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Which clippings match 'Copyright Law' keyword pg.1 of 1
04 JUNE 2017

Remix: Lawrence Lessig on IP in the Digital Economy

"The prolific and controversial web culture of piracy, particularly file sharing, has taken the world by storm, and for more than a decade, we’ve been waging a war in the name of the 20th Century’s model of copyright law.

The content industry has convinced the world that extremism in copyright regulation is good for business and economic growth. But that's false. Join Stanford Law Professor Lawrence Lessig as he discusses the potential creative accomplishments that our society could achieve, if only we viewed copyright and intellectual property (IP) laws differently."

Lessig, L. (2008). "Remix: Making Art and Commerce Thrive in the Hybrid Economy", Bloomsbury Academic.

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2008 • commerce and community • content industry • copyright law • copyright regulation • digital economyeconomic growthfile sharingGirl Talk (music artist)gramophone • hybrid economy • intellectual propertyintellectual property lawintellectual property rightsLawrence Lessigpiracy • prohibition • remixremix culture • sharing economies • talking machines • web culture • wiretaps

CONTRIBUTOR

Simon Perkins
31 MARCH 2014

Copyright User: online resource for UK content producers

"We aim to provide answers to the most pressing concerns that creators have about copyright. To find out what was most confusing to users, we took two approaches. First, we analysed the 200 most frequently asked questions about copyright posted online by creators and consumers, and we filtered those down to the most important 20 which you can find answered in the 'FAQs' section. Second, we spoke to creators themselves. For each of the main artistic mediums we produced a video which contains interviews with creators about their artistic process, thoughts and questions about copyright."

(27 March 2014)

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2014archives • Bartolomeo Meletti • content producercopyrightcopyright lawcopyright legislation • Copyright User (site) • Court of Justice of the European Union • creative industriescreditscriticism • current legislation • data mining • Davide Bonazzi • educationEuropean Unionfilmmakers • getting permission • interactive developers • IPR • legal access • legal issueslegal rightslegal rights holderslicensing • Marco Bagni • musiciansnews reportingonline resourceoriginalityorphan worksparodypasticheperformersplagiarismpreservation • private copying • private study • public domainre-useresearchreview • Sarc:o • text miningUK • UK Copyright Act • UK Copyright Law • visual artistsvisual plagiarismwriters

CONTRIBUTOR

Ashley Woodfall
20 DECEMBER 2013

Kirby Ferguson: Embracing the remix

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2012Android OSAppleauthorship • behavioural finance theory • Bill BuxtonBob Dylan • borrow • Brian Burton • building on the work of others • Carter Family • celebrated creators • citation as a form of persuasioncopycopyingcopyrightcopyright law • core technology • creative workscreativitycultural productiondesign innovation • Dominic Behan • everything is a remix • good artists copy great artists steal • graphical user interfacegreat ideasHenry FordiPhone • Jean Ritchie • Jeff Han • Kirby Ferguson • loss aversion • multi-fingered gestures • multi-touch technologiesnew medianothing is original • Nottamun Town • originalityoriginality is non-existentownershipPablo Picasso • patent law • patent registration • Paul Clayton • private property • property analogy • remixremix cultureremixingrip • shameless stealing • standing on the shoulders of giants • stealing • Steve Jobs • stolen product • TED Talks • Woody Guthrie • Xerox PARC

CONTRIBUTOR

Simon Perkins
10 NOVEMBER 2012

Sita Sings the Blues: audience-distributed animated feature film

"I hereby give Sita Sings the Blues to you. Like all culture, it belongs to you already, but I am making it explicit with a Creative Commons Attribution–Share Alike License. Please distribute, copy, share, archive, and show Sita Sings the Blues. From the shared culture it came, and back into the shared culture it goes.

You don't need my permission to copy, share, publish, archive, show, sell, broadcast, or remix Sita Sings the Blues. Conventional wisdom urges me to demand payment for every use of the film, but then how would people without money get to see it? How widely would the film be disseminated if it were limited by permission and fees? Control offers a false sense of security. The only real security I have is trusting you, trusting culture, and trusting freedom.

That said, my colleagues and I will enforce the Share Alike License. You are not free to copy–restrict ('copyright') or attach Digital Restrictions Management (DRM) to Sita Sings the Blues or its derivative works.

Some of the songs in Sita Sings the Blues are not free, and may never be; copyright law requires you to obey their respective licenses. This is not by my choice; please see our restrictions page for more.

There is the question of how I'll get money from all this. My personal experience confirms audiences are generous and want to support artists. Surely there's a way for this to happen without centrally controlling every transaction. The old business model of coercion and extortion is failing. New models are emerging, and I'm happy to be part of that. But we're still making this up as we go along. You are free to make money with the free content of Sita Sings the Blues, and you are free to share money with me. People have been making money in Free Software for years; it's time for Free Culture to follow. I look forward to your innovations."

(Nina Paley)

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attribution-share alike • audience-distributioncoercioncontrol • copy-restrict • copyrightcopyright lawCreative Commonsderivative works • Digital Restrictions Management • disseminationDRMeconomic model • emerging economic models • film fundingfree contentfree culture • free culture movement • free softwarefreedom • making money • Nina Paley • old business model • open distribution • payment • permission • Ramayana • Share Alike License • shared culture • Sita Sings the Blues • support artists

CONTRIBUTOR

Simon Perkins
24 OCTOBER 2009

Can I Get An Amen?

"Can I Get An Amen? is an audio installation that unfolds a critical perspective of perhaps the most sampled drum beat in the history of recorded music, the Amen Break. It begins with the pop track Amen Brother by 60's soul band The Winstons, and traces the transformation of their drum solo from its original context as part of a 'B' side vinyl single into its use as a key aural ingredient in contemporary cultural expression. The work attempts to bring into scrutiny the techno–utopian notion that 'information wants to be free'– it questions its effectiveness as a democratizing agent. This as well as other issues are foregrounded through a history of the Amen Break and its peculiar relationship to current copyright law."

(Nate Harrison)

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19692004 • Amen Break • art and creativity • audio • audio installation • authorship • b-side • backbeatbreakbeatcopyrightcopyright lawCreative Commonscritical perspectivecultural expression • cultural ownership • culturedemocratisationdigital culturedrum beat • drum sample • drum solo • drum-and-bass • hip-hophip-hop backbeathistoryinformation wants to be freeinnovation • jungle music • musicmusic clip • Nate Harrison • ownershippiracyremixremix culturesampledsampler • soul band • soundsubculturetechnology • The Winstons • turntablevinyl record

CONTRIBUTOR

Simon Perkins
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