Cutting Across Media
Editat de Kembrew Mcleod, Rudolf Kuenzlien Limba Engleză Hardback – 5 aug 2011
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Specificații
ISBN-13: 9780822348115
ISBN-10: 082234811X
Pagini: 376
Ilustrații: 28 illustrations, incl. 4 in colour
Dimensiuni: 157 x 236 x 30 mm
Greutate: 0.7 kg
Editura: Duke University Press
ISBN-10: 082234811X
Pagini: 376
Ilustrații: 28 illustrations, incl. 4 in colour
Dimensiuni: 157 x 236 x 30 mm
Greutate: 0.7 kg
Editura: Duke University Press
Cuprins
ContentsI Collage, Therefore I Am: An Introduction to Cutting Across Media - Kembrew McLeod and Rudolf Kuenzli; Digital Mana: On the Source of the Infinite Proliferation of Mutant Copies in Contemporary Culture - Marcus Boon; Copyrights and Copywrongs: An Interview with Siva Vaidhyanathan - Carrie McLaren; Das Plagiierenwerk: Convolute Uii - David Tetzlaff; PhotoStatic/Retrofuturism - Lloyd Dunn; Plagiarism®: An Appropriated Oral History of The Tape-beatles - Kembrew McLeod; Ambiguity and Theft - Joshua Clover; Where Does Sad News Come From? - Douglas Kahn; Excerpts from Two Relationships to a Cultural Public Domain Negativland; Everybodys Got Something to Hide Except for Me and My Lawsuit: William S. Burroughs, DJ Danger Mouse, and the Politics of Grey Tuesday - Davis Schneidermann; How Copyright Law Changed Hip Hop: An Interview with Public Enemys Chuck D and Hank Shocklee - Kembrew McLeod; Hip-Hop Meets the Avant-Garde: A Cease and Desist Letter from Philip Glass to Mr. Len - Warner Special Products; Getting Snippety - Philo T. Farnsworth; Crashing the Pop Music Spectacle: A Forgotten History of Digital Sampling, Infringement, Pranks, and Copyright Liberation - Kembrew McLeod; Billboard Liberation: A Photo Essay - Craig Baldwin; On the Seamlessly Nomadic Future of Collage - Pierre Joris; Cultural Sampling and Social Critique: The Collage Aesthetic of Chris Ofili - Lorraine Morales Cox; Remixing Cultures: Bartók and Kodály in the Age of Indigenous Cultural Rights - Gábor Vályi; A Day To Sing: Creativity, Diversity, and Freedom of Expression In The Network Society - Jeff Chang; Visualizing Copyright, Seeing Hegemony: Towards a Meta-Critique of Intellectual Property - Eva Hemmungs Wirtén; Collage as Practice and Metaphor in Popular Culture - David Banash; Assassination Weapons: The Visual Culture of New Wave Science Fiction - Rob Latham; Free Culture: A Conversation with Jonathan Lethem - Kembrew McLeod; The Ecstasy of Influence - Jonathan Lethem
Recenzii
...the book brings together a broad range of contributors, from highfalutin academics to cutting-edge (no pun intended) street-level remixers, who reflect on a plethora of creative practices in all manner of media and genres." - Vince Carducci, PopMatters.com
"Communication is much like a work of art--it is a process of copying, repeating, and varying what we hear. There is no originator or owner of that which shapes our very being, and Cutting Across Media demonstrates how placing restrictions on creative commentary can stifle our cultural development." - Vicki Bennett, aka People Like Us
"The collection vacillates between well-demonstrated and novel critical positions. Where the most prominent works on the subject tend to dwell on digitals infinite capacity to reproduce and share itself freely and its current kowtowing to corporate rights management, this book begins by situating appropriation art and collage in the earlier recesses of the twentieth century with Walter Benjamin, the Surrealists, and Dada. Along the way, it touches upon zine culture, audiotape collage, street art, and new wave science fiction; it critiques the international outflows of copyright-subject culture and then it critiques the debate itself.... Cutting Across Media is notable in the insight it provides into hip-hop and raps participation in appropriation art and collage culture." - Allie Curry, Rain Taxi
"Prioritising usage over rights lies, ironically, at the heart of capitalism itself- which adds to the current contradictions of perceived digital freedom. McLeod and Kuenzli are more than aware of this, adding that those lamenting the expansion of intellectual property often sound like Libertarian cowboys. On the whole, and to its credit, this volume gives voice to both sides. Participations range from, to name just a few, Craig Baldwins catalogue of billboard liberation activities to McLeodss essays on the KLF (remember the K foundation? Burning £1m and giving Rachel Whiteread the Worst Artist Award at her receipt of the Turner Prize and other anarcho-pop manifestations) to David Schneiderman on the cut-ups of William Burroughs and DJ Danger Mouses Grey Album." - David Ryan, Art Monthly, May 2012
...the book brings together a broad range of contributors, from highfalutin academics to cutting-edge (no pun intended) street-level remixers, who reflect on a plethora of creative practices in all manner of media and genres." - Vince Carducci, PopMatters.com "Communication is much like a work of art--it is a process of copying, repeating, and varying what we hear. There is no originator or owner of that which shapes our very being, and Cutting Across Media demonstrates how placing restrictions on creative commentary can stifle our cultural development." - Vicki Bennett, aka People Like Us "The collection vacillates between well-demonstrated and novel critical positions. Where the most prominent works on the subject tend to dwell on digital's infinite capacity to reproduce and share itself freely and its current kowtowing to corporate rights management, this book begins by situating appropriation art and collage in the earlier recesses of the twentieth century with Walter Benjamin, the Surrealists, and Dada. Along the way, it touches upon zine culture, audiotape collage, street art, and new wave science fiction; it critiques the international outflows of copyright-subject culture and then it critiques the debate itself... Cutting Across Media is notable in the insight it provides into hip-hop and rap's participation in appropriation art and collage culture." - Allie Curry, Rain Taxi "Prioritising usage over rights lies, ironically, at the heart of capitalism itself- which adds to the current contradictions of perceived digital freedom. McLeod and Kuenzli are more than aware of this, adding that those lamenting the expansion of intellectual property often "sound like Libertarian cowboys'. On the whole, and to its credit, this volume gives voice to both sides. Participations range from, to name just a few, Craig Baldwin's catalogue of 'billboard liberation' activities to McLeods's essays on the KLF (remember the K foundation? Burning GBP1m and giving Rachel Whiteread the 'Worst Artist Award' at her receipt of the Turner Prize and other anarcho-pop manifestations) to David Schneiderman on the cut-ups of William Burroughs and DJ Danger Mouse's Grey Album." - David Ryan, Art Monthly, May 2012
"Communication is much like a work of art--it is a process of copying, repeating, and varying what we hear. There is no originator or owner of that which shapes our very being, and Cutting Across Media demonstrates how placing restrictions on creative commentary can stifle our cultural development." - Vicki Bennett, aka People Like Us
"The collection vacillates between well-demonstrated and novel critical positions. Where the most prominent works on the subject tend to dwell on digitals infinite capacity to reproduce and share itself freely and its current kowtowing to corporate rights management, this book begins by situating appropriation art and collage in the earlier recesses of the twentieth century with Walter Benjamin, the Surrealists, and Dada. Along the way, it touches upon zine culture, audiotape collage, street art, and new wave science fiction; it critiques the international outflows of copyright-subject culture and then it critiques the debate itself.... Cutting Across Media is notable in the insight it provides into hip-hop and raps participation in appropriation art and collage culture." - Allie Curry, Rain Taxi
"Prioritising usage over rights lies, ironically, at the heart of capitalism itself- which adds to the current contradictions of perceived digital freedom. McLeod and Kuenzli are more than aware of this, adding that those lamenting the expansion of intellectual property often sound like Libertarian cowboys. On the whole, and to its credit, this volume gives voice to both sides. Participations range from, to name just a few, Craig Baldwins catalogue of billboard liberation activities to McLeodss essays on the KLF (remember the K foundation? Burning £1m and giving Rachel Whiteread the Worst Artist Award at her receipt of the Turner Prize and other anarcho-pop manifestations) to David Schneiderman on the cut-ups of William Burroughs and DJ Danger Mouses Grey Album." - David Ryan, Art Monthly, May 2012
...the book brings together a broad range of contributors, from highfalutin academics to cutting-edge (no pun intended) street-level remixers, who reflect on a plethora of creative practices in all manner of media and genres." - Vince Carducci, PopMatters.com "Communication is much like a work of art--it is a process of copying, repeating, and varying what we hear. There is no originator or owner of that which shapes our very being, and Cutting Across Media demonstrates how placing restrictions on creative commentary can stifle our cultural development." - Vicki Bennett, aka People Like Us "The collection vacillates between well-demonstrated and novel critical positions. Where the most prominent works on the subject tend to dwell on digital's infinite capacity to reproduce and share itself freely and its current kowtowing to corporate rights management, this book begins by situating appropriation art and collage in the earlier recesses of the twentieth century with Walter Benjamin, the Surrealists, and Dada. Along the way, it touches upon zine culture, audiotape collage, street art, and new wave science fiction; it critiques the international outflows of copyright-subject culture and then it critiques the debate itself... Cutting Across Media is notable in the insight it provides into hip-hop and rap's participation in appropriation art and collage culture." - Allie Curry, Rain Taxi "Prioritising usage over rights lies, ironically, at the heart of capitalism itself- which adds to the current contradictions of perceived digital freedom. McLeod and Kuenzli are more than aware of this, adding that those lamenting the expansion of intellectual property often "sound like Libertarian cowboys'. On the whole, and to its credit, this volume gives voice to both sides. Participations range from, to name just a few, Craig Baldwin's catalogue of 'billboard liberation' activities to McLeods's essays on the KLF (remember the K foundation? Burning GBP1m and giving Rachel Whiteread the 'Worst Artist Award' at her receipt of the Turner Prize and other anarcho-pop manifestations) to David Schneiderman on the cut-ups of William Burroughs and DJ Danger Mouse's Grey Album." - David Ryan, Art Monthly, May 2012
Notă biografică
Kembrew McLeod is Associate Professor of Communication Studies at the University of Iowa. He is the author of "Freedom of Expression""(R)"" Resistance and Repression in the Age of Intellectual Property "and "Owning Culture: Authorship, Ownership, and Intellectual Property Law," and co-creator of the documentary film "Copyright Criminals." McLeod and Peter DiCola are the authors of "Creative License: The Law and Culture of Digital Sampling," also published by Duke University Press.Rudolf Kuenzli is Professor of Comparative Literature and English at the University of Iowa, where he is the Director of the International Dada Archive.
Descriere
With a focus on collage and appropriation art, essays exploring the legal ramifications of such practices in an age when private companies can own culture using copyright and trademark law