The Funder and the Intermediary, in Support of the Artist: A Look at Rationales, Roles, and Relationships

This article, examining the ecology of funders' use of intermediaries and regranting organizations, came about as a direct offshoot of GIA's Research Initiative on Support for Individual Artists, begun in 2011. As the research team worked to map the pathways that support followed from funder to artist, a complex map of options and routes began to emerge, and intermediaries and regranters were often part of that picture. It became increasingly clear that this was an essential and important part of the overall system. It also emerged that this was an area of philanthropic practice that had been little examined, and about which little had been published. Interviews with funders during the research work also revealed that while a number of foundations were using intermediaries, their practices had independently evolved, and a wide range of methods and procedures were in use. What follows is the first tangible product of GIA's Research Initiative on Support for Individual Artists. In her analysis, Claudia Bach provides both an overview of the range of philanthropic practices involving intermediaries and regranters, as well as an exploration of a number of related topics and questions that emerged during the course of this work

Dominant Search Engines: An Essential Cultural & Political Facility

When American lawyers talk about essential facilities, they are usually referring to antitrust doctrine that has required certain platforms to provide access on fair and nondiscriminatory terms to all comers. Some have recently characterized Google as an essential facility. Antitrust law may shape the search engine industry in positive ways. However, scholars and activists must move beyond the crabbed vocabulary of competition policy to develop a richer normative critique of search engine dominance. In this chapter, I sketch a new concept of essential cultural and political facility, which can help policymakers recognize and address situations where a bottleneck has become important enough that special scrutiny is warranted. This scrutiny may not always culminate in regulation. However, it clearly suggests a need for publicly funded alternatives to the concentrated conduits and content providers colonizing the web

Reading poetry and its paratexts model users’ rights: Mary Dalton’s Hooking, cento poetics, and copyright law

This draft paper focuses on Newfoundland poet Mary Dalton's 2013 book Hooking -- a collection of centos (poems composed only of lines from other poems) -- in order to propose a method for reading the exercise of users' rights in Canadian poetry by attending to poetry books' paratexts (front and end matter that acknowledges permissions or cites sources). This talk moves from an introductory discussion of users' rights enshrined in Canadian copyright law (e.g. fair dealing, the public domain) to a survey of poetry books, including Dalton's, and how their paratexts frame these books' transformative use of other works. The talk aims to promote a more widespread and robust exercise of users' rights in the service of cultural production and expressive freedom by showing the extent to which published authors, no less than users or readers, need fair dealing too. (Posted for open review, this is a preliminary draft of a talk to be given at a workshop on cento poetry, held at the University of Bochum, Germany, in November 2020.

DiSCmap : digitisation of special collections mapping, assessment, prioritisation. Final project report

Traditionally, digitisation has been led by supply rather than demand. While end users are seen as a priority they are not directly consulted about which collections they would like to have made available digitally or why. This can be seen in a wide range of policy documents throughout the cultural heritage sector, where users are positioned as central but where their preferences are assumed rather than solicited. Post-digitisation consultation with end users isequally rare. How are we to know that digitisation is serving the needs of the Higher Education community and is sustainable in the long-term? The 'Digitisation in Special Collections: mapping, assessment and prioritisation' (DiSCmap) project, funded by the Joint Information Systems Committee (JISC) and the Research Information Network (RIN), aimed to:- Identify priority collections for potential digitisation housed within UK Higher Education's libraries, archives and museums as well as faculties and departments.- Assess users' needs and demand for Special Collections to be digitised across all disciplines.- Produce a synthesis of available knowledge about users' needs with regard to usability and format of digitised resources.- Provide recommendations for a strategic approach to digitisation within the wider context and activity of leading players both in the public and commercial sector.The project was carried out jointly by the Centre for Digital Library Research (CDLR) and the Centre for Research in Library and Information Management (CERLIM) and has taken a collaborative approach to the creation of a user-driven digitisation prioritisation framework, encouraging participation and collective engagement between communities.Between September 2008 and March 2009 the DiSCmap project team asked over 1,000 users, including intermediaries (vocational users who take care of collections) and end users (university teachers, researchers and students) a variety of questions about which physical and digital Special Collections they make use of and what criteria they feel must be considered when selecting materials for digitisation. This was achieved through workshops, interviews and two online questionnaires. Although the data gathered from these activities has the limitation of reflecting only a partial view on priorities for digitisation - the view expressed by those institutions who volunteered to take part in the study - DiSCmap was able to develop:- a 'long list' of 945 collections nominated for digitisation both by intermediaries andend-users from 70 HE institutions (see p. 21);- a framework of user-driven prioritisation criteria which could be used to inform current and future digitisation priorities; (see p. 45)- a set of 'short lists' of collections which exemplify the application of user-driven criteria from the prioritisation framework to the long list (see Appendix X):o Collections nominated more than once by various groups of users.o Collections related to a specific policy framework, eg HEFCE's strategically important and vulnerable subjects for Mathematics, Chemistry and Physics.o Collections on specific thematic clusters.o Collections with highest number of reasons for digitisation

Copyright as Property in the Post-Industrial Economy: A Research Agenda

The incentives-for-authors formulation of copyright’s purpose is so deeply ingrained in our discourse and our thought processes that it is astonishingly hard to avoid invoking, even when one is consciously trying not to do so. Yet avoiding that formulation is exactly what we ought to be doing. Everything we know about creativity and creative processes suggests that copyright plays very little role in motivating creative work. In the contemporary information society, the purpose of copyright is to enable the provision of capital and organization so that creative work may be exploited. And the choice of copyright as a principal means of promoting cultural production has consequences for the content of culture as well.This reframing has four important consequences for debates about copyright law and policy. First, abandoning the incentives-for-authors story requires us to talk about cultural progress differently. The incentives-for-authors story has functioned as a smokescreen, enabling scholars, judges, and legislators to conflate economic and creative motivation. Severing the motivational link between creativity and economics requires us to come up with a better understanding of how cultural progress emerges, and a more accurate account of how the economic incentives that copyright provides affect progress more generally. Second, an account of copyright as incentives-for-capital suggests a different approach to conceptualizing the kind of “property” that copyright represents. Copyright scholars habitually compare copyright to property in land, a conceptual move that passes over an important stage in the evolution of economic activity and associated economic rights. There are important benefits to be gained from comparing post-industrial, information property to industrial, corporate property, and copyright law more explicitly to corporate law. Specifically, copyright law in the post-industrial era works to separate authorship from control of creative works so that a set of coordination and governance problems closely associated with information resources can be solved. Third, comparing copyright more explicitly to industrial, corporate property and legal regimes governing its use suggests some different ways of thinking and talking about problems of social welfare that so often bedevil regimes of property law. Fourth, comparing copyright more explicitly to industrial, corporate property foregrounds copyright law’s (largely unrealized) potential to function as a tool for ensuring accountability to the authors without whom the copyright system could not function

Enterprising women: independence, finance and Virago Press, c.1976-1993

Virago Press were established in 1972 and became one of the twentieth century’s most enduring publishing brands. As a women-led enterprise, articulations of independence have defined key moments in Virago’s history. This article explores two moments when the company re-structured as independent, in 1976 and 1987. To become successful, Virago had to overcome barriers that have historically hindered women’s participation in business, namely limited social capital and difficulties accessing finance. Virago founder Carmen Callil’s friendships with publisher Paul Hamlyn and printing entrepreneur Robert Gavron embedded Virago in networks of male entrepreneurial knowledge that helped shape the evolution of the company. Such networks were vital to Virago securing investment from Rothschilds Ventures Limited in 1987 who were, at that time, leading figures in the UK’s growing private equity industry. This article contributes to growing historical understanding of the synergies between financial, arts and culture industries in the 80s. It argues that while this era offered new opportunities for women to participate in business, such participation was tempered by new forms of legal and financial discipline that re-calibrated existing gender inequalities within business cultures. Due to the time periods under consideration, this article also analyses how entrepreneurial practices and opportunities for women changed dramatically with the onset of Thatcher’s ‘Enterprise Culture’

Music in electronic markets: an empirical study

Music plays an important, and sometimes overlooked part in the transformation of communication and distribution channels. With a global market volume exceeding US$40 billion, music is not only one of the primary entertainment goods in its own right. Since music is easily personalized and transmitted, it also permeates many other services across cultural borders, anticipating social and economic trends. This article presents one of the first detailed empirical studies on the impact of internet technologies on a specific industry. Drawing on more than 100 interviews conducted between 1996 and 2000 with multinational and independent music companies in 10 markets, strategies of the major players, current business models, future scenarios and regulatory responses to the online distribution of music files are identified and evaluated. The data suggest that changes in the music industry will indeed be far-reaching, but disintermediation is not the likely outcome

The role of intermediaries in facilitating e-government diffusion in Saudi Arabia

Recent studies of e-government activity have highlighted adoption and diffusion issues as important subjects for rating e-government success. However in developing countries inadequate resources and limited citizens’ capabilities regarding new e-government have resulted in low diffusion and adoption of e-government services. This paper examines the role of intermediaries, which can be played by a third party; in bridging the gap between e-government implementation and social reality, and looks at the roles a third party can add within the e-government services mechanism. This paper uses a case study approach in order to reflect e-government progress within the context of the Kingdom of Saudi Arabia (KSA) as one developing country. The result of this paper shows that intermediaries play an important role in the diffusion of e-services in relation to improving the availability, accessibility and enhancing privacy and security

Property and the Construction of the Information Economy: A Neo-Polanyian Ontology

This chapter considers the changing roles and forms of information property within the political economy of informational capitalism. I begin with an overview of the principal methods used in law and in media and communications studies, respectively, to study information property, considering both what each disciplinary cluster traditionally has emphasized and newer, hybrid directions. Next, I develop a three-part framework for analyzing information property as a set of emergent institutional formations that both work to produce and are themselves produced by other evolving political-economic arrangements. The framework considers patterns of change in existing legal institutions for intellectual property, the ongoing dematerialization and datafication of both traditional and new inputs to economic production, and the emerging logics of economic organization within which information resources (and property rights) are mobilized. Finally, I consider the implications of that framing for two very different contemporary information property projects, one relating to data flows within platform-based business models and the other to information commons