Whose Book Is It Anyway? A View From Elsewhere On Publishing, Copyright And Creativity

Description

Whose Book is it Anyway? is a provocative collection of essays that opens out the copyright debate to questions of open access, ethics, and creativity. It includes views – such as artist’s perspectives, writer’s perspectives, feminist, and international perspectives – that are too often marginalized or elided altogether. A+ Contents......Page 6 Notes on Contributors......Page 10 Introduction: Whose Book is it Anyway? A View from Elsewhere on Publishing, Copyright and Creativity......Page 16 Works Cited......Page 31 PART I Opening out the Copyright Debate: Open Access, Ethics and Creativity......Page 34 1. A Statement by The Readers Project Concerning Contemporary Literary Practice, Digital Mediation, Intellectual Property, and Associated Moral Rights......Page 36 Works Cited......Page 46 2. London-Havana Diary: Art Publishing, Sustainability, Free Speech and Free Papers......Page 48 Works Cited......Page 77 3. The Ethics of Emergent Creativity: Can We Move Beyond Writing as Human Enterprise, Commodity and Innovation?......Page 80 Creative Industries......Page 83 Relational and Distributed Authorship......Page 86 Open Access and the Ethics of Care......Page 89 Posthuman Authorship......Page 92 Emergent Creativity......Page 95 Conclusion......Page 98 Works Cited......Page 102 Publishers in Peril…......Page 106 Case Study: Meet Jacob Tonson, ‘Prince of Publishers’; a Model for Publishing......Page 111 Too Much to Read......Page 115 Two Challenges......Page 118 5. Who Takes Legal Responsibility for Published Work? Why Both an Understanding and Lived Experience of Copyright Are Becoming Increasingly Important to Writers......Page 120 Background: An Assumption of Ignorance on the Part of the Self-Published......Page 126 The Growth of Contract Checking and Legal Services for Independent Authors......Page 130 Academic Publishing......Page 135 Implications for the Wider Creative Economy......Page 136 1. Informed Authors......Page 137 2. Competition for Reader Attention......Page 138 3. Self-Publishing Authors Display the Characteristics Needed by Publishers Today......Page 139 Works Cited......Page 141 Digital Disruption of Traditional Publishing Models......Page 144 Self-Published Marketplace Impacting on Traditional Publishing......Page 145 The Squeeze of the Mid-List......Page 147 China and Online Reader/Writer Communities......Page 149 Diversity......Page 151 Works Cited......Page 153 1. Introduction......Page 156 2. Copyright, Creators, and the Green Party: A Public Spat......Page 158 3. Copyright and Writers’ Livelihoods......Page 162 A. Writers’ Earnings......Page 164 B. The Negative Space of IP......Page 167 4. The Role of Copyright in the Everyday Practice of Writers: IC Study......Page 169 A. Writers’ Careers and Sources of Earnings......Page 171 B. Copyright Mattered, in Terms of Financial Return, to Those who Were Primarily Making a Living from Writing......Page 173 C. Copyright Also Mattered, in Terms of Financial Return, to Those who did not Primarily Make a Living from Writing......Page 174 D. Rights Matter in Sustaining Practices in the Digital Environment......Page 175 6. Internal Aspect of Copyright: Writers’ Perspectives on Ownership and Control of Economic Rights......Page 178 A. Hard-Fought Rights......Page 179 B. Rights Reversion......Page 180 C. Awareness of Rights and how to Exploit Them......Page 183 7. External Aspect of Copyright......Page 184 8. Conclusion......Page 188 Works Cited......Page 191 Foreword......Page 196 Introduction......Page 201 Comics Scholarship and Clearing Rights......Page 203 What is ‘a Work’?......Page 207 Insubstantial Copying......Page 213 Fair Dealing …......Page 217 … For the Purpose of Non-Commercial Research (CDPA s.29)......Page 218 … Or, for the Purpose of Criticism and Review (s.30(1))......Page 224 Current Proposals for Reform [in 2013]: An Exception for Quotation......Page 227 Conclusion......Page 230 Works Cited......Page 238 Cases......Page 239 From the Sketchbook of Jason Mathis......Page 241 PART II Views From Elsewhere......Page 242 9. Diversity or Die: How the Face of Book Publishing Needs to Change if it Is to Have a Future......Page 244 Works Cited......Page 257 10. Writing on the Cusp of Becoming Something Else......Page 258 Iteration......Page 259 Détournement......Page 262 Transparency......Page 267 Making Public......Page 271 Contributing to a Larger Cultural Project......Page 276 Something Else......Page 277 Works Cited......Page 279 11. Confronting Authorship, Constructing Practices (How Copyright is Destroying Collective Practice)......Page 282 Authorship Replaces Authorship?......Page 286 Who has the Power to Appropriate?......Page 287 Authorship Defined by Market Value and Celebrity Status?......Page 291 De-Authoring......Page 294 Intellectual Property Obsession Running Amok?......Page 297 The Piracy Project — Multiple Authorship or ‘Unsolicited Collaborations’?......Page 301 Practising Critique — Queering Institutional Categories......Page 306 Collective Authorship, Institutional Framing......Page 309 Our Relationships Felt Temporarily Transformed......Page 310 How Not to Assign Authorship?......Page 312 Works Cited......Page 317 Introduction......Page 324 Ethnomusicology, Anthropology and Open Access......Page 325 Open Access: Unity in Diversity......Page 332 Epistemologies, Definitions of Authorship and Publishing Ethics......Page 333 New Technologies, Open Access and the Potential for Increased Equity......Page 341 Copyright, Open Access and Ethnomusicology......Page 346 Conclusion: Suggested Ways of Engagement......Page 353 Works Cited......Page 356 Introduction......Page 362 Relational Creativity and Socio-Cultural Authorship......Page 365 Authorship, Control and Intellectual Property......Page 369 Digitization, Open Access and the (Re)Emergence of Relational Creativity......Page 376 Conclusion: Canada’s ‘Copyright Pentalogy’ and the Affirmation of Fair Dealing......Page 383 Works Cited......Page 388 Remixing Clarke......Page 394 if:book Australia......Page 396 Copyright and Medium......Page 397 Lifting the Veil, Inviting Contributions......Page 400 Grappling with the Remix as a Literary Act......Page 402 Early Experiments with Remix......Page 403 Rumours of my Death......Page 405 Audience as Co-Creator: Copyright Status of Audience Contributions......Page 409 Remix and Copyright Law in Australia......Page 410 Remix as an Experiment in Copyright......Page 412 Remixing the Law......Page 414 Works Cited......Page 416 APPENDIX: CREATe Position Papers......Page 418 1. Publishing Industry......Page 420 Writers......Page 421 Readers......Page 424 A Meeting of Text and Technology......Page 425 2. Is the Current Copyright Framework fit for Purpose in Relation to Writing, Reading and Publishing in the Digital Age?......Page 430 3. Is the Current Copyright Framework fit for Purpose in Relation to Writing, Reading, and Publishing in the Digital Age?......Page 432 Technology as an Enabler of Copyright......Page 433 The Real aim of Copyright......Page 435 Conclusion......Page 437 Changes to the law of Copyright......Page 438 5. Is the Current Copyright Framework fit for Purpose in Relation to Writing, Reading, and Publishing in the Digital Age?......Page 442 List of Illustrations......Page 444 Index......Page 446