The greater the toolset made available to a generation of makers the greater the cultural output. The assertion that I could formulate my ideas centered around copyright and communicate them to you here without reference is of course absurd. My point is this: the idea of a pure work is false. Within The Public Domain he states вЂњ.if copyright owners had to purchase each additional п¬Ѓve years of term separately, the same way we buy warranties on our appliances, the economically rational ones would mainly settle for a fairly short period.вЂќ In turn - while still protecting authors from direct plagiarism - cultural symbols so crucial to artistic progress would enter the public domain at accelerated speeds. It is within this line of thinking that I advocate for regulation married to James BoyleвЂ™s idea of purchasing copyright duration in short durations. It is caught in a chain, and itвЂ™s meaning depends in part on its position in this chain.вЂќ In it, he states вЂњwith music derived from sampling, the sample no longer represents anything more than a salient point in a shifting cartography. While this notion was most famously illustrated by Roland Barthes in Death of the Author, it was made truly tangible to my generation by Nicolas Bourriaud in Post Production. Instead, it is always built from those cultural forms that preceded it. Wether in literature, film, art, music, product design, etc, etc, the product in question is never completely original. But what does all of this have to do with copyright?ДЄs a metaphor, Die Antwoord embodies the post-modern attitude by attacking the notion of a static or fixed symbol. The tension here between aspects novelty and whatвЂ™s contemporary becomes quite fertile as a mode of production. But what makes Die Antwoord so interesting is their ability to blur the distinctions between whatвЂ™s real and whatвЂ™s actually satire. Roger Ballen Keith Haring Die AntwoordДЇrom Weird Al Yankovic to Chromeo, parody is not a new device in pop music. The visual makeup of their debut video вЂњ Enter the NinjaвЂќ is a hellish mix between the visuals of Roger Ballen and some sort of psychiatric ward version of a Keith Haring mural. The group is comprised from a mix of global youth symbols: at a glance one can clearly see homage towards early 90вЂ™s rave culture, American hip-hop, the white trash Juggalos movement, and of course, the overt nod to Vanilla Ice. My current obsession at the moment is with the South African Zef crew Die Antwoord (or, вЂњThe AnswerвЂќ).

Die antwoord enter the ninja sample