throughout history. A trend, for example, that disappears with Lumiere can reappear later in our age but in a slightly different form. The idea is the same, but the technology is different, often unlinkably so. Erkki says that media archeology should not be a simple measure of what physical technology led to another, but rather a study of cultural changes and trends (topoi) that use people's social intercourses to lead to new technologies. This doesn't mean necessarily that a new technology is formed, but the same cyclic trend reappears in a new form. The three technologies he discusses are trends in culture, a trend where the person using the technology is completely lost in it, to the point where he ignores the life outside of the technology. The three technologies are not related in construct, but the same trend appears within all three, even though all three are in separate time periods.
Sorry I always forget, I'm GROUP 3, Jackie Bentley. (above post)
The thing that stuck out most at me was the visual style (like most others, I would believe). Not only the fast-paced editing or the seemingly-low quality (as mentioned above), but the small clips they've captured from various other medium and altered... From a film that's all about copyright laws and controversies, they definitely use all of these sources as a good example. [Just the fact that they're using these clips support their cause tremendously] The way they produced this seems like they're actually THROWING these ideas at you - you're FORCED to pay attention.
Personally, when reading about topoi (or topics, "storehouses of trains of thought"), I get a feeling that we can never really think 'outside the box'. Erkki Huhtamo said that forms of media all "'contain' certain commonplace elements or cultural motives". That means that they are ALL connected no matter how much they stray from the norm, they still have a characteristic in common with all other media.
It also reminded me of the 'web of inevitability' that we were introduced to early in the class. Earlier technology is essential but not specifically influential on new forms of media / media forms. Much like kaleidoscopes influenced stereographic photographs, they were not totally dependent upon its design...
~~ Eric Fritz
Sonic Outlaws was all over the place. you really had to pay attention. the movie was constantly jumping around. i thought it was actually quite informative, but it is kind of a documentory and that is what they do. they inform or tell a story.
Erkki defines Topoi as being topics. all of the technologies he talks about can be under the same topic. they all are trying to do the same thing, entertain, open a new door for people to enjoy. all technology is based off of simply ideas, then put into motion or created. new technologies are old technologies just recreated to be better. old technology is like a base for new technology. everything grows off of everything else. the idea is there we just think how can it be better.
Michael Schafer Group 3
I liked how the film had scratches and what looked like radio frequencies running through the scenes. It gave off a sense that the film was being pirated as we watched it. I also agree with Jackie Bentley in that I liked the quick cuts of different images of the media mixed in with the story giving off a remix feel. I was under the impression that in the future everything will be copyrighted. What you do and what you say will be copyrighted or already copyrighted. You'll have to get someone’s permission just to say "thank you". You won't be able to think or act for yourself.
Topics can be considered as "formulas that make up the building blocks of cultural traditions". Topoi are "storehouses of trains of though" and "contain certain commonplace elements or cultural motives". All new technology is just improvements on old technology. Everything is linked even though something might look different. All technology has done is just slowly evolved into better than the original forms. Every new idea has stemmed from some old one. Everything is connected, but not in chronological way.
As far as the film goes, I found it interesting that they showed them doing illegal things such as using the scanner to hone in on cell phone frequencies, they said they were to destroy all of the albums but still had copies, and they used the sounds from Kasey Kasem and U2 in their film.
When Huhtamo introduces topoi, he seems to define them as cliches that people refer to in a culture that define certain things about that culture. Certain topois are merely fads or they're temporary and will eventually fade away, but can still be referred to in the future even though they're no longer necessarily used or they may be evolved. This is related to the kaleidoscomaniac, the stereoscomaniac, and the cybernerd because these are groups of people or cultures that used these technologies avidly or still do. The "cybernerd" is still something we can see today. He links topoi to media archaeology by showing that topoi are the cliches that come out of certain groups who cling to a form of media and these cliches often help new medias to form much like media archaeology where previous forms of media spawn new ideas.
-Eddie Roberts Group2
Lydell Peterson
Group 1
TA Emir
The main part that jumped out at me with “Sonic Outlaws” was the style that the film was made. As it has already been mentioned in earlier posts, the film was fast-paced, jumpy, and looked extremely low-budget/homemade. There are many fast cuts and interviews that just shoot out tons of different ideas that can be further analyzed and explored. The way the film was created made it seem like the film was one giant cultural/media remix. It followed a narrative of negativeland and what happened to them but also put into perspective ideas about what is remix, copyright policies, and how everything fits together in one mesh of confusion. One of the ideas that jumped out at me was how U2 sued negativeland in regards to their one album’s (that U2 thought they were ripping them off/copying them or stealing their work to make profit) and then later used other people’s images for live tv broadcast/mixes during their concerts. It kind of shows how hypocritical and unclear remixing and plagiarism are. If U2 fully believed that art and media are open to interpretation and should be remixed then they wouldn’t have sued negativeland for remixing their work, when U2 remixed other people’s work, which is virtually the same idea of remix.
I would define “topoi” as reoccurring thought patterns or ideas that are absorbed in the brain and exposed over and over again in different senses, directions, or perspectives. I read one post that compared topoi to trends that happen, go away for a while, and then reoccur. I think that is a pretty fair comparison. Like a trend, topoi is a cultural occurrence or idea that happens and is absorbed. Later on it is exposed be it purposely or not. I see it being much like a fashion trend. Nothing new has come from fashion recently for the most part, it’s just been recycled ideas that come and go over the years. I think topoi are kind of like recycled cultural ideas from media/literature etc. that reoccur and expose themselves in different ways, much like designing a new dress or shirt would be like. They aren’t exactly the same as the original, but they are a build off from that idea, or a “remix.”
Baldwin’s exploration of copyright laws in the film Sonic Outlaws argues that most copyright infringement suits are ludicrous. Through interviews and exposition of the bands Negativland, The Tape-Beatles and the Barbie Liberation Organization Baldwin points out copyright cannot protect the use of letters, words or musical tones but rather tries to protect those words or chords when used in specific combination. Negativland’s piece “U2” which featured a sample of a track by Bono and Co. under recordings of Casey Casem swearing up a storm on studio outtakes introducing the original track. Island Records sued the remix band for potential losses the label would incur by Negativland’s record artwork causing confusion among fans. The legal action was over two Arabic symbols: a letter and a number. Likewise the BLO swapped the voice boxes of GI Joe and Barbie toys, giving unsuspecting children cases of gender confusion. The trouble here is not with the actual switch, but that certain voices saying certain phrases are associated with toys of specific genders and body types. The movie argues that protecting a combination of things is practically indivisible from the unprotected parts.
Erkki’s proposal of topoi is one of similar ideas and meanings being grouped together rather than linear documentation of chronological events and objects. His concept is more concerned with the cultural impact of a trend or innovation rather that with the trend or innovation itself. His argument is that the Kaleidoscomaniac, Stereoscomaniac, and the Cybernerd are all technological innovations that one puts up to his or her eye[s] and is revealed an alternative to the realityscape in immediate surroundings. These objects were introduced over the course of two centuries, but the effect upon the first consumers was essentially the same: total engrossment. The legends of the Lumiere’s Arrival of a Train at a Station and the Phantasmagoria lanternslides are tangentially related in the paradigm of the media archeologist as audiences were allegedly in panic by these images upon first viewing.
nacia schreiner group 1 film115
Sonic Outlaws discussed the encroachments of copyright laws on our exploration of culture. The film, a copyright infringement of its own, uses thousands of cultural images at a fast rate on order to tell the story of copyrights in media. Each interviewed person in the film exhibits their works of “art”, showcasing their attempt to collect and exploit all forms of copyrighted material. Live shows, ripped music, stolen logos and names, remixes, and images all formulate the performances of these expressionists. The question that arises is, “should copyright laws exist, and to what extent?” The answer is left to the consumer.
Each display of copyrighted media is enthralling for the audiences who find connections to the individual images, sound bites etc. The collages if media pull onlookers in, and cater to the eye that craves spectacular performances. As Erkki Huhtamo illustrates in his article, the same was true for kaleidoscopes and stereoscopes long ago. Each device, displays entertainment for audiences to immerse themselves into. Such immersion created labels like kaleidoscomaniac, and stereoscomaniac. Similarly, today’s cyber nerds are coined for their exploration of spectacle throughout cyberspace. The internet is the modern day kaleidoscope. Though different in actual performance, cyberspace, kaleidoscopes and stereoscopes all serve the same function by borrowing images from the world and feeding them to a hungry audience.
I think the strangest part of Sonic Outlaws was that Negativland got in trouble with U2's record company for taking their music and name and remixing it; then U2 asked a similar "band" to do a live ZOOTV concert where pirated material would be broadcast and remixed live. Kind of hypocritical there. Although I think this relates to the concept that celebrities are above the law. Many rock bands, whether or not U2 included, do drugs like crazy. But not many are caught until they're off the deep end. A small-time remix "band" gets in trouble and goes broke while millionaire band U2 breaks the law live and makes more money.
As for topoi (topics). It might mean that technology doesn't change, but the way people think changes and technology is trying to keep up. We always feel frustrated with technology and angry with old technology, so maybe our minds are already processing at rates and in ways beyond our technological comprehension. But, are our minds working in faster and different ways because technology began advancing exponentially or is technology spurring our creative process? All in all, the article made no sense and needs to be proofread and edited.
-Julianne Arnstein G4
One thing that I found interesting in Sonic Outlaws was how the sound influenced the filmmaking. It happened mostly in the beginning but whenever someone was talking about something they found important or a veil comment they would play the word a couple times to emphasis the meaning of it. When something they found unruly they would completely cut the clip off to show a way of being rude through their filmmaking. It was like giving the person a chance to say what they wanted to say but because the filmmakers opposed it they would completely take it away from them.
Erkki Huhtamo referred to Topai as “storehouses of trains of thought.” Huhtamo links Topai back to our technologies by rebuilding on our already new technologies. Topai is the recreation process that rebuilds or remakes a technology to make it better. This links all of our technologies together because all of our old technologies are somehow linked to newer and improved technologies.
Colin Sytsma 115 Group 3
I had never heard of this big controversial record made by a Negativeland, and what I thought was surprising is that they thought they could get away with making something that was so similar to the band U2. Although the two bands are from completely different genres of music I think Negativeland wanted to push the envelope so see how far they could go with the record design and with copyrighting laws. I didn’t understand why they were so shocked that they were being sued by U2. Not only with U2 but they also took some explicit outtakes from Casey Kasem’s radio broadcast and put that on their album, I know it is a form of art from their perspective but how far can you go when dealing with copyrighting verses freedom of speech?
Huhtamo refers to “topoi” through ideas that have been formed over time and the way we convey them through our media’s culture. Like how the kaleidoscomaniac’s were so captivated by the new invention they blocked out everything else. Showing how a new invention of technology can divert our attention so quickly. When new topoi’s are created the old ones seem to disappear. Like the kaleidoscomaniac’s their focus was on the new topoi, the moving picture, and left the old one of conversing with others. All the technologies are trying to show individuals a newer age of cinema and to get others to interact with it.
Aja Gray
Group 4
As virtually everyone has pointed out, Sonic Outlaws has a very fast paced and "haphazard" style. This kept me interested. However, what kept me more interested was the theme of remix and how difficult it is to determine. I initially had this idea that remix what pretty cut and dry. This film, along with the readings from this class, have showed this to be a lie. It is difficult to determine what stealing and remixing are. The film makes the line even more blurry by using images in our culture in order to make up the film.
"Topoi" are ideas that are built upon throughout history. For example, the idea of being able to use a telescope to see things across the country has been put towards the concept of TV. Huhtamo describes them as "building blocks" that make up our cultural traditions. I think what he is referring to in terms of cybernerds and kaleidoscomaniac is an idea of tradition. What was once an obsession with one instrument, the kaleidoscope, is now an obsession with another, the computer. I think he is discussing how our view of one group of obsessive people has brought us toward a view of another type of obsessive person. He is basically putting forth the idea that all media is influenced by some other media before it. Each media introduces an idea that can be taken further and that is how the creative pattern of media circulates.
~Dane Baumgartner (Group 1)
Noah Therrien Group 4
Topoi seems as though it is just like any new discovery that is over-riden by another more new and exciting discovery. By Kaleidoscomania was over-riden by Stereoscomania and so on. With these phenonmenons, or just cultural advances, we start to become a bit obsessed until the next best thing comes along. Topoi seems to be just a progress like any other, just as all discoveries or inventions eventually progress and engross us.
Sonic Outlaws was extremely entertaining and informative to watch. I especially liked the “home movie” style that this documentary was shot in. My favorite part was just listening to the hilarious Casey Kasem out takes. I also agree with others who bring up the point that the film could be considered one giant “remix.” It annoyed me how U2 was hypocritical and after suing Negativeland, they went and used other’s images for their concerts!
Erkki’s proposal of topoi or “topics” can be compared to the idea of media archeology and that the linear timeline most often used when studying history, can be substituted for a grouped together, grid-like map with multiple avenues. Older technologies are always going to be linked with future technologies since they have been improved from those earlier projects. Our brains act in a similar way, as they continuously are taking in information and ideas and then while it may seem that these things are forgotten, they are always stored away in the back of our minds and continue to help mold who we are and aid in making everyday decisions.
Amanda Zimmerman, Group 1
In regards to Sonic Outlaws, the thing I found most interesting was the main story itself concerning the band Negativland and their troubles with U2. He did a great job pointing out how ridiculous our society has gotten. Negativland gets sued for copyright infringement for publishing an album named U2, even when the spy plane is on as a sort of disclaimer. However when U2 performed its Zoo TV tour across the world while stealing images with their own satellite, no one says anything. They were both doing essentially the same thing; re-mixing some kind of media into parody for the entertainment of others, but only the poor unknown band gets sued. Ridiculous.
Topoi is a word for a sort of connector that came from a long list of ideas thought of years ago that we use now for easily classifying fads. It's easy for certain religions, cultures, or new technologies to develop a topoi. He defines the term, "In a sense, topics provide "pre-fabricated" moulds for experience. Even though they may emerge as if "unconsciously", they are, however, always cultural, and thus ideological, constructs". I believe he relates this to the kaleidoscomaniac, the stereomaniac, and the cybernerd as all being a technological fads spanning across many generations. All of the "machines" would sort of take you away from reality which I think is also how it relates to media archaeology. The topoi of the three fads links them together even though they are hundreds of years apart.
Derrick Markowski, Section 3
I think we can all agree that Sonic Outlaws editing was very interesting, however personally I felt the unique aspect of the editing wore out after about 20 minutes of seizure inducing flashing. Despite this, I thought the film was hilarious. U2... enough said.
Now in regards to the article, I feel the author was trying to say that topoi by definition is what connects seemingly random occurences together. Topoi is the similarties between to parrallel events.
David Ebner, Group 3
The one thing that stuck in my mind in the movie “Sonic Outlaws” was the segment about the “Barbie Liberation Front”. I found it very bizarre how the members took talking Barbie dolls and basically hacked them by switching the dolls’ mechanical innards with that of G.I. Joe action figures. They successfully re-boxed the toys and put them into circulation. Not only did I find this clever and brilliant in its execution, but I thought it was a good way to protest an idea that I wouldn’t have much interest in if presented in a more traditional way.
A topoi (as I would put it) is a general idea for a tangible object to achieve a certain goal. Huhtamo defines the term as topics of media studies that were shared in present and past cultural contexts. He claims that ideas for a technological concept are repeated over a span of time. He goes on to relate that people reacted the same way to kaleidoscopes as they did when stereoscopic photography was created. Presently, he claims that people are reacting the same way to virtual reality, and cyberspace. In short, these technologies share the same general goal which in this case to create visual stimuli for entertainment. Media archeology and this concept are linked through the fact that they are circular. Ideas in media repeat in different contexts much like topioi reoccur as technology changes.
10/04/07
Jon Phillips
Group 3
The part which interested me the most in Sonic Outlaws was the quick paced, hyperactive jumble of images and sounds shoved in the viewer's face for two hours. I actually do appreciate this style, its analog griminess, the ability to create feelings on a range from humor to a sense of discomfort and rage, and even its significance to the discussion of copyright issues at hand... for approximately five minutes. After five minutes it becomes not only annoying, but precocious and snobbish, not to say anything of the splitting headache it gave me from the blaring sound samples.
Topoi is, in a sense, the lines which connected the dots on the “history web” we viewed the very first day of class. Many different experiences, medias, and technologies fall into various topics or purposes which are ever present staples of culture and society as it progresses through the years. The three brought up in Erikki's essay would fall under the topoi of complete immersion within a technological creation.
Sonic Outlaw was a very interesting film. I really enjoyed the part about the U2 album name. After the company and individuals were sued it made me wonder a few things. Will anyone ever be able to use the letter and number U2 again? Will people always have to be concerned? What about people who chat online, they use the letter and number as short hand, does this mean that they should be sued as well? I just think that sometimes the industry gets a little too sue happy and starts claiming things that don't belong to them. In Sonic Outlaws, they were not calling themselves U2, they were calling their album U2 there is a huge difference between the too.
Regarding the article, Topoi, without the history of culture and media there would be no future. Topoi is a good example of how future cultures and medias are made. People start with one and then continue to build to either make the item better or produce something completely new but using the basis to start.
Sorry forgot my group number. I am group 1.
I unfortunately missed the film and I apologize for that. There was a schedule mix up that I apologize for. All excuses aside. I found the reading equally as intriguing. Erikki Huhtamo brought up a bold statement. He said similar media technologies that had happened at the same time had nothing to do with each other. Clockwork toys and automatons had no direct contact with the invention of cinematography. You could take this argument anyway. You could say of course there is a direct line of influence that has been handed down directly through the times, but you would not be quite correct. You could argue saying that these inventions in no way any sort of relation or connection, but yet again, you would not be quite right. When viewing a clockwork toy you see these images move. The picture moves just like bodies on film. However, if you think about it film had influence from media forms years before. Like photography; Image Movement toys, and recording equipment. Really the web of media has a compilation of old medias and future mediums mixing up, and influencing each other.
-Tony Lopez
In regards to the film Sonic Outlaws, I found it most interesting of how the film was made. It was interesting to watch so many different clips. It was constantly jumping from one thing to another, yet it all tied together. I also enjoyed how the band seemed more friendly and approachable in the segments when they addressed the viewers. It seemed less formal than how other interviews or documentaries would be. They had a sense of humor which made it easy to watch and to relate to the film. The whole film was about remix and copyright laws, and the film was ironic in itself to have such a variety of clips from other things in it. Erkki defines topoi as topics in the article. As mentioned previously, topoi seems to be like a fad or a trend. In the article, Erkki says that “new topoi are created along the way and old ones seemingly vanish.” Erkki mentioned in the article about the kaleidoscope and the cybernerd being “a passion for the other world. He mentions how it is also like today’s music television. I think that the point is that it was like fads, one thing replaced another thing.
-Sarah Myszewski Group 3
One thing I found interesting about the way Craig Baldwin made Sonic Outlaws was how it was made in sort of a remix style. For instance when he played the phone conversation of blahblahland's with U2, while showing other images and clips as they were talking. I also thought it was interesting when they were asking other people who had been in kind of the same situation as blahblahland, as far as getting in trouble with copyright laws, what they thought of their situation with U2. It was interesting to see the different thoughts from everyone.
Topoi, which is introduced in the Erkki Huhtamo article, is are differents rules or formulas that help shape our cultural traditions and that can be used in anything such as literature or media. They are always reused and brought up over and over again, and some new ones are made up along the way. He relates this to the way that kaleidoscomaniacs (people who loved kaleidoscopes) and cybernerds are similar to each other. Even though the kaleidoscope and things like virtual reality came out hundreds of years apart from each other their effects on people were very similar. Some people were fascinated with the kaleidoscope and spent more time looking at it than on what was going on around them and their personal lives. The same thing happened with virtual reality and video games. This is an example of how a topoi is continually brought up over time.
Lauren Zirbes, group 2
Ryan Laing
Group 2
One thing in “Sonic Outlaws” that stuck out was the whole issue between U2 and Negativeland. While completely understand Negativeland’s point about using the letter U and the number 2 as being alright, the fact is that U2 is a huge and recognizable band and the album cover was designed to fool people. Whether or not Negativeland would admit that, they cannot deny that the confusion the cover created is solely responsible for many of their sales. Sure, it brings up a very interesting debate over what is legal to use, but in the end they know that it’s a sketchy way to make money. Even with the excuse “its only two letters,” to use another bands name to fool people into sales is not respectable.
Topoi is basically a term used by Erkki Huhtamo to relate the connection of different mediums created over time that have similar impacts on society in general. While different technologies will present media in different ways as time goes on, their overall purpose and goal often times relates very much to other previously invented technologies at the time of their creation. The idea of topoi is similar to the overall theme of the class; to map out and examine non-linear paths of media archeology.
One thing that I found very interesting from the Sonic Outlaws was BLO that switched the voices of G.I Joe and Barbie. The film itself had constant flashes of images that seemed to have an undertone of urgency. However, out of all the constant flashing of images into my brain, this clip is stuck in my brain based on the style and theme. The style was much different from the rest of the film, as the film had a sort of urgency, but confusing storyline. With the BLO clip, I knew that people were switching the dolls and that it was in protest of how the system sets children up for what their gender is supposed to do. Even though, it was a short clip, it seemed funny and not headache inducing.
Erkki Huhtamo’s concept of topoi is that everything is connected to each other in some way or form. He links topoi back to the technologies that are considered break through. These technologies are really just a remake of someone else’s idea, but because of time we aren’t able to place where we’ve seen that object before. The link between topoi and the media archaeology method is simply trying to learn about something and be able to reference it for the future generations.
Veronica Mosley Group 4
Kyle Smith
Group 2
Film 115
One of the things I thought was most interesting about the film Sonic Outlaws was the way in which the idea of sound and sound montage were being discussed while at the same time immersing the audience in a veritable attack on the senses. The story of negativeland could have only really been effectively told if we are able to hear and understand the kind of radical sound art they produce. In a way, the soundtrack to the film is like one long continually playing experimental music album being played with accompanying visuals.
The article defines topoi as topics, or "storehouses of trains of thought." They are patterns in our culture’s media. This implies that there are connections between all things in various media and, Huhtamo proposes, eventually become clichéd. The Kaleidoscomaniacs, cybernerds, or stereoscomaniac are example of these recurring topics and “can then be used in any form of literature.”
What I found to be interesting in Sonic Outlaws was the way the film was created. They mixed a bunch of clips together and remixed the audio. It was interesting to see news clips but not hear what was being said in them originally. Instead we heard different clips of audio. It was fascinating to actually see and hear the remix of media.
Erkki Huhtamo defines topoi as “topics” and "storehouses of trains of thought systematically organized formulas serving a practical purpose, namely, composing of orations.” What I define topoi to be is a topic, which shows the trends throughout history. Like for instances how everything is based off something else. An example is how new forms of media are based off old forms and how old technology is just improved to create new technology. Everything is connected in some form maybe not completely but still in some way. Kaleidoscomaniac, stereoscomaniac, and cybernerd are technologies that are based off of topoi. You can’t do any of these without having a topic. He links topoi to media archaeology by showing that topoi help people form new media off of old media to become part of what media archaeology is all about.
-Judith Marker-
Group 1
Jacob Feiring Group 2
What interested me the most about Craig Baldwin’s Sonic Outlaws with regard to re-mix and copyright was the actual way the film was made. The entire film felt like a re-mix in a way. The way it was shot and put together was quite interesting. A lot of the images looked scratched or worn down, (even the shots that were clearly new-not old clips from other films, etc). The film almost looks like it was made to look like a bootleg, a poorly made copy of the film.
The film also felt like a remix because so many clips were jumbled together to make a new cohesive film.
In regards to Erkki Huhtamo’s “From Kaleidoscomaniac to Cybernerd,” the definition of “topoi”is “…storehouses of trains of thought.” In other words “topoi” means pieces of a culture that are put together and develop over time. Huthamo links “topoi” to the stereoscomaniac, kaleidoscomanic and the cybernerd because these groups use pieces of a culture and technology and out these groups, that use these technologies, new ideas and technologies are formed. The new ideas and technologies always have to pay tribute to the old ideas. Historical reference is key to creating something “new”
I found the Sonic Outlaws screening to be surprising, mostly what a jerk The Edge is. I thought the attitude and opinions presented by the artists were extremely valid, for example the video artist who claimed that the Television pumps out the garbage and gives it to us. Once it is out of the wires, it belongs to us. What else are we supposed to do with it?
In regards to Erkki’s article, he defines topoi as a sort of resurfacing theme, a pre-constructed motif we see time and time again. He uses the example of the kalidoscomaniac and the cybernerd to illustrate his point. Both are figures that are so immersed in their “other world” of moving images and entertainment that they have disconnected themselves from the world around them, ironically, in an attempt to connect with others. He discusses the idea that since media archeology is a non-linear, holistic approach to history, that these topoi allow us to recontextualize technology and it’s interaction with man.
The film itself was very interesting, their style of a film collage was, I think, very inventive. I like the idea of morphing every aspect of media into a stream of consciousness. The entire time, while I was watching the film I couldn't quite understand how they made the film flow so smoothly. It must have been an editing nightmare! I can't imagine simply recording television, editing out all the useless stuff, and only using 2-10 second clips for a full length feature! It's nuts! ..and revolutionary. I do think, thier way of using television is not what the copyright laws are protecting. They are protecting, I think, complete shows and/or films. If someone completely copies something and sells it as their own. Copyright infringement, but if they us small clips of all media to portray their views, whats the harm?
Without just copying and pasting how Huhtamo explains topoi, I don't know that I can. I found it very confusing and contradicting. He discribes topoi as topics of media that were once original and now they are cliches for that topic or topoi. But goes on to mention how old topoi leave and make room for new ones. Are we not using the same cliches as past generations, or is Huhtamo correct in that, old topoi arises "subconsciously"?
~Kurt Sensenbrenner
group 3
Concerning "Sonic Outlaws" I found the style of the film to be a little confusing. I didn't really have a good sense of what was going on, until the filmed stopped cutting around and they talked to the band in the basement for several minutes. Otherwise, for me, it was a bit overkill on the jumping around from scene to scene, even though it was somewhat demonstrating a style of re-mix. As far as the topics in the film ago, I thought the topic of wire-tapping was very interesting, showing that anyone can tap a line even if it is supposed to be a private connection.
Huhtamo defines topoi, "they were "storehouses of trains of thought" (argumentorum sedes), systematically organized formulas serving a practical purpose, namely, composing of orations." To me this definition doesn't quite convey a real meaning. To me topoi is the formulated reaction, linking to all forms of media inducing the viewer to weaken his other external senses. As this relates to the kaleidoscomaniac, the stereoscomaniac, and the cybernerd, all are completely different forms of media but all of them seem to get a similar reaction out of their viewers, linking them all together.
Max Larsen
Group 3
Max Larsen
Group 3
What intrigued me most about Sonic Outlaws was the documentary style of filming, and perhaps more importantly, the radical ideas that the band (Negitiveland?) put forth. I admire their spirit -although I'm sure many other people didn't at the time. Listening to their opinions and ideas really kept me interested, especially when they would feed off each other. My favorite part was when one of the guys tapped into that private phone conversation, which turned out to be pretty emotional. I feel like these guys were ahead of their time; they could be considered a part of the non-linear chain of ideas/events that have taken place in the history of copyrighted artwork.
Huhtamo introduces "topoi", like topic, as mainly orations that are grouped together in a way to serve a practical purpose. He relates it to kaleidoscomaniacs, etc because these are people grouped together in the same way, not in a linear format. "Topoi" relates to media archeology in its non-linear grouping.
Devin Smith, group 1
Dan Boville - Group 3
I feel the band members in the documentary SONIC OUTLAWS had good points in their remixing of media. A quote I remember on of the members said was that if it is put out there (referring to broadcasting) than it is ours to keep. That said, they gathered many different media and combined it to create a completely different meaning, mood, etc. I understand that if you change something that a reputable band/figure puts out then there could be problems.
I feel that topoi are themes that are reoccurring in society. Huhtamo tells that these reoccurring themes are “not totally random, produced indigenously by conglomerations of specific circumstances.” One thing that comes to mind is generational fads that come in and out of style. There’s no telling when or where they reappear but in most cases they do. I think technology and media can be used in this model as well, as commodities change with time. Kaleidoscomaniacs, stereoscomaniacs, and cybernerds serve the same function with the band members in the film, they all gather media in their own style and remix it. Cybernerds for example have the internet as their paint pallet and remix it in that fashion.
I really liked the style of the film. You really had to pay attention to it to understand it. The film was all over the place. IT looked like a low budget film, because it probably was. I agree with Michael, I also liked how the film had scratches. It made it more unique. I wasn't sure whether it was a documentary or not, but the camera did do a lot of moving around, and since it was pretty low budget, I would say it was.
I would say that Topoi are reocurring thoughts/ideas that are in our brain. The word also looks a lot like the word "Topics" which could mean the same thing. After reading what Huhtamo says about Topoi, I got the feeling that people as a whoile never really think outside the box or creatively anymore. It's all basically the same ideas. Huhtamo's argument is that the Kaleidoscomaniac, Stereoscomaniac, and the Cybernerd are all technological pieces that show us an alternative to reality and our surroundings. I agree with E. Roberts because the "Cybernerd" is out in the world still. The show us the uncreativity or topoi that people still have.
In Craig Baldwin's Sonic Outlaws, I found the style interesting. I DO NOT mean the inconsistent shots, remixes, altered audio, and visual components. I mean the somewhat storyline butchered a quarter of the way through to mish-mash with subliminal shots and flashes. I realize that the filmmakers were intent on combining their style with their story, but without an evenly interwoven amount, between the two, I cannot say that this "interesting" feature was a positive one for my experience. Yes, it was about remixing and copyright, and yes it is culturally definitive, contemporary, and original, but I felt the subject matter was in need of better organization than just a reckless tumbling of narrative mixed with crazy editing.
I see topois as collective concepts too general to identify specifically but too centralized to disregard; spots of easy recognition for special parts of cultured society. Erkki defines the term as "storehouses of trains of thought." With help from a quote by Curtius, we can see that topois are more than just individual entities, but influence culture, creating convention and cliches, and overall evolving into other styles and methods, sort of like hybrids. That is why there is somewhat of a connection between topoi and media archeology, because it directly relates to the evolution of this matter. In time, similar characteristics and traits are identified and allow for a "deja vu" feeling to occur. Developments occur, styles loop, and a cycle emerges wherein similarities become more apparent, creating a larger connection to past.
Emily Sherman Group 4
Personally the stylistic details that Baldwin chose to incorporate is what kept me engaged. The unmethodical shots, and editing were perfectly reflective of the movies premise. The jumpy shots, color saturation and random editing of sound were a direct reflection of re-mixing. The way the sound was edited together was also interesting. When he took one word or phrase and repeated it; it closely mimicked the sound of a skipping record. When he choose to integrate this it seemed like he did it at points when he felt some point needed to be reiterated of accented. One of my favorite parts was the wire tapping scene, the interjected and at times subtle, humor made it very amusing to watch.
In regards to the “From Kaleidoscomaniac to Cybernerd” article, the way I understood the subject of “topoi” is that they are essentially topics that start a trend, or re-occurring themes. These trends will often become very prominent, fade out and then later re-emerge. The concepts and ideas of these trends will be he same but due to the inevitable advancement of technology, there will be different aspects. The kaleidoscomaniac, the stereoscomaniac, and the cybernerd all correlate with “topoi” because these are groups of people who heavily relied on a certain technology and often still do. Huhtamo draws all this back to media archeology by stating that topoi is the cliché that will surface out of a media forms and these will be the elements that will inspire new forms of media and contribute to the re-mix culture.
To start off with the film, I'd have to say that it was really good. I really liked the juxtaposition of the film being a total remix and the narrative of Negativeland being in trouble for pretty much the same the thing.
As for topoi/topics, the idea that Huhtamo brings up is very true. Although we may not be aware, when we take part in any sort of media we are experiencing the past, and also as we interact with current media we are influencing the future. How we interact with media makes people wonder what could be, what would be good, what could be better? Just like kaleidoscopemania draws direct parallels with the cybernerd, all media has a past, present, and future, or like many others have said, it is a web constantly branching out.
David Lewandowski 115 group2
The film itself was hard to follow with its quick cuts, it was almost subliminal in nature. The film seemed to have some validity in its argument. There can only be so much originality before you must remix what has already been made. The main arguments are supported by legislation and previous lawsuits. For example after 50 years all music falls into public domain, and that 4 notes of music can be borrowed without copyright infringement.
In regards to topoi, the topics they in themselves span over culture and society. They can be seen as building blocks, different devices attempting to encompass the same general idea. As these structure of these devices change so do their function in the context of society. Having a certain model of cell phone can impress upon others your status in society. Also a cell phone may no longer be a cell phone but a multi media device. It becomes something totally different, and yet all of its components are borrowed from other devices that precede it.
-Brian Shea 4th group
The most intriguing part that I found about the film of Sonic Outlaws was the whole style of the filming. The filming paralleled the style of the music of Negativland, in that it was edited in a re-mix sort of manner. Shots cut to completely, almost unrelated shots, much like the re-mixing of Negativland. For a documentary style film about a type of re-mix music to be shot in a re-mix type of manner was quite interesting to me.
Now for the topoi of Erkki Humato. According to Erkki, topoi, or topics, are "storehouses of trains of thought; systematically organized formulas serving a practical purpose, namely, composing of orations." The connections between the kaleidoscomaniac, the stereoscomaniac, and the cybernerd are many, and can not be simply linked in a linear fashion. As like the web diagram shown for the web of Media Archeology, so to are the connections with the kaleidoscomaniac, the stereoscomaniac, and the cybernerd.
-Chris Ouchie, Group 3
The film "Sonic Outlaws" was itself an example of its own subject matter. It was a piece of remix culture, consisting of tons of different clips spliced together in a completely disorderly fashion. But this is exactly what made the movie so interesting. It refused to follow any kind of simple or linear structure. The grainy quality made this seem like a very underground film, which it most certainly is. I liked the meshing together of footage shot by the actual filmmakers and other footage that they took and edited together. And also, as most others have said, I really enjoyed the part where the "Weather Man" tapped into a private phone conversation. Although this is highly illegal, it was still amazing to see how it was done. I think that scene was easy to identify with because deep down, everyone enjoys (if even just a little) to spy on others and find out private things.
Huhtamo talks about "topoi" as "topics". He also defines them in an historical sense (by Quintilianus) as "storehouses of trains of thought" and "systematically organized formulas serving a purpose, namely, composing of orations". He also quotes Curtis as saying that topoi can also become cliches in our culture, whether it's literature, entertainment, etc. Everything is connected in some way or another. All media draws from other media, old and new. Also, as others have said, this reminds me of the "web of inevitability" from the first day of class. As far as the kaleidoscomaniac, the stereoscomaniac, and the cybernerd, these are all completely different types and facets of media but all of them elicit a similar reaction out of those viewing the media, thus linking them all together. Really, the main point of this article is that all media leads from or into other media.
My group number would have to be 4.
I think one of the interesting things about Sonic Outlaws is how it not only continues to be relevant, but it's as if its relevancy keeps on growing. As the internet becomes ever more expansive, the ease with which an artist can obtain imagery, sound and video which "does not belong to them" is always increasing. As media is duplicated and spread around, it would seem to lose it's original ownership as it passes hands. In this way, the ideas that are addressed in Sonic Outlaws are even more complex and relevant in the digital age.
In his article "From Kaleidoscomaniac to Cybernerd", Huhtamo talks on the subject that is inherent in the study of media archaeology: the cyclical nature of media. His idea of "topoi", essentially evolves around the concept of media's fulfillment of desires. He is saying that each "new" technology does not create a different branch on the media timeline, but continues on an already established path. His example of the kaleidoscope, the stereograph and today's virtual reality, shows that each of these technologies fulfilled the fantasy of people to immerse themselves in a different "world", one outside reality. So, while virtual reality is considered in contemporary society to be a new and innovative technology, it is really only the physical technology itself that fits this description, the idea behind it is centuries old. When Huhtamo is talking about "topoi", he is essentially talking about these different lineages of technology and how they run through out the history of media.
kristen gibb group 3
In Sonic Outlaws I found it very interesting that they were able to come up with so much stock footage from movies and television to remix considering this was a few years before youtube existed and before you could pretty much find anything and everything on the internet. I had completely forgot about that U2 Zoo TV tour in the 90s and so it was really intriguing to consider the fact that they were doing exactly what their record company sued another band over. It's interesting to also think about the fact that even though there was so much drama concerning copyright and remix that U2 went ahead and even commissioned someone to produce some videos for their tour.
Erkki defines "topoi" as topics that serve as "building blocks" of cultural traditions. I view them as just trends or fads that appear and disappear over time. Some last longer than others and there are always people that seem to not be able to let go of some of them. As for the kaleidoscomaniac, the stereoscomaniac, and the cybernerd, they are all small "clicks" of people that existed during their time. When something new and innovative comes about in history there are always a certain few that cling onto it and then a whole new society bonds these "fans" together. All of these technologies together share the fact that at the time it stirred interest and excitement even though if we look back at certain things today, they might seem silly. "Topoi" is like the media archaeology method because both link time and history together. They both allow us to look at our history of technology and where we were then and what we've become now.
ryan fox
group 2 (i think)
I thought that the style of Sonic Outlaws was very original. I liked how Negativland mixed many different sources together to the U2 song; it showed a different stylistic approach to editing films. The mixture of images and footage can be hilarious and the main topic was discussed from numerous perspectives. Erkki Huhtamo introduces the concept of topoi which is defined as “storehouses of trains of thought” or rather “systematically organized formulas serving a practical purpose.” The kaleidoscomaniac, the stereoscomaniac, and the cybernerd all have that they are occupying the human mind and pulling it in to the point where the person is so enthused that they aren’t even aware of the world around them, that people are passing judgments right behind their very backs. The link he makes between media archaeology and topoi is that media archaeology is in sense having déjà vu in which people react to present day technology in a certain way and then look back at the ways in which people have experienced technology in earlier periods. Then there is topoi which is having formulas serving as a practical purpose such as reacting to technology in different ways.
Mike Terrill
Group 4
I'd first like to comment on the film Sonic Outlaws. While you can tell that it was very unique in the way it was made and edited, I thought that alot of the film was very distracting, especially the band's music in general. And though I agree with some of their stances on copyright, a band like NegativLand doesnt appeal to me very much. Yes, maybe U2 are a bunch of elitist hypocrites in regards to their copyright stance, but at least they make original music. NegativLand reminds me of Tarintino somewhat: taking a heavy abundance of influences and other artists work and trying to mesh it into something original.
On the matter of Erkki, topoi seems to represent the definition of media archaelogy: that various topics (or various mediums of media) can be grouped together by association and not the chronological order of their origin.
forgot my to add my group.
Brian Dunigan
Group 1
What I found most interesting about Craig Baldwin's Sonic Outlaws was the style of the film itself. I think that the cuts in which made you slightly uncomfortable to watch the film but also made the film more interesting, was a key factor in the message of the film. The style reflected the subject of remix music and the mystery of the band's music and style. It was an unique film that covered a very important topic that has only evolved and getton worse or better depending on the point of view.
Huhtamo defines"topoi" as the sense of events intime that reflects on a culture. For example, if we look at what this class is about and how we have gotten to our MP3 players, DVD players, Xbox 360s, HDTVs, and our iPhones, we will look at what people in our culture before us had used. In order to get where we are today, technology continued to evolve out of the inventions before them. A major part of our lives, (and if not the biggest), are computers. Computers used to take up a whole room and Operating Systems such as Windows never exsisted. Now we have our Macs to do our film editing and Korasakow projects and our everyday lives are now practically runon computers. Our bank accounts, grocery checkouts, and homework is all in need of computers. Our culture today has been shaped overtime in these ways which reflects the concept of Huhtamo's "topoi."
I found Sonic Outlaws an interesting movie created by people who were trying to experiment with remix culture before the internet was such a huge influence on how we view media. I didn't like how U2 and Island Records were able to sue for the U2 cover that Negativland used on one of their albums. I agree with the band members that they should have the right to use the cover as much as U2 is able to use the term U2. In the 1960s, the U-2 Crisis is what brought it to the mainstream media through a U-2 pilot being shot down in Soviet territory. I think Negativland should have had the right to parody like we see in other things like SNL, MADTV, also Weird Al Yankovic. He does parodies on all of his CDs and has gotten 2 grammys and lots of nominations. I think it is because some important people didn't like the messsage Negativland was portraying and so Island Records was able to file a lawsuit successfully.
Topoi (genres) is defined by Huhtamo as storehouses of trains of thought. They are topics that appear, disappear, and reappear over time. These topics provide pre-fabricated experiences, that aid in creating a stereotypical representation to reach the reaction that had been achieved previously. They can also lead to further topoi, or topics. I found kaleidoscomaniacs are focused on the object on the screen, but don't pay attention to their surroundings, where stereomaniacs are focused on their complete surroundings, including all that the viewer can see. Kaleidoscomaniac topoi led into cybernerd through a redevelopment of the concept of kaleidoscomaniac through our new virtual reality driven society and our change of dependency on technology from the late 1800s and the early 21st century. Cybernerd's passion for the virtual world makes them "unconscious" with their surroundings in reality. The link between media archeology and topoi is because topoi trends keep appearing in different time periods. This is why you can better study film tendencies in a non-linear way through media archeology.
--Nick Reindl, Sec. 802
Watching Sonic Outlaws had a unique effect on my outlook on copyright and the legality of the whole topic. While I already see how copyrights now are used more so for greed than protection of artist originality, Outlaws only furthered my discontent with the abuse of copyright laws. The most surprising event was the hypocrisy of U2's lawsuit with Negativland. The concerts with live satellite feeds was almost unreal as to how hypocritical U2's actions were, but it also makes it quite obvious as to the intentions of U2's musical contributions.
Topoi is a concept of layering inventions from one another. You can develop a concept from parts of another new invention or creation. The most important part of this being that this progression of development is non-linear and links between creations create a spider-web of ideas.
"There are two "kaleidoscomaniacs" so mesmerized by the visions they see inside the "picture tube" that they don't even notice other men are courting their companions behind their backs."
This obsession with viewing can be attributed with film's ability to make one feel as if an escape has occured, and reality has been toyed with. As the kaleidoscope evolved into the stereoscope and eventually virtual reality, the concept of escape will push this reality farther away than ever before.
--Tom Matthias Sec. 804
Jon Hillbo - Group 1
The film does a great job in pointing out the faults in today's copyright laws. The copyright laws are going way beyond their original intent of protecting the owner's claim to his work, and have become a way for coorporations to entrench their own interests and stifle change. The original artist may not even have power over his own work anymore, as while the artist may be fine with other people using their work, the company they are signed under can prevent it. The film itself was created to look pirated, and limits were pushed throughout the film, such as when one of the band members tapped into a phone conversation.
Topoi appear to be all forms of culture that people can relate to that continue to appear in media throughout history. They are always connected to culture, and in that way are often recycled and reused throughout history, just as styles, themes and ideas always come back, albeit changed. In this way no idea is ever truly new or unique, as there is always a historical link, and yet by the same tolken there will always be an aspect of change. The article refers to them as '"pre-fabricated" moulds for experience.' In a way, everything is a remix of something else. We can see this in reference to the kaleidoscomaniac, stereoscomaniac and cybernerd, that while they may be seperated by an expanse of time and technology, their cultural and individual impacts are very similar.
The film "Sonic Outlaws" kinda made me feel kinda sick. There were too many fast cuts in a row. But the way it was put together was interesting. The issue that they brought about U2 really was on my side. It just goes to show you that music groups like U2 like you to believe that some of the issues like copyright was never brought to their attention. Example was the record album cover. They can be such hipocrites. For example the "Zoo TV" concert where they were using copyrighted satellite material and projecting it without the owners permission. Groups like that just piss me off.
I was really confused about the Erkki Huhtamo article. The thing that I did get from the article was how he was saying that there is not one straight path in the media archeology path. It is similar to the Korsakow project that we are working on for this class. The person who is looking up information can go off into many directions to find out what they want to find.
In my opinion, Sonic Outlaws was a different and interesting look at a kind of art (and it's creators) that I'm not used to. It was interesting to see how worked up people can become over these things that are so stupid, and the Casey Casum voice over was pretty funny. I didn't enjoy the pace of the film, with images flying all over the place and usually mixed up, but it seemed a little long by the end. I also don't think I could justify the purpose of the film, which, to me, was to defend these 'remix artists' amidst the pop culture/media culture bandwagon. I understand that it becomes hard to come up with original ideas after awhile, because so many topics have been tried and even exhausted, but it's not impossible. When all they choose to work with is what's already been done, (or private phone conversations), I wouldn't have much respect for them creatively.
In regard to 'topoi', I think it could be defined as another word for topics, those that reciprocate and pop up again and again to the point of cliche in some cases. The article was difficult for me to understand, because I had a difficult time decifering the point, but I believe it to be what we've already talked about in class, and that is this non-linear view of media history, and links that come up in mismatched intervals. As far as the technologies that he mentioned, I think their coommon-ness lies in the way they take a person out of themselves and actively participate in some kind of media. These 'topoi' are useful in media archaeology research, because they're sort of like patterns that can be followed to trace back to random points in media history, like naming wars in world history or formulas that are elaborated in mathematical history, for example.
For me, the most interesting aspect of Baldwin’s Sonic Outlaws was the portion of the film that focused on The Barbie liberationist and the man known for changing the messages of advertising billboards. I was unaware that this sort of rebellion against media and advertising existed and the whole thing held a bit of a V for Vendetta romanticism about it. It brought me comfort to know that there are people who will not submit to the ridiculous amount of bogus marketing and media that different corporations expect us to digest. I was also in complete awe of the creativity and non-violent methods that were used to express such annoyance and discomfort. I found these aspects most interesting because they made me believe that even though there are systems that may seem so massively dominant and unbeatable, the individual will always have the power to fuck shit up.
What I learned from reading about Huhtamo’s very confusing concept of “topoi” is that for as long as the means have been accessible, (and probably before) people have sought to escape the realities of the natural and fundamental world. It is hard to determine whether this undeniable desire comes from a cultural or individual standpoint, its existence is displayed all over the world in many different forms. Huhtamo discusses some 19th century French illustrations that depict a group of men so mesmerized by the visions they see in their kaleidoscopes, that they don’t even notice other men are courting their companion’s behind their back. For centuries, people have needed stories, drawings, music, and more recently television and video games to escape and forget the cold and bland hand of reality. Essentially these variations are like drugs and everybody needs their fix. Though similar methods of escape have popped up in different times, places, and society, I do not feel as though such developments hold a cultural parallel, more so, they are fulfillments of the desires of individuals who can not bear to live their entire existence in a fundamental world.
Sam Slater
Group 2
"Sonic Outlaws" was an interesting film. I found the story of the band Negetiveland to be the most fascinating. One, because U2 was sueing them for using their name, when in turn they were just using the letter U and the number 2 and it had previous use as a spy plane. The phone interviews with The Edge where humorous, but it just goes to show you that the more money you have, the more power you have, and the more you can have copyrighted. I just wonder what would've happened if they had used any inkling of anything pertaining to a Beatles song or reference.
What comes to mind in the concept of "topoi" for some reason is the computer age. Even though personal computers wasn't a notion until the late eighties, the idea has been around for ages. What also comes to mind is Apple and their production methods. They release these technology "lines" of product , which fit perfectly under the term "topic", because it's the same thing just produced better, either to make it more appealing, smaller, more convenient. If there was one topic that I believe perpetuated technology it would convenience.
cory gorman
group 3
Imagine a bizarre dream sequence, images flash by with uncertain relationships, sharp, loud and oddly familiar. This was my impression of Sonic Outlaws. As aforementioned many times, our culture today is that of the re-mix and therefore inextricably bound to the complications with copyright laws. Sonic Outlaws is a film that does not necessarily bring answers, but certainly raises important questions. As I watched the film, with its scratches and quick cutting, I felt that the film itself had been pirated. Sonic Outlaws gives the impression that most copyright lawsuits are ridiculous and from after watching the film I would agree.
The article calls topoi; "storehouses of trains of thought" and continues to say that they are systematically organized formulas serving a purpose, namely, composing of orations". They are pieces of our culture and can tell us in which direction it is heading. Topoi is a way of following trends in our culture throughout history. Media Archeology is a cycler study of technologies and how they relate and not necessarily in a direct way. Erkki says that media archeology should not be a measure of what technology led to another, but instead a study of cultural trends. The three technologies he discusses are trends in culture, they all involve complete immersion in the world they exhibit. All though they are not physically or chronologically related, they are tied together by the one trait mentioned above.
Group 1
Matt Smaglik
One thing I found interesting about Sonic Outlaws was that it was kinda a copyright infringement in its own. Sonic Outlaws was about how copyright laws are interrupting our cultures growth in media. I thought the film style was very poor. It wasn't pretty but the message was strong.
Topoi seem to me like trends through time that society latches on to for various periods of time. Huhtamo described topoi as "formulas that make up the building blocks of cultural traditions." They seem to drive what people consider history and what is forgotten; the discursive iventions and fallen trends. He relates it to kaleidoscomaniacs, stereoscomaniacs, and cybernerds because these were/are groups of people in our culture that used new technologies extensively.
From a stylistic point of view, Baldwin utilizes remix in a very thought out and provoking way in order to get his point across. And indeed, that is what I think remix in general has been able to accomplish very well. The use of existing media content, manipulated well to argue or discuss an issue is a very inspirational tool. And Baldwin's topic of copyright fits into remix very nicely because of the strong connection between the two. Baldwin's abundant use of news cast clippings and other main stream media clips in contrasting conjunction with his ideas about copyright help to emphasize his position by creating punch lines, anchors that help us hold on to the main points. They also serve as transitionary objects connecting ideas together in a smooth and compelling fashion. Although these short remix sequences sometimes draw laughter, they all have a deeper meaning that only the manipulatory properties of remix can bring forth.
Topoi are conscious or unconscious themes, maps to how we think and how we experience or how we are supposed to experience. They are , as Erkki Huhtamo stated, "topics as formulas", machines to interoperate the world around us. They are very much culturally based and change along with the culture, appearing, disappearing, and reappearing as needed. The kaleidoscomaniac, stereoscomaniac, and the cybernerd were all machines of experience that challenged the cultural topoi of the time. All three of these technologies allow us to drastically change the way we experience things. The changing of normal sight into an abstract art, the changing of 2D images to 3D, and the experience of culture through the dramatic filter of computer communications. As new medias and new ways of experiencing the world are invented the cultural topoi change as well, often recycling previous topoi in much the same way that media archeology is cyclical.
Toby Staffanson
Group 4
There is no easy way to describe that movie, but at the same time, the message that was meant to be conveyed was very easy to follow. These guys had a very jumbled storyline, very non-linear which is out of the norm and made their points about copyright and remix clear. It was an effective way to demonstrate their topic for audiences.
Topoi is an interesting concept. The kaleidoscomaniac, stereoscomaniac and cybernerd are very similar to the way we look at things in this class. There is no one way to look at anything, rather everything is mixed up ad there are many ways to look at the same thing and no two of them will be alike. There isn't a straight line that all these points fall on, it's a hodgepodge of lines that go any way and tie things together as they go.
-Benj Gibicsar
Group 4
I appreciated Sonic Outlaws but I don't feel that I agree with their view on copyright laws. I found it slightly similar to what reporters are said to have done, take words that people have said and changed the meaning of what the person meant. Sonic Outlaws cut out words and pasted faces to them, I found it humorous, but wrong at the same time... Not only that, but two hours of what sounded like someone flipping through radio stations starts to get a bit annoying.
With the "topoi" article, I was pretty much confused the whole time. The only part that really stood out to me was that it sounded to me like Erkki was saying there was a trend in media, especially in how people reacted to it. He talked about how people had run out of cinemas after seeing a train coming towards them in a film, and how people reacted similarly to the first 3D films in Disney World...
-Amanda Laning, group 1
There were a number of different things that I found to be interesting about the movie, first being their battle with copyright laws and second was some of the things that they showed in the film, such as one of the band members listening in on some private conversation between two people. The copyright battle about the band's album "U2" made me feel like it is almost impossible for an artist with low finances to win a battle against a major label over a copyright issue. The part with David Willis listening to someone's conversation was particularly interesting to me because I had no idea how easily it can be done.
From what I read in the article it seems that "topoi" means a set of different categories that is used to branch together different ideas. The word relates to the terms kaleidoscomaniac, the stereoscomaniac, and the cybernerd because of their involvement in different types of media.
Gleb Sergeyev
Group 1
What has stuck out to me in the film that we viewed was right away the outtakes with casey caseum. Have you every heard the happy and up-beat man swear so much i know i have not. Other wise it was an interesting movie but i didn't really see to much in it except the act of rebelion, the controversy of cover vs copy right, vs freedom of spech and expression. It didn't need to be as long as it did especially when they started repeating them selves over and over and over again. But otherwise the movie was an interesting watch.
Erkki Huhtamo & Topoi:
What i got from this guy made me think of the first day of class. and later on when we all got into groups and examined the older forms of technology. It really brings to my attention that the history of media and technology isn't so much liniar as it is a giant web of connection between upgrade, new thought, experimanetation, and variation of what is new and what is coming. It is important that past technology is influencing us to make new and better technologys. but also it is important not to forget what started it all. That is the message i am getting when i read this article.
Matt Gonia Group 1
I found that, “sonic outlaws” was a good film. It seems that most of the artist in the film hated television. It us that it’s nothing more then some devise that give us useless information, which in a way it does sometimes. For an example reality television is a piece of crap. Why watch someone else life while your living a life. So I sort of agree with the whole television spews out crap thing. In Erkki’s article, I felt it difficult to understand what it was he was explaining. It felt like I was reading some of the previous articles. Erkki talks of “topoi” which he explains as technology changes and we as the users are trying to keep up with all of the advancements we go through. Our minds are always being bombarded by new technology and we are still trying to figure out some of the old ones that we are given. His article seem to be all over the place and hard to understand.
-Randal Jackson-
What I found interesting most of all about Baldwin's Sonic Outlaws was its very edgy style and attitude toward the remix movement. It was not at all a diplomatic film, but instead a radically subversive piece that makes numerous blatant attacks on now only rules and regulations, but also natural hypocrisies that people in society, primarily those who consider themselves 'artists', live with. It did this without the pretense of 'good quality', in fact the quality of the film was more or less purposefully poor. This makes it all too easy for the view to subconsciously connect with it, which on a sidenote could be perceived as a form of subtle mind manipulation, but is effective none the less.
As for the term "Topoi", which Huhtamo defines as "systematically organized formulas serving a purpose, namely, composing of orations" as well as going so far as to say that Topoi are a kind of storage space for a collage of different trains of thought. With the kaleidoscomaniac, we see it as a means of seeing the hidden details of the universe. Knowing things that we physically would not otherwise be able to know. Seeing things that we could not see. In contrast, the stereoscomaniac wishes to reach this understanding through auditory immersion. When we come to the cybernerd, we see both of these things melded intricately to further the advancement of our ability to have and hold cyber relationships with people that we would not have otherwise been able to meet. By this, we look at topoi as being something seen throughout each generation, each time period. An advancement of some sort the furthers our ability to process the world around us and interact with it in different ways. However, oftentimes, as with such technologies as Myspace, World of Warcraft, etc, we see that those who are lacking in certain aspects of tangible reality drown themselves in this alternate perspective on reality (in this case, cyber/fantasy reality).
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