Cutting Across Media
Editat de Kembrew Mcleoden Limba Engleză Paperback – 5 aug 2011
Structurat ca o antologie interdisciplinară, Cutting Across Media investighează mecanismele colajului și ale aproprierii în cultura contemporană, oferind o metodologie de analiză ce pendulează între estetică și jurisprudență. Materialul este organizat pentru a evidenția o continuitate istorică între avangardă și cultura populară, explorând modul în care gestul de a „tăia” și „recombina” fragmente media devine un act politic și cultural transformator. Remarcăm progresia editorială care pornește de la fundamentarea teoretică a „copiilor mutante”, trece prin studii de caz despre plagiat și se încheie cu analize juridice despre impactul sistemelor de proprietate intelectuală asupra muzicii hip-hop. Eseurile cuprinse în volum, editat de Kembrew Mcleod, acoperă o arie tematică similară cu The Routledge Companion to Remix Studies, însă Cutting Across Media adoptă o abordare mai ancorată în experiența directă a creatorilor. În timp ce volumul de la Routledge oferă o perspectivă enciclopedică, lucrarea de față publicată de Duke University Press oferă voce artiștilor care au testat limitele legii, precum colectivul Negativland sau John Oswald. Tonul este unul riguros, dar marcat de o dimensiune critică la adresa regimurilor de copyright, fiind incluse interviuri esențiale cu Chuck D despre transformarea genului hip-hop sub presiunea litigiilor. De asemenea, lucrarea se distinge de Sampling Media prin extinderea analizei dincolo de zona audio-vizuală, incluzând explorări în arta plastică a lui Chris Ofili sau în strategiile de „culture jamming” ale activiștilor media.
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Specificații
ISBN-13: 9780822348221
ISBN-10: 0822348225
Pagini: 376
Ilustrații: 28 illustrations, incl. 4 in colour
Dimensiuni: 154 x 236 x 27 mm
Greutate: 0.6 kg
Editura: Duke University Press
ISBN-10: 0822348225
Pagini: 376
Ilustrații: 28 illustrations, incl. 4 in colour
Dimensiuni: 154 x 236 x 27 mm
Greutate: 0.6 kg
Editura: Duke University Press
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De ce să citești această carte
Recomandăm această resursă cititorilor interesați de intersecția dintre artă, tehnologie și legislație. Este o lectură esențială pentru studenții de la studii culturale și drept, oferind o perspectivă critică asupra modului în care proprietatea intelectuală limitează sau stimulează inovația. Câștigați o înțelegere profundă a tehnicilor de remix, susținută de exemple concrete din istoria muzicii și a artei vizuale.
Descriere scurtă
The contributors to Cutting Across Media focus on collage and appropriation art, exploring the legal ramifications of such practices in an age when private companies can own culture using copyright and trademark law. Examining the intersections of the popular and the avant-garde, each essay is implicitly or explicitly concerned with the politics of appropriation art and other forms of collage that intervene in popular media discourses. Cutting Across Media features some important, eye-popping archival pieces, along with new essays by leading academics, critics, essayists, and artists. It scrutinizes and in some instances illustrates forms of collage and appropriation art such as audio mash-ups, remixed news broadcasts, literary collage, visual collage, and plagiarism-as-art, as well as culture jamming, pranks, and billboard alteration. Among the contributors to the collection are the novelist and essayist Jonathan Lethem, the poet and cultural critic Joshua Clover, the filmmaker Craig Baldwin, the hip-hop historian Jeff Chang, the zine-maker and sound collage artist Lloyd Dunn, and Negativland, the infamous collective that was sued in 1992 for sampling U2 in a satirical sound collage.Contributors: Craig Baldwin; David Banash; Marcus Boon; Jeff Chang; Joshua Clover; Lorraine Morales Cox; Lloyd Dunn; Pierre Joris; Douglas Kahn; Rudolf Kuenzli; Rob Latham; Jonathan Lethem; Carrie McLaren; Kembrew McLeod; Negativland ; Philo T. Farnsworth; Davis Schneiderman; Siva Vaidhyanathan; Gábor Vályi; Eva Hemmungs Wirtén
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
Descriere
In this collection of essays, leading academics, critics, and artists historicize collage and appropriation tactics that cut across diverse media and genres. They take up issues of appropriation in the popular and the avant-garde, in altered billboards and the work of the renowned painter Chris Ofili, in hip-hop and the compositions of Béla Bartók and Zoltán Kodály, and in audio mash-ups, remixed news broadcasts, pranks, culture jamming, and numerous other cultural forms. The borrowing practices that they consider often run afoul of intellectual property regimes, and many of the contributors address the effects of copyright and trademark law on creativity. Among the contributors are the novelist and essayist Jonathan Lethem, the poet and cultural critic Joshua Clover, the filmmaker Craig Baldwin, the hip-hop historian Jeff Chang, the ’zine-maker and sound collage artist Lloyd Dunn, and Negativland, the infamous collective that was sued in 1991 for sampling U2 in a satirical sound collage. Cutting Across Media is both a serious examination of collage and appropriation practices and a celebration of their transformative political and cultural possibilities.Contributors. Craig Baldwin, David Banash, Marcus Boon, Jeff Chang, Joshua Clover, Lorraine Morales Cox, Lloyd Dunn, Philo T. Farnsworth, Pierre Joris, Douglas Kahn, Rudolf Kuenzli, Rob Latham, Jonathan Lethem, Carrie McLaren, Kembrew McLeod, Negativland, Davis Schneiderman, David Tetzlaff, Gábor Vályi, Warner Special Products, Eva Hemmungs Wirtén