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<nettime-ann> Fwd: [NEW-MEDIA-CURATING] October Theme: Copyright
BishopZ on Mon, 3 Oct 2011 09:34:07 +0200 (CEST)

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<nettime-ann> Fwd: [NEW-MEDIA-CURATING] October Theme: Copyright

---------- Forwarded message ----------
From: Jeremy Pilcher <jimblem {AT} yahoo.com>
Date: Sun, Oct 2, 2011 at 2:16 PM
Subject: [NEW-MEDIA-CURATING] October Theme: Copyright
To: NEW-MEDIA-CURATING {AT} jiscmail.ac.uk

This month’s theme on the list is copyright and is guest hosted by
Jeremy Pilcher, whose academic work explores the connections between
art and law and builds on his professional experience as a lawyer.

The lack of opposition from the United Kingdom to the recent extension
by the European Union of copyright on sound recordings (from 50 to 70
years) has once again brought into question whether there is the
political will to update the UK’s labyrinthine intellectual property
environment. It is just one of the more recent examples of the
increased scope of intellectual property rights (IPRs) around the

In the UK this has occured despite a number of independent inquiries,
of which the most recent is the Hargreaves Review, which concluded
that the current legal framework obstructs innovation and growth.

Lawrence Lessig, one of the founders of Creative Commons and professor
at Stanford Law School has observed, at some point the commercial life
of creative property comes to an end. After that period the ongoing
existence of much culture will be uncertain and considerably affected
by how it is recycled and archived.

While technology has reduced the economic costs of generating and
preserving culture, legal barriers remain. Professor Susan M Pearce
has observed museums and galleries are integrated into capitalist
economic practices. IPRs, including copyright, are of considerable
significance to ‘new media art’.

Many questions arise, including:

· Has the ubiquity of the web made assertions that museum and gallery
collections are somehow ‘outside’ the market-place even less
convincing than before?

· How are curators and artists working internationally supposed to be
able to comply with copyright when laws vary between countries?

· What methods can be used to improve understanding about IPRs and in
what ways could education engage critically with the values
underlying, and implicit in, copyright?

· How does an art field such as 'new media art', that is premised on
free exchange, understand its relationship to the intangible public
domain of intellectual property as presently recognised and enforced
through the law?

· How does the acquisition of data and the creation of meaning by
corporations, which use IPRs to protect the commercial value of such
information, relate to the freedom of expression and art/activist
practices that seek to subvert, or even obstruct, the free flow of

· In what respects do the interests of commercial organisations such
as Google, which exist for the purpose of making profit, differ from
those of artists, museums and galleries and in what ways should the
law respond to any such differences?

· Should the reform of IPRs, and in particular copyright, take place
in the name of innovation and economic growth?

This month's theme is also tied to the launch of the book Public
Domain published by SAW Video in Canada, which documents six new
artistic single channel moving image works made with copyright free
material from Library and Archives Canada. Sarah Cook is an invited
essayist in the book and last year undertook a month long residency
with SAW Video grappling with these issues.

Those who have joined the list as invited respondents to discuss the theme are:

Sarah Andrew
Artist and lawyer Sarah Andrew has for many years combined her two
practices to advise on terrestrial and digital TV programme content.
The law is seen by Andrew as a 'system of description', and she
believes that artists and lawyers should work together to empower
artists to find new ways of working.

Bronac Ferran
Bronac Ferran is a guest curator at The Ruskin Gallery Cambridge and
works also in Communications department at the RCA. She set up
Boundaryobject.org in April 2007. It has a focus on research in areas
of art, science, technology, law, media and cultural production.
Bronac was formerly Director of Interdisciplinary Arts at Arts Council
England where she led national policy for interdisciplinary and
collaborative arts practice, often involving media, science, law and
other disciplines. She was a member of the influential Adelphi Charter
commission on IP, organised the CODE conference about open source and
innovation in 2001.

Joy Garnett
Joy Garnett [ http://joygarnett.com ] is an artist who lives in
Brooklyn, NY. Her paintings, based on found images of explosive or
catastrophic events, locate instances of the apocalyptic sublime in
mass media culture. Her social media projects, documented with
photographs and archived online, examine the intersections of our
digital and material worlds. She is the Arts Editor of the
contemporary media journal Cultural Politics, published by Duke
University Press, as well as the blog NEWSgrist  [
http://newsgrist.com ].

Penny McCann
Penny is the Director of SAW Video, a media art centre located in
Ottawa, Canada.

Rob Myers
Rob Myers is an artist, writer and hacker based in Peterborough in the
UK. He has been making work remixing cultural and technological codes
since the early 1990s and has recently made 3D printable models of
iconic postmodern artworks freely available for download.

Taylor Nuttall
Is CEO of folly, which is a leading digital arts organisation working
across England’s North West. folly presents an active artistic
programme that provides creative interaction and collaboration between
artists and the wider public using technology. Taylor is a founding
director of Abandon Normal Devices Ltd and has has a background as a
practicing artist, educator and in commercial enterprise.

Marta Peirano
Marta Pierano, is a Spanish writer and curator.

Matthew Poole
Matthew Poole is currently Programme Director of Essex’s Centre for
Curatorial Studies and Director of the MA in Gallery Studies &
Critical Curating at the University of Essex. As well as lecturing,
Matthew works as a freelance curator and collaborates with a wide
variety of contemporary artists. He has experience working for a
number of arts organisations and galleries both in the public and
private sectors.

Fred Poyner IV
Fred Poyner IV is the Digital Collections Curator for the Washington
State Historical Society, and has managed the rights clearances and
image collections licensing program for WSHS since 2006. Prior to
joining WSHS in 2006, he served as an arts collections specialist for
CORBIS in Seattle, WA.

Michael Szpakowski
Michael Szpakowski is an artist, composer and writer.

Kalliopi Vacharopoulou
Dr Vacharopoulou has a background in Archaeology, Museum Studies and
Heritage Management and Conservation. For the last few years she
worked in digital imaging projects, exploring relevant themes with a
particular focus on copyright issues. Current interests focus on the
application of digital technologies in the museum and heritage sector
and in education (digitisation of heritage content, digital media,
e-learning, electronic publishing and visual resources).

Annette Ward
Scottish Power Research Fellow and Development Manager, has evaluated
retrieval software at London Guildhall Library and Art Gallery, The
British Library, and BBC.  She has over 25 years as an academic in
textiles, clothing, and design in US and India.

Annsley Merelle Ward
is an intellectual property and media litigator at London-based firm
Collyer Bristow LLP, specializing in intellectual property with
specialized emphasis in multi-jurisdictional intellectual property
issues in the cultural heritage, technology and fashion sectors. She
writes for award-winning intellectual property blog, IPKat.

Patricia Watts
Patricia Watts has researched art and nature practitioners since 1994.
Patricia Watts is founder and west coast curator of ecoartspace. She
is currently working on a statewide residency project in New Mexico
entitled Getting Off the Planet (2011-2013). Watts was Chief Curator
at the Sonoma County Museum from 2005-2008.

Kate Wilson
Having trained as a film producer in Los Angeles at Jodie Foster's Egg
Pictures and Paul Thomas Anderson's Ghoulardi Film Company, Kate
Wilson returned to London to study law and join the bar.  She now
represents artists and organisations across the world, helping to
determine the best way to exploit or preserve the rights in their
work.  Kate works with artists and organisations in all media.

It is hoped that a little later on, one or two others will also be
able to join as invited respondents, including Shady El Noshokaty, an
Egyptian artist and curator, who recently spoke at Rewire/Abandon
Normal Devices.

Shady El Noshokaty spoke of exciting work done Egypt, including that
of Ahmed Basiony. Some of Basiony's work is currently being exhibited
in Liverpool as part of Abandon Normal Devices and FACT. Sadly,
Basiony was killed during the Egyptian uprising.

Design After Next, design technology
>> http://www.designAfterNext.com

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