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PUBLlCA.ll? f thiS zine was little messy WI i\ as .

lhe comp~latlon ~rt. ,hings can .get abut we tried to I<~~~g fr0m:1 the

co\\abOrat~\fe :~ Lost case~~o~t~~ow that we are ;'~rtunate\)I, is not

(season fIVe possible' A.n a Mac that. U

strtilghtferward as time, in 2009, on . e of our

perspectN \ . . ..

. a future mode .

That's where our little road trip comes in. We went back, back to the future (II style), and saw, flrsthand, what some trends in existence now look like when they go mainstream: When the majority of sonqs involve sampllng, when everyone and their mother rents Prada for next to nada, when personalization, customization.Jnnovatlon, make us a nation of -ation, We followed that binary-code road, up a mO!,Jntail'l, down a knell, through a lake and even forged a river delta, to take a sneak peak at what was going on in five years. And crossed, we provided some insight along the way.

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of a reference book of a zine, for YOU. All of you. Because, hey, as Gabriela and Troy said, "we're all in this together," (oh, don't worry, the High School Musical seguels are dead, but quote-dreppinq earns you major cool points) .. 50 absorb what's beiRg presented, feel free to add your own interpretation, and start thinking about what we might: want to change, edit, photoshop, ctrl+alt+del, about our future. What looks hopeful or helpful... What looks like trouble ... what... you get the

we Into the future the trend is increasingly

becoming, "Empower your 'customers or watch them move on." Unlike the past few decades in which culture has become almost strictly prejessionclized, companies now need to enable . participation on the part of the people or become lrrelevont, With the advent and populcrity of broadcast media, the 20th century saw a drastic shift in the production of culture. As the top-down TV

. culture took hold of the nation, people stopped thinking of themselves as producers and became consumers, or "freeloaders." The Internet has changed all of this. While initially still dominated by corporations extendinq their reach to the world, the Internet is now at a point when the flow of communication is not necessarily one-to-cne or one to many as it had been in the past, but rather many-to-many, gi..,ing users and consumers the ability to share with the world and bringing about a revival of what Lawrence Lessig calls "Read-Write" culture. The increasing demoercfizefien of technological tools and information is giving consumers a voice agQin qnd new forms of media are promoting their participation

and ..... "n."' .....

-' Perhaps it is because people want to be in control (or at

least think they do) that the culture has taken this turn; in influencing and remixing media people feel empowered by the possibifity of making a difference in the world. Lessig argues that it is not only this need to feel important but also a fundamental change in the nature and method of our generatIon's communication; furthermore, he states that this new remix and mashup culture reveals a new kind of literacy for our generation. =~. It is through these new forms of culture end methods of drawing from the old and creating something new that we are able to best ~......,. express ourselves.

As remixes become more and more prevalent and stort to seep into the mainstream, online services will emerge to collect

and distribute this new kind of content. The barriers to create content are being destroyed and what follows is a surge in the sheer amount of content that is produced and reproduced and that is mode available to the public. With so many options consumers will become overwhelmed by choice and will seek out services

that compile, aggregate, and sort content. As society is increasingly sped-up and more and more content producers emerge, the attention and time of the consumer will be of greatly increased demand.

One such indexing/aggregating site for music is called

The Hype Machine. It's setup to automatically generate lists of the most recent songs discussed on select handpicked blogs. Users can stream the songs directly from the site and, if they love what they hear, tag them as a favorite. This togging then affects the "popular" section of The Hype Machine where the most loved songs of the post Few days are listed. The result is a totally eclectic mi~ of fresh and often very new songs or remixes that can either b~ streamed directly or downloaded from on online music store (such as iTunes, eMusic, or Amazon).

To reiterate ... the reduced barrier to produce content is not just a factor of people's empowerment but on entirely new literaey. As more and more content is produced and creators vie for the attention of the consumer, services that collect and content will step in to balance the cycles of innovation.

Popular songs on The Hype Machine

To keep things fresh, only songs in in. las!. 3 days. are Included.

Pari$(Aeroplane RemiX)

!!>V740

MOSl8LOGGW Beach House» Goulding» Phoe.nix» Vampire Weekend»

Download Song: il~u5l<: (2 5 !REE) ot, "tunes .. Artist: eMusit (2 S PRE!!:) ... Amie St, ..

H ltl\(es. -rtcse wonri:€'ifvi g!jiQi:.!tn dill-to- rn~n::hGnr~ are b(lck Yr:.&, {iVEl!,!!Qne'~1 f3\ilJ.i.uhe aW,3i.too ... r~Jilte.d O)s. AemplaM t ~Vi! t,-!rurntl!cl "'lit a f~fnbi: ot .. .:"" R~ad.fuii pOit:ll!

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We attended a lecture series o'n the subject of intelle.ctual . property in the context of engineered products (and specifically robotics]. As the lecture progressed, I became increasingly aware 1.i~~It;;::::::::::.I of my complete and fundamental disagreement with the current

. patent and copyright system. Now, corporations have the ability to patent ideas so broad and all-encompassing that it prevents anv • ...",,~--.ft competitor from getting their foot in the door; furthermore, huge legal t~ams are hired to help navigate the minefield of already filed patents. What was originaIlX'ltl'jtended~to promote creative

innovation by reward ing those wfib thoug ht outside of the box now divulged into a corporate exploit to monopolize whole industries,

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-. Copyright too has similar issues as it lags behind cultural

n~tms. Progressing into this new e~a of "read-write" culture, our ;:::;:;;::=1 ideas and laws governing how digital and physical content are

licensed and distributed arfe rOiddkally slhl aken and wh ill ~ta:e to mal I adapt. There is something un amenta y wrong w ent IS. nor .

r someone of our generation to violate the law on a dally baSIS

by "infringing" copyright through the downloading of mus~c and streaming movies.

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