37 research outputs found

    Towards a Right to Engage in the Fair Transformative Use of Copyright‑Protected Expression

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    Networked digital technologies have given Canadians the opportunity to engage with culture in a way that has never before been possible. Empowered and inspired, individuals from Prince George to the Georgian Bay to George Street are rejecting their former role as passive consumers of culture in order to participate in a continuing process of cultural (re)creation, production, and dialogue. One way in which they are doing so is by engaging in the transformative use of existing expression, a type of creative activity in which previously existing expression is reworked for a new purpose, with new interpretations or with a new meaning

    Sampling: Study on copyright limitations for critical functions of remixed works

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    URL del artículo en la web de la Revista: https://www.upo.es/revistas/index.php/ripp/article/view/3662El texto que se presenta a continuación consiste en un estudio de un caso particular en el que sistema legal para la protección de las obras opera totalmente en contra de la ratio legis que lo anima. En vez de seguir el mandato constitucional de promoción del conocimiento y las artes, se imposibilita el surgimiento de una modalidad creativa basada en la exploración artística de las posibilidades surgidas con los dispositivos tecnológicos de procesamiento del sonido. El propósito será observar y exponer los problemas aparecidos entre una forma de composición como ésta y el sistema de protección de los Derechos de Autor.The text presented below is a study of a particular case where the legal system for the protection of works operates totally against the underlying purpose which animates it. Instead of following the constitutional mandate of promoting knowledge and arts, the actual system prevents the emergence of a creative method that is based on musical exploration of the possibilities that come with new technological devices of sound processing. The main purpose is to observe and discuss the problems that arise from a new form of composition like this and the protection's system of copyright.Universidad Pablo de Olavid

    As remisturas satíricas no YouTube: criatividade e subversão nas lutas de poder simbólico e cultural

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    O YouTube é descrito como uma “comunidade” em que os seus membros fazem vídeos em conjunto, vêem as criações vídeo uns dos outros, são inspirados por esses vídeos, comentam-nos e partilham-nos. Este artigo foca-se nas práticas vídeo de remistura desenvolvidas no campo da política, no seu sentido mais estrito, envolvendo actores e temáticas tradicionalmente consideradas desta esfera, mas também no sentido mais lato, enquanto respeitante às lutas de poder que marcam a vida social, especialmente no que se refere às lutas de poder simbólico e cultural. A remistura com fins de crítica política proporciona a exposição tanto das estratégias dos actores políticos, como do funcionamento interno dos media e das relações entre ambos. Estas práticas vídeo contributivas implicam dois processos distintos: primeiro, a partilha de um vasto quadro referencial, ligando a construção de sentido a um carácter intertextual no ambiente online; e segundo, procedente da digitalização, a transformação de imagens, palavras e sons em elementos prontos a utilizar de uma linguagem multimédia que conduz a formas avançadas de pastiche e paródia.ABSTRACT: YouTube is described as a “community” in which its members make videos together, watch each other’s creations, are inspired by these videos, comment and share them. This article focuses on remix video practices developed in the political realm, both in a narrow sense, concerning actors and topics traditionally considered to be part of politics, and in a broader sense, referring to the power struggles of social life, in particular regarding symbolic and cultural power. Critical remix reveals the strategies of political actors, the inner workings of the media and the relations between both. These contributive video practices imply two distinct processes: the sharing of a vast referential framework, tying the production of meaning to an inherent intertextuality in the online environment; and, stemming from digitalization, the transformation of images, words and sounds in ready-to-be-used elements of a multimedia language leading to advanced forms of pastiche and parody

    SAMPLING. ESTUDIO SOBRE LAS LIMITACIONES DE LOS DERECHOS DE AUTOR RESPECTO DE LAS FUNCIONES CRÍTICAS DE LAS OBRAS REMEZCLADAS

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    El texto que se presenta a continuación consiste en un estudio de un caso particular en el que sistema legal para la protección de las obras opera totalmente en contra de la ratio legis que lo anima. En vez de seguir el mandato constitucional de promoción del conocimiento y las artes, se imposibilita el surgimiento de una modalidad creativa basada en la exploración artística de las posibilidades surgidas con los dispositivos tecnológicos de procesamiento del sonido. El propósito será observar y exponer los problemas aparecidos entre una forma de composición como ésta y el sistema de protección de los Derechos de Autor

    Online Video Activism and Political Mash-up Genres

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    Different goals, different appropriations? The use of Facebook by bottom-up initiatives of digital democracy in Brazil

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    O trabalho analisa como iniciativas civis de democracia digital brasileiras utilizam o Facebook nas suas atividades. Objetiva-se verificar como diferentes tipos de projetos se apropriam da ferramenta e se o seu uso condiz com o seu propósito de ação política. Durante seis meses, foi analisada a atuação do Meu Rio, do Cidade Democrática e da Rede Nossa São Paulo. No total, 951 posts foram categorizados quanto ao seu recorte temático. Ao final, verificou-se que há um predomínio de postagens do tipo informativas.Palavras-chave: Facebook, redes sociais online, democracia digital.This article analyzes how Brazilian bottom- up initiatives of digital democracy use Facebook in their activities. It aims to see how the tool is appropriated by the different types of projects, and if its use is consistent with its purpose of political action. Over six months, we analyzed the performance of Meu Rio, Cidade Democrática and Rede Nossa São Paulo. In total, 951 posts were categorized according to their thematic focus. At the end, it was found that there is a predominance of informative posts.Keywords: Facebook, social network sites, e-democracy

    The production of digital public spaces

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    Digital media are noticeably changing the qualities of urban public spaces, which can no longer be considered a purely physical construct. Yet, the extent to which contemporary digital media can be used to promote other forms of spatial agency remains a critical issue. Whereas the impact of technology from a macro perspective offers a globalizing and homogenizing image, its role in the production of space at a local scale is less clear (Kirsch 1995). The aim of this study is to argue for digital public spaces as a concrete programme to support the articulation of a third notion of public space that emerges at the interface of physical–digital hybrid spaces (Stikker 2013). The project for digital public spaces is posed as one that pursues enabling citizens’ rights to participation and appropriation (Purcell 2002) of physical–digital hybrid spaces. It is argued that while physical and digital spaces do not stand in opposition, their operational models do not fit seamlessly either. Therefore, the research is particularly concerned with how to design for the conditions that allow a dialogical relation between physical and digital features of space, and enable citizens to actively participate in the production of physical–digital hybrid spaces, and for which a dialectical mode of analysis is required. Following a cumulative narrative, the study explores different characterizations of digital public spaces, which have been articulated through design-led action research projects conducted in collaboration with academia, creative industries, citizens and public authorities. The study accomplishes a novel application of the unitary theory of space proposed by the Marxist French philosopher and sociologist, Henri Lefebvre (1992), which is revisited to develop a novel framework to reveal the social production of physical–digital hybrid spaces. The framework is developed through practice, and extensively applied throughout the thesis illustrating three distinctive dominating perspectives of physical–digital hybrid spaces: substitution, co-evolution and recombination (Graham 1998). The framework has proved to be a flexible and insightful method of analysis that: enables approaching the social production of physical and digital spaces individually and in relation to one another; to understand how different spatial configurations allow for participation and appropriation; and in turn, to re-contextualize the right to the city (Lefebvre 1996) in digital public spaces

    Frankenfiction: monstrous adaptations and gothic histories in twenty-first-century remix culture

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    In the twenty-first century, the remix, the mashup, and the reboot have come to dominate Western popular culture. Consumed by popular audiences on an unprecedented scale, but often derided by critics and academics, these texts are the ‘monsters’ of our age—hybrid creations that lurk at the limits of responsible consumption and acceptable appropriation. Like monsters, they offer audiences the thrill of transgression in a safe and familiar format, mainstreaming the self-reflexive irony and cultural iconoclasm of postmodern art. Like other popular texts before them, remixes, mashups, and reboots are often read by critics as a sign of the artistic and moral degeneration of contemporary culture. This is especially true within the institutions such remixes seem to attack most directly: the heritage industry, high art, adaptation studies, and copyright law. With this context in mind, in this thesis I explore the boundaries and connections between remix culture and its ‘others’ (adaptation, parody, the Gothic, Romanticism, postmodernism), asking how strong or tenuous they are in practice. I do so by examining remix culture’s most ‘monstrous’ texts: Frankenfictions, or commercial narratives that insert fantastical monsters (zombies, vampires, werewolves, etc.) into classic literature and popular historical contexts. Frankenfiction is monstrous not only because of the fantastical monsters it contains, but because of its place at the margins of both remix and more established modes of appropriation. Too engaged with tradition for some, and not traditional enough for others, Frankenfiction is a bestselling genre that nevertheless remains peripheral to academic discussion. This thesis aims to address that gap in scholarship, analysing Frankenfiction’s engagement with monstrosity (chapter one), parody (chapter two), popular historiography (chapter three), and models of authorial originality (chapter four). Throughout this analysis, Mary Shelley’s 1818 novel Frankenstein remains a touchstone, serving as an ideal metaphor for the nature of contemporary remix culture
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