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Cutting Across Media Kembrew McLeod

Cutting Across Media By Kembrew McLeod

Cutting Across Media by Kembrew McLeod


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Condition - Very Good
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Summary

With a focus on collage and appropriation art, essays exploring the legal ramifications of such practices in an age when private companies can own culture using copyright and trademark law

Cutting Across Media Summary

Cutting Across Media: Appropriation Art, Interventionist Collage, and Copyright Law by Kembrew McLeod

In this collection of essays, leading academics, critics, and artists historicize collage and appropriation tactics that cut across diverse media and genres. They take up issues of appropriation in the popular and the avant-garde, in altered billboards and the work of the renowned painter Chris Ofili, in hip-hop and the compositions of Bela Bartok and Zoltan Kodaly, and in audio mash-ups, remixed news broadcasts, pranks, culture jamming, and numerous other cultural forms. The borrowing practices that they consider often run afoul of intellectual property regimes, and many of the contributors address the effects of copyright and trademark law on creativity. Among the contributors are the novelist and essayist Jonathan Lethem, the poet and cultural critic Joshua Clover, the filmmaker Craig Baldwin, the hip-hop historian Jeff Chang, the zine-maker and sound collage artist Lloyd Dunn, and Negativland, the infamous collective that was sued in 1991 for sampling U2 in a satirical sound collage. Cutting Across Media is both a serious examination of collage and appropriation practices and a celebration of their transformative political and cultural possibilities.

Contributors. Craig Baldwin, David Banash, Marcus Boon, Jeff Chang, Joshua Clover, Lorraine Morales Cox, Lloyd Dunn, Philo T. Farnsworth, Pierre Joris, Douglas Kahn, Rudolf Kuenzli, Rob Latham, Jonathan Lethem, Carrie McLaren, Kembrew McLeod, Negativland, Davis Schneiderman, David Tetzlaff, Gabor Valyi, Warner Special Products, Eva Hemmungs Wirten

Cutting Across Media Reviews

Spanning media from visual art to popular music, literature to culture jamming, this series of essays challenges the litigious environment in which copyright is used as a blunt weapon to prevent reinvention of existing works and the transformative process of reuse to inform the creative cycle of ideas. . . . Advanced undergraduates through faculty in art, art history, media studies, film, literature and music will appreciate the interdisciplinary treatment of collage. - Cara List, ARLIS/NA Reviews
I believe this is an important book, specifically because the issues discussed affect much of our future artistic creations; as mentioned this has profound social and cultural ramifications. As such, this book should be at minimum included as a recommended text in a variety of applicable tertiary education courses. The stakes are too high to ignore the erosion of artistic freedom brought about by ignorant and greed driven application of copyright law. - Rob Harle, Leonardo
Where the most prominent works on the subject tend to dwell on digitals infinite capacity to reproduce and share itself freely and its current kowtowing to corporate rights management, this book begins by situating appropriation art and collage in the earlier recesses of the twentieth century with Walter Benjamin, the Surrealists, and Dada. Along the way, it touches upon zine culture, audiotape collage, street art, and new wave science fiction; it critiques the international outflows of copyright-subject culture and then it critiques the debate itself. - Allie Curry, Rain Taxi
Communication is much like a work of artit is a process of copying, repeating and varying what we hear. There is no originator or owner of that which shapes our very being, and Cutting Across Media demonstrates how placing restrictions on creative commentary can stifle our cultural development.Vicki Bennett, aka People Like Us
Reflecting both McLeods spirited cultural critique and Kuenzlis interdisciplinary approach to the arts, Cutting Across Media explores diverse forms of collage and appropriation in music, painting, publishing, spoken broadcasts, poetry, and narrative. In this collage of essays, readers are challenged to rethink notions of intellectual property and to consider the complex political and cultural issues that accompany collage and appropriation aesthetics. -- Christine Masters Jach * American Book Review *
What separates this volume from other contemporary works around sampling and intellectual property law is that research in this area rarely attempts to
marry aesthetic and political concerns so overtly. . . . [A]n edited collection that successfully manages to explore the political and artistic imperatives that inform the practice of collage and appropriation. -- James Meese * Media International Australia *
I believe this is an important book, specifically because the issues discussed affect much of our future artistic creations; as mentioned this has profound social and cultural ramifications. As such, this book should be at minimum included as a recommended text in a variety of applicable tertiary education courses. The stakes are too high to ignore the erosion of artistic freedom brought about by ignorant and greed driven application of copyright law. -- Rob Harle * Leonardo Reviews *
Spanning media from visual art to popular music, literature to culture jamming, this series of essays challenges the litigious environment in which copyright is used as a blunt weapon to prevent reinvention of existing works and the transformative process of reuse to inform the creative cycle of ideas. . . . Advanced undergraduates through faculty in art, art history, media studies, film, literature and music will appreciate the interdisciplinary treatment of collage. -- Cara List * ARLIS/NA Reviews *
Where the most prominent works on the subject tend to dwell on digitals infinite capacity to reproduce and share itself freely and its current kowtowing to corporate rights management, this book begins by situating appropriation art and collage in the earlier recesses of the twentieth century with Walter Benjamin, the Surrealists, and Dada. Along the way, it touches upon zine culture, audiotape collage, street art, and new wave science fiction; it critiques the international outflows of copyright-subject culture and then it critiques the debate itself. -- Allie Curry * Rain Taxi *

About Kembrew McLeod

Kembrew McLeod is Associate Professor of Communication Studies at the University of Iowa. He is the author of Freedom of Expression: Resistance and Repression in the Age of Intellectual Property and Owning Culture: Authorship, Ownership, and Intellectual Property Law, and co-creator of the documentary film Copyright Criminals. McLeod and Peter DiCola are the authors of Creative License: The Law and Culture of Digital Sampling, also published by Duke University Press.

Rudolf Kuenzli is Professor of Comparative Literature and English at the University of Iowa, where he is the Director of the International Dada Archive.

Table of Contents

I Collage, Therefore I Am: An Introduction to Cutting Across Media / Kembrew McLeod and Rudolf Kuenzli 1
Digital Mana: On the Source of the Infinite Proliferation of Mutant Copies on Contemporary Culture / Marcus Boon 24
Copyrights and Copywrongs: An Interview with Siva Vaidhyanathan / Carrie McLaren 38
Das Plagiierenwerk: Convolute Uii / David Tetzlaff 51
PhotoStatic Magazine and the Rise of the Casual Publisher / Lloyd Dunn 57
Plagiarism®174; 101: An Appropriated Oral History of the Tape-beatles / Kembrew McLeod 76
Ambiguity and Theft / Joshua Clover 84
Where Does Sad News Come From? / Douglas Kahn 94
Excerpts from "Two Relationships to a Cultural Public Domain" / Negativland 117
Everybody's Got Something to Hide Except for Me and My Lawsuit: William S. Burroughs, DJ Danger Mouse, and the Politics of Grey Tuesday / Davis Schneiderman 132
How Copyright Law Changed Hip-Hop: An Interview with Public Enemy's Chuck D and Hank Shocklee / Kembrew McLeod 152
Hip-Hop Meets the Avant-Garde: A Cease and Desist Letter from Attorneys Representing Philip Glass / Warner Special Products 158
Getting Snippety / Philo T. Farnsworth 160
Crashing the Spectacle: A Forgotten History of Digital Sampling, Infringement, Copyright Liberation, and the End of Recorded Music / Kembrew McLeod 164
Billboard Liberation: A Photo Essay / Craig Baldwin 178
On the Seamlessly Nomadic Future of Collage / Pierre Joris 185
Cultural Sampling and Social Critique: The Collage Aesthetic of Chris Ofili / Lorraine Morales Cox 199
Remixing Cultures: Bartok and Kodaly in the Age of Indigenous Cultural Rights / Gabor Valyi 219
A Day to Sing: Creativity, Diversity, and Freedom of Expression in the Network Society / Jeff Chang 237
Visualizing Copyright, Seeing Hegemony: Toward a Meta-Critique of Intellectual Property / Eva Hemmungs Wirten 252
Collage as Practice and Metaphor in Popular Culture / David Banash 264
Assassination Weapons: The Visual Culture of New Wave Science Fiction / Rob Latham 276
Free Culture: A Conversation with Jonathan Lethem / Kembrew McLeod 290
The Ecstasy of Influence: A Plagiarism / Jonathan Lethem 298
Bibliography 327
Contributors 341
Index 345

Additional information

GOR007628322
9780822348221
0822348225
Cutting Across Media: Appropriation Art, Interventionist Collage, and Copyright Law by Kembrew McLeod
Used - Very Good
Paperback
Duke University Press
2011-08-05
376
N/A
Book picture is for illustrative purposes only, actual binding, cover or edition may vary.
This is a used book - there is no escaping the fact it has been read by someone else and it will show signs of wear and previous use. Overall we expect it to be in very good condition, but if you are not entirely satisfied please get in touch with us

Customer Reviews - Cutting Across Media