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Which clippings match 'Fair Use' keyword pg.1 of 2
04 JUNE 2017

Girl Talk's Gregg Gillis On Copyright, Curation and Making Mashups Rhyme

"When you listen to the recorded version of Girl Talk's music, it's hard not to get involved with the 'Name That Tune' game of it. ...

You might think that someone who uses other people's music so freely would disdain any notion of copyright, but Gillis, in fact, has a very balanced and contemporary viewpoint. 'I basically believe in that idea [of Fair Use], that if you create something out of pre-existing media, that's transformative, that's not negatively impacting the potential sales of the artist you're sampling, if it's not hurting them in some way, then you should be allowed to make your art and put it out there. I think, even in the years of doing this, the conversation has shifted a good bit.' Gillis has found himself a mashup artist in a mashup culture, and he no longer has to explain what he's doing or defend it. It is telling that no artist that has been sampled by Girl Talk has ever complained."

(Anthony Wing Kosner, 7 October 2012, Forbes)

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TAGS

2012copyrightderivative worksfair useForbesGirl Talk (music artist) • Illegal Art (record label) • mash-up • mash-up artist • mash-up culture • metatextuality • music remix • music samplingremix culture • sample-based music • transformative works

CONTRIBUTOR

Simon Perkins
13 APRIL 2017

Sonic Outlaws Documentary (1995)

"Sonic Outlaws, a fragmented, gleefully anarchic documentary by Craig Baldwin, approaches this incident from several directions. Some of the film is about the legal nightmare that ensued from Negativland's little joke. In a highly publicized case, U2's label, Island Records, charged Negativland with copyright and trademark infringement for appropriating the letter U and the number 2, even though U2 had in turn borrowed its name from the Central Intelligence Agency. SST then dropped Negativland, suppressed the record and demanded that the group pay legal fees. Trying to remain solvent, Negativland sent out a barrage of letters and legal documents that are now collected in 'Fair Use', an exhaustive, weirdly fascinating scrapbook about the case.

Sonic Outlaws covers some of the same territory while also expanding upon the ideas behind Negativland's guerilla recording tactics. Guerilla is indeed the word, since these and other appropriation artists see themselves as engaged in real warfare, inundated by the commercial airwaves, infuriated by the propaganda content of much of what they hear and see, these artists strike back by rearranging contexts as irreverently as possible. Their technological capabilities are awesome enough to mean no sound or image is tamper-proof today."

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TAGS

1995 • Alan Korn • anarchic documentary • appropriation art • appropriation artist • audio collage • Bill Daniel • billboard bandit • bone-dry educational film • Casey Kasem • cellular phone scanner • Chris Grigg • commercial airwaves • copyright infringement • Craig Baldwin • cultural criticismculture jamming • David Wills • documentary collage • Don Joyce • Doug Kahnfair usefound footage • guerilla recording tactics • guerrilla tactics • independent rock band • John Heck • John Oswald • Josh Pearson • Linda Morgan Brown • Lloyd Dunn • Lone Ranger • Mark Hosler • media jammer • media piracy • media recontextualisation • multimedia plagiarism • music samplingNegativland • noise maker • Paul Neff • pirated audiotape • public information film • Public Works Productions • Ralph Johnson • recontextualisation • Richard Lyons • Roger CormanRonald Reagan • sample based artist • sampled music • satirical samplings • Silly Putty • sly commentary • Sonic Outlaws Documentary (1995) • stealing ideas • subversive fun • tape music • Tape-Beatles • trademark infringement • U-2 spy plane • U2 (band) • video collage

CONTRIBUTOR

Simon Perkins
20 OCTOBER 2012

Concerning Intellectual Property: a conversation with Pat Aufderheide and Ellen Seiter (part four)

"In some ways, independent media–makers seem caught in the middle of this struggle, seeking ways to protect their own creative products, but also often at the mercy of bigger corporate interests. What do we gain by looking at the issues from their perspective?"

(Henry Jenkins)

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TAGS

best practicesbig media • codes of best practices • copyright • corporate interests • creative productsdebateDIY • Ellen Seiter • fair useHenry Jenkins • independent media makers • independent media-makers • indie mediaintellectual propertylawlegislationmonopoly • moral-panic • noncommercial creators • Pat Aufderheide • PIPApiracypolicyprotectionremixsocial consciousnessSOPA

CONTRIBUTOR

Simon Perkins
30 MAY 2011

Open Video Alliance: futuring participatory culture

"As internet video matures, we face a crossroads: will technology and public policy support a more participatory culture – one that encourages and enables free expression and broader cultural engagement? Will video be woven into the fabric of the open web? Or will online video become a glorified TV–on–demand service? Open Video is a movement to promote free expression and innovation in online video through open standards, open source, and sharing."

(Open Video Alliance)

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TAGS

authorshipbest practicesbottom-up innovationcensorship • centralised distribution • CODECcontent distributioncopyrightcultural engagementdecentralisationdigital cultureDIYend-usersfair usefilmmakersfree expressionfree speech • iCommons • internet video • interoperabilityinteroperable technologies • Kaltura • legality • media consolidation • online videoopen codecsopen sourceopen standardsopen video • Open Video Alliance • open video ecosystem • open video formatsopen webownershipparticipatory culture • Participatory Culture Foundation • proprietaryproprietary technologiespublic policyregulationremix culture • remixers • scriptiblesharingsocial normstechnical innovationtechnologists • TV-on-demand • video artistsvideo creation • video creators • Yale Internet Society Project • YouTubers • YT

CONTRIBUTOR

Simon Perkins
22 OCTOBER 2010

Intellectual Property and Open Source: Maximize the value of your IP without alienating your fans

"New digital distribution networks are reshaping producers and consumers' attitudes towards intellectual property and fair use. New approaches to intellectual property ownership and licensing such as Creative Commons and open source are facilitating the evolution of new business models with intellectual property at the very heart of the creative value proposition. It is essential the framework is up to date, relevant, easily usable and fair. This Beacon Project will create a strong positive vision of how the creative industries will reconcile the tensions at the heart of this new era and evolve paradigms where successful artists and businesses co–exist with empowered customers. 'The speed of digital convergence and the global nature of the digital revolution bring the complex issues of intellectual property and copyright centre stage for all. Long accepted business models are being blown apart; the Internet is radically reshaping consumer attitudes and behaviour; and legal frameworks are not keeping pace. These are critical issues for a strong creative and knowledge economy for the 21st century.' Dame Lynne Brindley, CEO British Library"

(Technology Strategy Board, UK)

Fig.1 Ginger Coons (08.02.2010) 'Open' [http://adaptstudio.ca/blog/labels/_art_.html#5427215574782381910].

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CONTRIBUTOR

Simon Perkins
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