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To identify, conceptualize, and analyze a newly emerging form of consumer-initiated, brand-altering activity that we term “brand remixing.”

A content analysis of 92 remixes of the Nokia Lumia 820 smartphone case.

We find that nearly 40% of the remixed versions of Nokia’s case retained at least one element of its standard template. The remixed cases contained considerable congruency with the design elements in the standard template, a high degree of personalization, and no negative brand imagery.

Our research is the one of the first examinations of the role of 3D printing upon marketing activities. It has important implications for marketing scholarship by showing that 3D printing empowers consumers to physically alter the brands they consume. Our research also suggests that practitioners interested in using this technology to develop and enhance their brands should accept the notion that firms are no longer fully in control of their brand assets. Hence, we believe that brand managers should develop co-creation platforms that allow customers to easily modify, remix, and share various aspects of their brands with their peers.

We identify and label an important emerging branding practice (i.e., brand remixing). This practice has the potential to dramatically alter the branding landscape.

This paper aims to examine the development and use of a scaffolded‐social learning network (S²LN) called Remix World. The local aim is to increase understanding of how Remix World is integrated into programmatic and curricular structures as a way to support learning. The broader aim is to contribute to conversations about learning opportunities that S²LNs afford for participants.

Remix World was integrated into the Digital Youth Network (DYN) in‐school and after‐school digital arts curriculum. DYN used Remix World to display and comment on media, artifacts and designs, and to post original work. Two of the authors were given accounts on Remix World, where they logged in to respond to comments and note site activities and conversations.

The data suggest that students across the grade levels regularly used Remix World to post commentary, post media, and critique peers. Students used Remix World across ecologies (home, after school, and school day). Mentors' efforts to integrate the site into their classes increased the number of users and activities on Remix World.

Integrating a media‐based curriculum that encourages critique and production requires some formal feedback and guidelines. It is essential to explore how mentors and teachers pedagogically leverage the students' posts to reach curricular and programmatic learning goals.

This study explores how features and affordances of social networking sites can be redesigned to intentionally support in‐school pedagogical use that promotes transformative communication and the development of critical, new media literacies.

The author defines and discusses the three laws of business combinations that are essential to a profitable use of resources.

The author shows how applying these laws is necessary for success.

All business combinations must have the potential to create joint value, must be governed to realize this value, and must share value in a way that provides a reward to each party’s investment

In remix strategy, the fundamental unit of analysis is the combination of resources that yields value. That combination competes with other combinations. Some combinations will gain advantage over others because they encompass just the right resources; others will gain advantage because they manage their collective resources better than others do.

The author’s insight is that instead seeing competition as a battle of firm vs. firm, practitioners need to understand how bundles of resources compete, regardless of whether they are organized as firms.

Plugging into the multimodal aesthetics of youth lifestreaming, this article examines how three lesbian, gay, bisexual, transgender and/or queer (LGBTQ) youths use digital media production as an activist practice toward cultural justice work. Focusing on the queer rhetorical dimensions of multimodal (counter)storytelling, the communicative practice used to (re)name, remix and challenge epistemic notions of objective reality, this paper aims to highlight how youth worked to (de)compose and (re)author multiple identities and social relationships across online/offline contexts.

Through sustained participant observation across online/offline contexts, active interviewing techniques and visual discourse analysis, this paper illuminates how composing with digital media was leveraged by three LGBTQ youths to navigate larger systems of inequality across a multi-year connective ethnographic study.

By highlighting how queer rhetorical arts were used as tools to surpass and navigate social fault lines created by difference, findings highlight how Jack, Andi and Gabe, three LGBTQ youths, used multimodal (counter)storytelling to comment, correct and compose being different. Speaking across the rhetorical dimensions of logos, pathos and ethos, the author contends that a queer rhetorics lens helped highlight how youth used the affordances of multimodal (counter)storytelling to lifestream versions of activist selves.

Reading LGBTQ youths’ lifestreaming as multimodal (counter)storytelling, this paper highlights how three youths use multimodal composition as entry points into remixing the radical present and participate in cultural justice work.

The paper's aim is to describe the world of retrocomputing, a constellation of largely non‐professional practices involving old computing technology. It seeks to show how retrocomputing serves the goals of collection and preservation, particularly in regards to historic software, and how retrocomputing practices challenge traditional notions of authenticity. It then seeks to propose an alternative conceptualization and suggest new avenues for collaboration between retrocomputing practitioners and memory institutions.

The paper is based on extensive observation of retrocomputing projects, conducted primarily online.

Retrocomputing includes many activities that can be seen as constituting collection and preservation. At the same time, it is often transformative, producing assemblages that “remix” fragments from the past with newer elements or joining together historic components that were never combined before. While such “remix” may seem to undermine preservation, it also allows for fragments of computing history to be reintegrated into a living, ongoing practice, contributing to preservation in a broader sense. The seemingly unorganized nature of retrocomputing assemblages also provides space for alternative “situated knowledges” and histories of computing, which can sometimes be quite sophisticated.

Retrocomputing challenges established notions of collection and preservation. A “situated knowledges” perspective provides a possible resolution.

Retrocomputing presents memory institutions (and libraries in particular) with an opportunity for new forms of collaboration in collection and preservation of software applications.

The paper puts at the center the ways in which retrocomputing challenges the established notions of collection and preservation. It offers alternative conceptualizations that suggest new forms of collaboration.

The purpose of this paper is to provide insight into the way object data on Thingiverse changes over time, analyzing the relationships among views, downloads, likes, makes, remixes and comments over 500 days.

In total, 30 of the most popular things on Thingiverse were tracked between August 26, 2018 and January 7, 2020, with data collected about the different interactions at five intervals.

Highlights include: “#3DBenchy” became the first thing to reach one million downloads during this study. The “Xbox One controller mini wheel” achieved the highest documented download rate of 698 downloads per day. The average conversion rate from downloads to makes for all 30 things was one make for every 474 downloads at the start of the study, declining to one make for every 784 downloads by the conclusion.

With over 1.6 million things on Thingiverse, this study focused on an exclusive group of things that have gained significant attention from makers and does not represent most things on the platform.

Although often considered a novelty or niche maker community, this research shows that things on Thingiverse are achieving popularity comparable to digital music, video and imagery, and a large ecosystem of things has been growing that has implications for designers, manufacturers, supply chain managers and universal popular culture.

This is the first study to track the digital behaviors of 3D printable things over time, revealing new knowledge about how people interact with content and the scale of these interactions.

This paper aims to broaden the conversation regarding STEAM by investigating the new form of education. The novelty of science, technology, engineering, art and mathematics (STEAM) instruction in K-12 classrooms means few cases of STEAM teaching are documented in depth.

As part of a larger multi-year study researching STEAM teaching practices in 14 middle school classrooms in the southeastern USA, the article first summarizes prior research findings and then presents ideas for higher education and K-12 researchers to consider when incorporating STEAM teaching in pre-service education, professional development and in classrooms. Then, the authors use a second-order narrative approach to describe three cases of teachers enacting STEAM practices in classrooms.

Drawing on the notion of “remixing” education in the context of STEAM, the authors show how each teacher alters existing practices, instead of offering entirely new instruction, as they implement STEAM teaching.

With few cases of STEAM teaching detailed in the depth, this paper advances the understanding of STEAM teaching practices in K-12 classrooms.

Open Educational Resources (OER) are learning materials openly licensed so that others may retain, reuse, revise, remix or redistribute (the 5Rs) these materials. This paper aims to raise awareness of OER by providing a rationale for using these learning materials and a strategy for educators to get started with OER during the collective crisis and beyond.

Using a broad research base and anecdotes from personal experience, the authors make the case that OER improves student access to learning materials and improves the learning experience in both PK-12 and higher education contexts.

The authors define and describe the benefits of OER to provide practical suggestions educators can implement during the pandemic and beyond.

To support educators in finding and using OER, this paper highlights repositories that include a breadth of various learning materials across subject areas and educational contexts. The authors provide specific suggestions for finding, personalizing and contextualizing OER.

This work not only provides an overview of OER with particular considerations for educators during the COVID-19 pandemic but also makes the case that OER should be integrated into classrooms beyond the pandemic.

To describe the use of a Composer’s Cut video as a tool for reflecting on and celebrating one’s experience creating multimodal compositions for personal and social audiences.

Two adolescents designed and produced digital video stories about their prior experience composing a webpage and a multimodal literary analysis hypertext in response to the Vietnam war novel, The Things They Carried.

Each student remixed Camtasia screen capture video, class video, and images, enhanced with text overlays and music, to showcase their unique vision as a multimodal designer and to highlight their composing processes. They viewed the Composer’s Cut video as a powerful vehicle for reflection and appreciated that their videos would have a public audience.

Reflection often tends to be oral or written. Digital video supports students in showing, as well as telling their experience through multiple modes. The Composer’s Cut video is one example of how video might be used for reflection that is both personal and social.