Compendium of U.S. Copyright Office Practices, Third Edition

The Compendium of U.S. Copyright Office Practices, Third Edition (the “Compendium” or “Third Edition”) is the administrative manual of the Register of Copyrights concerning Title 17 of the United States Code and Chapter 37 of the Code of Federal Regulations. It provides instruction to agency staff regarding their statutory duties and provides expert guidance to copyright applicants, practitioners, scholars, the courts, and members of the general public regarding institutional practices and related principles of law. The Compendium documents and explains the many technical requirements, regulations, and legal interpretations of the U.S. Copyright Office with a primary focus on the registration of copyright claims, documentation of copyright ownership, and recordation of copyright documents, including assignments and licenses. It describes the wide range of services that the Office provides for searching, accessing, and retrieving information located in its extensive collection of copyright records and the associated fees for these services. The Compendium provides guidance regarding the contents and scope of particular registrations and records. And it seeks to educate applicants about a number of common mistakes, such as providing incorrect, ambiguous, or insufficient information, or making overbroad claims of authorship. The Compendium does not cover every principle of copyright law or detail every aspect of the Office’s administrative practices. The Office may, in exceptional circumstances, depart from its normal practices to ensure an outcome that is most appropriate. The Compendium does not override any existing statute or regulation. The policies and practices set forth in the Compendium do not in themselves have the force and effect of law and are not binding upon the Register of Copyrights or Copyright Office staff. However, the Compendium does explain the legal rationale and determinations of the Copyright Office, where applicable, including circumstances where there is no controlling judicial authority

Course Notes: Engineering Entrepreneurship

This special-topic class will focus on starting and managing a successful business. Topics will include: marketing, finance, human resources, operations, legal issues, initial public offering, and succession and estate planning. Due to the engineering background of the students, special emphasis will be on exploring the legal issues involved in the process of applying for a patent. The course will enable a student to evaluate his or her own desires and prospects for a career as an entrepreneur. In so doing, it will provide the aspiring entrepreneur with a framework for selecting, funding, and starting his or her own business. While this might not seem relevant to some students, there is a lot of commonality in starting a business to that of managing a large department, developing a new product in a company, and/or being a division manager. At a minimum, students will come out of the course with a more complete understanding of the complexities and issues involved in being an engineering manager

The Vitality of Allegory: Figural Narrative in Modern and Contemporary Fiction

(print) x, 241 p. ; 23 cmStrong allegory -- Weak allegory -- Embedded allegory -- Thematic allegory -- Ironic allegory -- The presence of allegoryItem embargoed for five year

High-Tech Trash

High-Tech Trash: Glitch, Noise, and Aesthetic Failure maps an archaeology of failure in a culture seemingly ill-equipped to deal with it. To better understand failure, Kane argues, we must abstract from our subjective, personal disappointments and see them as meaningful symbols of a broader human struggle. By connecting twenty-first century digital aesthetics to critical issues in the history of high-tech, the book elucidates what it means to be an error-prone, fallible human in an age of hyper technology; to fail again and again without recourse to anything but repetition

High-Tech Trash

High-Tech Trash analyzes creative strategies in glitch, noise, and error to chart the development of an aesthetic paradigm rooted in failure. Carolyn L. Kane explores how technologically influenced creative practices, primarily from the second half of the twentieth and first quarter of the twenty-first centuries, critically offset a broader culture of pervasive risk and discontent. In so doing, she questions how we continue onward, striving to do better and acquire more, despite inevitable disappointment. High-Tech Trash speaks to a paradox in contemporary society in which failure is disavowed yet necessary for technological innovation.  “Leonard Cohen sang ‘There’s a crack in everything…that’s how the light gets in.’ Here, Carolyn Kane teaches us how to see that light, one crack at a time.” FRED TURNER, author of The Democratic Surround: Multimedia and American Liberalism from World War II to the Psychedelic Sixties  “Kane profiles art practices and media discourses that exploit and celebrate, rather than filter or suppress, all kinds of errors and noises. A welcome intervention in a number of discursive fields.” PETER KRAPP, author of Noise Channels: Glitch and Error in Digital Culture  “An original work of scholarship that addresses some of the most pervasive phenomena and foundational questions in the contemporary media environment.” ROBERT HARIMAN, coauthor of The Public Image: Photography and Civic Spectatorship  CAROLYN L. KANE is Associate Professor of Communication at Ryerson University and author of Chromatic Algorithms: Synthetic Color, Computer Art, and Aesthetics after Code

Ludwig Wittgenstein & Gertrude Stein – Meeting in Language

Former Director of Studies: Professor Antonio CaroniaTine Melzer: Ludwig Wittgenstein & Gertrude Stein – Meeting in Language The purpose of this study is to show transitions between verbal and visual meaning in ordinary language, based on philosophical concepts and conceptual artworks. It offers models for artistic research and collaboration in arts and science. Shared experiences in ordinary language are fundamental to this thesis and make it an accessible and trans-disciplinary study. Language as such, is approached from different practices and disciplines and becomes the central object of investigation. The research introduces a general set of mechanisms in language, stemming from the Wittgensteinian notion of the language-game. The study examines the possibility of a meeting between the philosopher Ludwig Wittgenstein and the writer Gertrude Stein in a linguistic, biographical and poetic sense. The main claim is that Wittgenstein and Stein share the understanding of language as a game, which is a fruitful principle for artistic and poetic production. Gertrude Stein developed a dimension in her writing which partly succeeds in showing this notion of creating meaning-as-practice and making sense on the ‘edge’ of conventional meaning. In this way she augments Wittgenstein’s idea of the language-game and puts it into practice, tests its limits on her own language and on the reader’s habits. The artistic works represented in this thesis are equally experimental tests of Wittgenstein’s meaning-as-use hypothesis. They put his ideas into practice. They extend the research with strategies from the arts, poetry and fiction. The methodology of the research is based on Wittgenstein’s notion of meaning as context-dependent use. This concept defines the meaning of a word by the way it is used in a specific context. This perspective is then challenged with visual artistic work. This hypothesis is tested throughout the research by applying tools and concepts from several practices, like computer linguistic tools, collaboration with writers and artists from other fields and autonomous visual and poetic work to augment the study of facts. Conceptual artworks, often produced in collaboration, function as language experiments, or language-games. The Wittgensteinian differentiation between what can be shown and what can be said is examined. The context of the research lies in the practices developed as a conceptual artist in which theoretical research informs artistic practice. This thesis, on the border between verbal and visual language, is founded upon antecedent studies in philosophy of language and the practice of Fine Arts. Against this background the research focuses on the relationship between word, context and meaning: issues of communication, ordinary language, words and their composition, context-based meaning, naming visual phenomena, examination of word-and-world-relationships and vocabularies. Main sources are the major works and biographies of Ludwig Wittgenstein, Gertrude Stein, the critical work of Marjorie Perloff, language philosophers concerned with ordinary language and the contrastive corpus linguistic approach. The results of this research are generated by several interdisciplinary productive methods. Artworks, poetic and scientific work, all of which employ modes of language, and whose their domains overlap. Additionally, the notion of meeting acts as model metaphor for the development of a solid trans-disciplinary methodology for research between science and the arts. One major result of comparing their ideas on language is reflected in the meeting of the language used by Wittgenstein and Stein. Their meeting is materialized in the computer generated Shared Vocabulary, which is a list of words which both Wittgenstein and Stein used in their writing. It applies linguistic tools from contrastive corpus linguistics to compare their vocabularies (corpora), which offers new methods for investigating the works of the philosopher Wittgenstein and writer Stein. Generally, this thesis may act as an introduction to language as ideal fundament for interdisciplinary study. The application of the principle of the language-game (Wittgenstein) is a significant of displaying possible strategies for artists and researchers who work transdisciplinarily. The research results directly inform practice and practitioners from other fields, which means that collaboration is central to the research. It implies that language permeates every sort of research, art and its discourse. It also suggests that the meaning of words and images depend on their use, which extends the Wittgensteinian meaning-as-use hypothesis to visual language. The findings of the research on vocabularies are quite specific, but they overlap with offering simple general mechanisms of the language-game. The consequent alliance of the discussion with the language of the everyday makes the research a general contribution to everyone who is genuinely interested in language and the arts.Parts of this research were supported by The Netherlands Foundation for Visual Arts, Design and Architecture (Fonds BKVB, Studiebeurs)and Prins Bernhard Cultuurfonds Amsterdam (Cultuurfondsbeurs

Virtual corporeality: narrative and spectacle in Hollywood VR cinema

This thesis is an inquiry into the emergence, development and eventual transmutation of the 'virtual reality' (VR) subgenre. I critically intervene in discourse on cinema, digital media, phenomenology and science fiction (SF) to explore how these films refract and enact Hollywood cinema‘s engagement with digital media and imaging technologies. Given that these films are about bodily immersive mediated experiences, I argue, their reflexive displays of special effects technologies are far from anti- or contra-narrative, as certain analyses imply. My emphasis on the imbrication of narrative and spectacle motivates a critical questioning of further, often interrelated and mutually sustaining dichotomies between body and mind, cognition and affect, cinema and digital media, real and virtual, reflection and immersion. Via close textual analysis with a phenomenological leaning, I explore how these films variously disrupt such binaries. As both old and new media produce and address differently mediated publics, they adopt, adapt and assimilate the narrative-aesthetic modalities of other (digital) media, negotiating their impacts upon our phenomenological relations to the world and to cinema. Through reflexive allusions to their increasingly mediated extradiegetic contexts, they function to uphold cinema‘s ability both to present innovative technological spectacle and to represent contemporary experiential realities. I explore how earlier VR films Tron and The Lawnmower Man aesthetically and conceptually 'map' VR, and how Strange Days and The Matrix ambivalently explore the implications of intensified and widespread virtual experience in radically different ways. I characterise Avatar and Source Code as 'Post-VR' cinema, in which formerly upheld dichotomies – particularly between 'real' and 'virtual' – prove untenably anachronistic. I ultimately maintain the value of an approach to popular cinema which apprehends genre, context and convergence, while advocating sustained and detailed close analysis as a means of grasping cinema‘s narrative-aesthetic functions in the digital age

Thompson Rivers University Calendar 2016-2017

Not peer reviewedCalenda