Erika Lincoln
Since 2002
Works in United States of America

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Here is an excerpt of the Canadian copyright act on reuse and "fare use"



I found this link today, it is a report from the center for social media at the american university (dec07).
It discusses how mashups of copyrighted material may fall under fare use within american copyright law.

The full report is availible for download as a pdf:

The study, Recut, Reframe, Recycle: Quoting Copyrighted Material in User-Generated Video, by Center director Pat Aufderheide and Peter Jaszi, co-director of the law school’s Program on Information Justice and Intellectual Property, shows that many uses of copyrighted material in today’s online videos are eligible for fair use consideration. The study points to a wide variety of practices—satire, parody, negative and positive commentary, discussion-triggers, illustration, diaries, archiving and of course, pastiche or collage (remixes and mashups)—all of which could be legal in some circumstances.

Fair use is the part of copyright law that permits new makers, in some situations, to quote copyrighted material without asking permission or paying the owners. The courts tell us that fair use should be “transformative”—adding value to what they take and using it for a purpose different from the original work. So when makers mash up several works—say, The Ten Commandments , Ben-Hur and 10 Things I Hate about You , making Ten Things I Hate about Commandments —they aren’t necessarily stealing. They are quoting in order to make a new commentary on popular culture, and creating a new piece of popular culture.

Unfortunately, this emerging, participatory media culture is at risk, with new industry practices to control piracy. Large content holders such as NBC Universal and Viacom, and online platforms such as MySpace and Veoh are already crafting agreements on removing copyrighted material from the online sites. Legal as well as illegal copying could all too easily disappear. Worse still, a new generation of media makers could grow up with a deformed and truncated notion of their rights as creators.

The study recommends the development of a blue-ribbon committee of scholars, makers and lawyers to develop best-practices principles. Such principles, similar to ones documentary filmmakers developed in the Documentary Filmmakers’ Statement of Best Practices in Fair Use can help new creators and online providers decide what’s legal, and assure that the Internet remains a safe space for new forms of self-expression.

The study is part of a larger Participatory Media project, funded by the Ford Foundation as part of the Center for Social Media’s Future of Public Media Project.

on the other side of the 49th paralell.......


robot artist draws portraits

To move horizontally from the discussion, the question I have is does the machine draw or does it render or plot?


Video Pool Media Arts Centre 2008 / 2009 Call for Submissions Theme: Resistance

Fri Mar 21, 2008 00:00


Video Pool Media Arts Centre
2008 / 2009 Call for Submissions

Theme: Resistance
Deadline: Friday, March 21, 2008

Resistance is a movement, a position, an attitude, and a measure. It is

an individual or collective response. It can be political, or it can
relate to physical properties of the known universe. It concerns
citizens. It concerns artists. It concerns that which is local as well

as that which is global. It is about forces, agency, strategy, play,
and subversion. It is an argument. It seeks change, or it fights to
stay the same. It mobilizes. It is unconscious. It is a side effect. It
is intentional and affirmative.

Video Pool invites submissions pertaining to the theme Resistance for
the 2008/09 programming season. We encourage projects involving:

• New media
• Experimental electronics
• Installation (with media components)
• Audio art
• Curatorial packages (with media components)

Video Pool is particularly interested in projects that intervene in
public space or otherwise make use of non-traditional exhibition

Video Pool’s 2008/09 programming season will include two programs
specifically focused on new media performance and single channel film
and video that resist conventional thinking and/or assumptions about
what constitute video and new media art practices, and possibly the
environs within which they take are expected to place.

Submission Requirements:

Please note that due to funding requirements, primary consideration
will be given to Canadian citizens.

All submissions must include:

1.Artist/curator CV including current contact information (mailing
address, telephone number, and e-mail address)
2.A short description of the proposed project or video(s), including
an outline of the critical and/or curatorial objectives of the work
3.Names of all participating artists
4.Titles of all proposed projects/videos, as well as year of
completion and city of origin
5.Exhibition history of each project, including a description of
contexts within which the work will be presented in the coming year
6.A statement indicating if the artist(s)/curator(s) plan to be in
attendance with the work and, if so, in what capacity they would expect

to participate in the screening/exhibition
7.Support material: Please do not send originals as Video Pool will
not accept responsibility for the loss of, or damage to, any support
- Still images should be submitted on CD (maximum 20 images, .jpg
preferred, please do not exceed 72 dpi or a resolution of 1024 X 768
- Video support material should be NTSC and submitted on VHS, DVD, or

Mini DV
- Audio support material should be submitted on CD
8.Complete list of all audio, video, and images submitted
9.Please include a SASE if you would like your support material

Video Pool is committed to reflecting cultural diversity in it’s
programming and thereby encourages applications from artists and
curators from all communities.

Video Pool encourages the submissions of projects that are already
complete or near completion.

Fees are paid in accordance with the CARFAC rate scale.

Please direct enquiries to:

Milena Placentile, Programming Coordinator
204.949.9134 ext.1

Please send submissions to:

Programming Committee
c/o Video Pool Media Arts Centre
#300 - 100 Arthur St.
Winnipeg, MB R3B 1H3 Canada

All submissions must be received by the deadline: March 21, 2008


sad news - stockhausen

having watched the live TV feeds of second plane crashing into the second tower, then watching the buildings collapse. I have to say that the broadcast of the attacks were spectacular in the true sense of what the word means. I am separated geographically and maybe/probably culturally from the actual event, which means my frame of reference is from the transmitted event not the event itself. In describing the transmission/broadcast as spectacular or a specticle I think is true. Being on the ground in New York or at the Pentagon or in the third plane is something completely different. perhaps this is what Vijay is referring to in Stockhausen's statement.