Networked_Performance

Takeovers & Makeovers Symposium [us Berkeley, CA]

Takeovers & Makeovers: Artistic Appropriation, Fair Use, and Copyright in the Digital Age :: November 7 – 8, 2008 :: Berkeley Art Museum Theater, University of California, Berkeley.

(This symposium) will bring together artists, lawyers, art historians, and representatives from the information technology community to discuss the changing field of appropriation art in the wake of the emergence of new digital media technologies that have radically altered access to and manipulation of information. In the United States copyright is now automatic, and registration with the Copyright Office no longer required. Recent additions to copyright law such as the Digital Rights Management and the Digital Millennium Copyright Act (1998) have further extended copyright protection by criminalizing the creation and dissemination of devices, technologies, and services that assist in circumventing copy protection, even when such circumventions do not violate copyright and remain within the shrinking purview of ‘fair use.’ Growing legal debates over file sharing have ensured that copyright violation and fair use are firmly entrenched popular topics in the media. These developments speak to the urgency of readdressing the ever-expanding reach of copyright and the limits it subsequently places on our right to critique, comment upon, and parody our culture. This conference aims to offer such a reassessment, and will also reconsider the history of appropriation in the arts and begin a cross-disciplinary discussion about the myriad repercussions of its increasing pervasiveness as a practice for the future.

Appropriation – the act of taking private property and making it over as one’s own – is a crucially important, yet increasingly fraught concept in contemporary art and culture. For art historians the term designates an often critically engaged art practice in which artists glean materials from cultural artifacts and transform, parody, remix, and recontextualize them. Yet the term has a markedly different status in the legal discourse, in which ‘appropriation’ is virtually indistinguishable from its shadow, ‘misappropriation.’ Indeed, under the law any act of appropriation can be argued to be an infringement of copyright or trademark, while even murkier strategies of quotation, reference, or influence can be deemed plagiarism. How do restrictions on appropriative acts effect creativity and limit artistic production and attendant forms of social, political, and cultural critique? What might be the ramifications of constant extensions of exclusive rights for the public domain? Is the property of large media corporations more or less valuable than artistic reinterpretations of their materials? Could appropriation be the price one pays for being culturally relevant? Is appropriation an honor or an insult? What can be learned from art historical instances of appropriation for contemporary practice, and vice versa? How might the terrain in which the legal and art discourses over appropriation meet be mapped productively? Of note here are the many legal battles fought over fair use in the music industry, while the art world has largely stayed out of the fray, leading to a number of myths about fair use in the fine arts. Does the knowledge, for example, that artists such as Andy Warhol and Robert Rauschenberg licensed certain images they reproduced as artworks alter the reception, interpretation, and relevance of their work? Has the fact that many artists have chosen to settle their copyright debates behind closed doors rather than in the courtroom hurt the cause of fair use?

Whether through repurposing found material, re-contextualizing objects for institutional critique, re-editing news and commercial television, reenactments of events, hip-hop sampling, open source art, or fan fiction, appropriation has come to define a key set of cultural practices that are reshaping copyright and fair use laws. The intersection of copyright and creativity creates a complex web of relationships and paradoxes: artists who freely circulate their work rely on licensing to support themselves, and those who appropriate copyrighted material often go on to copyright their own work and limit its circulation. The digital era has ushered in further complications, as digital technologies and user-generated content sites facilitate the easy appropriation and distribution of source material, in part or wholesale, but severely complicate the legal issues surrounding these works of art. Creative Commons, for example, has developed a new form of copyright that allows individuals to opt for less than exclusive rights on their creations, so that works can be freely transformed and disseminated. Websites such as YouTube and Flickr provide outlets and distribution centers for appropriators and misappropriators alike, but are these sites ‘safe harbors’? Should they be held responsible for the legal infractions (or artistic achievements) of their contributors? In addition to addressing the history, present, and possible future of appropriation, conference participants will take up its relationship to current debates over digital copyright law, fair use, and mass distribution in on-line environments.

Conference Organizers:
Erica Levin (Ph.D. Candidate, Film Studies, UC Berkeley)
Tara McDowell (Ph.D. Candidate, Art History, UC Berkeley)
Kris Paulsen (Ph.D. Candidate, Rhetoric, UC Berkeley)


Oct 14, 17:28
Trackback URL

Leave a comment

Tags


calls + opps performance livestage exhibition installation networked mobile writings participatory locative media augmented/mixed reality event new media video interactive public net art conference virtual intervention distributed second life sound political technology narrative festival tactical lecture art + science conversation social networks social games history surveillance dance music workshop urban mapping collaboration live upgrade! reblog activist wearable immersive public/private data architecture platform body collective aesthetics environment systems city identity film visualization culture telematic wireless web 2.0 site-specific ecology place webcast open source tool software text research intermedia space community audio radio nature hybrid 3-D avatar e-literature audio/visual responsive presence pyschogeography interdisciplinary media object interview physical global/ization ubiquitous theory theater biotechnology relational play code archive bioart generative news DIY robotic light place-specific hacktivism synthetic p2p cinema remix education agency interface language im/material live cinema algorithmic labor copyright simulation mashup animation perception image free/libre software multimedia artificial motion tracking voice convergence streaming reenactment gift economy machinima emergence webcam cyberreality glitch DJ/VJ tv censorship ARG nonlinear tag transdisciplinary touch recycle asynchronous fabbing semantic web hypermedia chance synesthesia biopolitics tangible app social choreography gesture unconference forking 1
1 3-D activist aesthetics agency algorithmic animation app architecture archive ARG art + science artificial asynchronous audio audio/visual augmented/mixed reality avatar bioart biopolitics biotechnology body calls + opps censorship chance cinema city code collaboration collective community conference convergence conversation copyright culture cyberreality dance data distributed DIY DJ/VJ e-literature ecology education emergence environment event exhibition fabbing festival film forking free/libre software games generative gesture gift economy glitch global/ization hacktivism history hybrid hypermedia identity im/material image immersive installation interactive interdisciplinary interface intermedia intervention interview labor language lecture light live live cinema livestage locative media machinima mapping mashup media mobile motion tracking multimedia music narrative nature net art networked new media news nonlinear object open source p2p participatory perception performance physical place place-specific platform play political presence public public/private pyschogeography radio reblog recycle reenactment relational remix research responsive robotic second life semantic web simulation site-specific social social choreography social networks software sound space streaming surveillance synesthesia synthetic systems tactical tag tangible technology telematic text theater theory tool touch transdisciplinary tv ubiquitous unconference upgrade! urban video virtual visualization voice wearable web 2.0 webcam webcast wireless workshop writings

Archives

2020

Jun | May | Apr | Mar | Feb | Jan

2019

Dec | Nov | Oct | Sep | Aug | Jul
Jun | May | Apr | Mar | Feb | Jan

2018

Dec | Nov | Oct | Sep | Aug | Jul
Jun | May | Apr | Mar | Feb | Jan

2017

Dec | Nov | Oct | Sep | Aug | Jul
Jun | May | Apr | Mar | Feb | Jan

2016

Dec | Nov | Oct | Sep | Aug | Jul
Jun | May | Apr | Mar | Feb | Jan

2015

Dec | Nov | Oct | Sep | Aug | Jul
Jun | May | Apr | Mar | Feb | Jan

2014

Dec | Nov | Oct | Sep | Aug | Jul
Jun | May | Apr | Mar | Feb | Jan

2013

Dec | Nov | Oct | Sep | Aug | Jul
Jun | May | Apr | Mar | Feb | Jan

2012

Dec | Nov | Oct | Sep | Aug | Jul
Jun | May | Apr | Mar | Feb | Jan

2011

Dec | Nov | Oct | Sep | Aug | Jul
Jun | May | Apr | Mar | Feb | Jan

2010

Dec | Nov | Oct | Sep | Aug | Jul
Jun | May | Apr | Mar | Feb | Jan

2009

Dec | Nov | Oct | Sep | Aug | Jul
Jun | May | Apr | Mar | Feb | Jan

2008

Dec | Nov | Oct | Sep | Aug | Jul
Jun | May | Apr | Mar | Feb | Jan

2007

Dec | Nov | Oct | Sep | Aug | Jul
Jun | May | Apr | Mar | Feb | Jan

2006

Dec | Nov | Oct | Sep | Aug | Jul
Jun | May | Apr | Mar | Feb | Jan

2005

Dec | Nov | Oct | Sep | Aug | Jul
Jun | May | Apr | Mar | Feb | Jan

2004

Dec | Nov | Oct | Sep | Aug | Jul

What is this?

Networked Performance (N_P) is a research blog that focuses on emerging network-enabled practice.
Read more...

RSS feeds

N_P offers several RSS feeds, either for specific tags or for all the posts. Click the top left RSS icon that appears on each page for its respective feed. What is an RSS feed?

Bloggers

F.Y.I.

Feed2Mobile
Networked
New Radio and Performing Arts, Inc.
New American Radio
Turbulence.org
Networked_Music_Review
Upgrade! Boston
Massachusetts Cultural Council
New York State Council on the Arts, a State agency
Thinking Blogger Award

Turbulence Works

These are some of the latest works commissioned by Turbulence.org's net art commission program.
[ openspace ] wilderness [meme.garden] A More Subtle Perplex A Temporary Memorial Project for Jobbers' Canyon Built with ConAgra Products A Travel Guide A.B.S.M.L. Ars Virtua Artist-in-Residence (AVAIR) (2007) Awkward_NYC besides, Bonding Energy Bronx Rhymes Cell Tagging Channel TWo: NY Condition:Used Constellation Over Playas Data Diaries Domain of Mount GreylockVideo Portal Eclipse Empire State Endgame: A Cold War Love Story Flight Lines From the Valley of the Deer FUJI spaces and other places Global Direct Google Variations Gothamberg Grafik Dynamo Grow Old Handheld Histories as Hyper-Monuments html_butoh I am unable to tell you I'm Not Stalking You; I'm Socializing iLib Shakespeare (the perturbed sonnet project) INTERP Invisible Influenced iPak - 10,000 songs, 10,000 images, 10,000 abuses iSkyTV Journal of Journal Performance Studies Killbox L-Carrier Les Belles Infidles look art Lumens My Beating Blog MYPOCKET No Time Machine Nothing Happens: a performance in three acts Nothing You Have Done Deserves Such Praise Oil Standard Panemoticon Peripheral n2: KEYBOARD Playing Duchamp Plazaville Psychographics: Consumer Survey Recollecting Adams School of Perpetual Training Searching for Michelle/SFM Self-Portrait Shadow Play: Tales of Urbanization of China ShiftSpace Commissions Program Social Relay Mail Space Video Spectral Quartet Superfund365, A Site-A-Day text_ocean The Xanadu Hijack This and that thought. Touching Gravity 2/Tilt Tumbarumba Tweet 4 Action Urban Attractors and Private Distractors We Ping Good Things To Life Wikireuse Without A Trace WoodEar Word Market You Don't Know Me
More commissions