Kirby Ferguson’s four-part video series “Everything Is a Remix” goes into great detail explaining just how prevalent remixing is in the arts and sciences. He notes how filmmakers such as George Lucas, musicians such as Led Zeppelin, and technologists such as Steve Jobs are so highly regarded, but then goes on to list example after example of creations that are famously attributed to them, but were really just copied and pasted from others. While this is all interesting information, there is one question with which I feel Ferguson should have gone into more depth: If a person were to try as hard as he or she could to create something truly original, would that task be achievable? In a thesis similar to the one I stated regarding human versus machine intelligence, I am tempted to argue that either every creation is original, or none are. However, that would be discounting the possible inclusion of things such as intent in the definition. Acknowledging this third possibility, a fair analysis can be given.
The root of so many philosophical debates is a disagreement or misunderstanding of the definition of one or more words. In this case, the word “original” seems to be the one requiring a single, agreed-upon definition. The first definition I will propose to fill this need, coming from the Merriam-Webster Dictionary, is “not secondary, derivative, or imitative”. If this is the case, it certainly seems that it is impossible to create something original. After all, the very inception of every idea is the direct result of previous knowledge and elements from one’s environment (which is also made up of things that were previously created by people, animals, or “natural”* physical processes). A good example that Ferguson used in “Everything Is a Remix” is that of Henry Ford. Could he have created the first mass-market car in 1908 if assembly lines, interchangeable parts and the automobile had not been previously invented? Of course not. It would not have even been in the realm of his thoughts. Going back to the dawn of human innovation, we as humans even copied fire, then modified it to fit needs such as heat, cooking, weaponry, and eventually locomotion. Its invention as a tool could not have occurred without first seeing fire occur as a result of lightning or extreme heat. No matter what, our ideas will always be secondary, derivative, and imitative.
In contrast to this definition, the Merriam-Webster Dictionary says that “original” can also be defined as “of, relating to, or constituting an origin or beginning”. In this case, I would argue that every creation is original. After all, as soon as something is created, that alone constitues an origin or beginning – if for nothing else, at least for that object. Given time’s infinite future, I would take this a step further to say that all objects will in some way effect something else in the universe, acting as the catalyst to an infinite series of events. An underground pebble will effect the shifting of its surroundings to a small degree. When it moves, it begins a small series of movements of other pebbles. Likewise, even the copied works of Shepard Fairey that Ferguson refers to were themselves origins of other artwork.
With both of these definitions proving unhelpful in distinguishing between the original and the unoriginal, I will propose a third definition myself, for the sake of completeness in my argument. If we were to consider “original” to mean “created without any intention of copying or modifying another work,” there are at least some things that will be considered “original” and some that will not. Led Zeppelin’s shameless copying of blues musicians’ work, for example, would indicate that their material is not original. In contrast, assuming George Harrison was honest in his claims that “My Sweet Lord” was not meant to copy The Chiffons’ “He’s So Fine” in any way, his work would still be considered original. However, it is often incredibly hard to determine whether or not a creation in question was intentionally copied.
The main issue with all of these arguments is that everything that constitutes a “beginning or origin” is itself “secondary, derivative, or imitative of something else”. The only possible exception would be the big bang or a functionally similar event that began everything else, assuming such an event took place. Even though it may help to sort things out on an ethical level to take one’s intentions into account, it seems silly to separate conscious copying from subconscious copying when discussing what is (philosophically) original. So on a final reflection of “Everything Is a Remix” as a thesis, I think I would have to agree; everything is both the result of previous events and the catalyst to future ones.
* I put the word “natural” in quotation marks because, as discussed in my previous posts, it seems to me that every process, whether it happens without humans, as a result of humans, or inside of humans, is equally natural/artificial.