Opy Culture
Download Opy Culture PDF/ePub or read online books in Mobi eBooks. Click Download or Read Online button to get Opy Culture book now. This website allows unlimited access to, at the time of writing, more than 1.5 million titles, including hundreds of thousands of titles in various foreign languages.
Piracy Cultures
Author: Manuel Castells
language: en
Publisher: Xlibris Corporation
Release Date: 2013-02-25
Piracy CulturesEditorial Introduction MANUEL CASTELLS 1 University of Southern California GUSTAVO CARDOSO Lisbon University Institute (ISCTE-IUL) What are "Piracy Cultures"? Usually, we look at media consumption starting from a media industry definition. We look at TV, radio, newspapers, games, Internet, and media content in general, all departing from the idea that the access to such content is made available through the payment of a license fee or subscription, or simply because its either paid or available for free (being supported by advertisements or under a "freemium" business model). That is, we look at content and the way people interact with it within a given system of thought that sees content and its distribution channels as the product of relationships between media companies, organizations, and individualseffectively, a commercial relationship of a contractual kind, with accordant rights and obligations. But what if, for a moment, we turned our attention to the empirical evidence of media consumption practice, not just in Asia, Africa, and South America, but also all over Europe and North America? All over the world, we are witnessing a growing number of people building media relationships outside those institutionalized sets of rules. We do not intend to discuss whether we are dealing with legal or illegal practices; our launching point for this analysis is that, when a very significant proportion of the population is building its mediation through alternative channels of obtaining content, such behavior should be studied in order to deepen our knowledge of media cultures. Because we need a title to characterize those cultures in all their diversitybut at the same time, in their commonplacenesswe propose to call it "Piracy Cultures."
Copyright Matters
In her first book, Lena Henningsen offers five studies that challenge the wide-spread prejudice among the Western Press that China is an empire of plagiarism, sometimes even referred to as the "People's Republic of Cheats". By analyzing the cases of convicted plagiarist Guo Jingming, the victim of plagiarism Han Han, the follow-up publications to Jiang Rong's Wolf's Totem, the Harry Potter fakes and fan fiction, as well as discussions of academic plagiarism, Henningsen proves that copyright increasingly matters to Chinese writers. Confronted with instances of copyright infringements on their own works, they voice their opposition and fight for their rights, be it through legal action or their writing. At the same time, the author demonstrates that a text that is commonly considered to be "plagiarized" or "imitated" may turn out to be a highly creative work in its own right, for example when Harry Potter appears as a timid exchange student in China. Therefore, Henningsen opts for a literary reading of these "derivative" works and argues that imitation may, at times, be a creative tool. While these two central arguments appear to be contradictory, the author shows that they represent two sides of the same coin: the emergence of a new self-conception among Chinese authors, as they struggle to recast their relationship with society and state. --Book Jacket.
The Aesthetics and Ethics of Copying
Author: Darren Hudson Hick
language: en
Publisher: Bloomsbury Publishing
Release Date: 2016-10-20
The Aesthetics and Ethics of Copying responds to the rapidly changing attitudes towards the use of another's ideas, styles, and artworks. With advances in technology making the copying of artworks and other artefacts exponentially easier, questions of copying no longer focus on the problems of forgery: they now expand into aesthetic and ethical legal concerns. This volume addresses the changes and provides the first philosophical foundation for an aesthetics and ethics of copying. Scholars from philosophy of art, philosophy of technology, philosophy of law, ethics, legal theory, media studies, art history, literary theory, and sociology discuss the role that copying plays in human culture, confronting the question of how-and why-copying fits into our broader system of values. Teasing out the factors and conceptual distinctions that must be accounted for in an ontology of copying, they set a groundwork for understanding the nature of copies and copying, showing how these interweave with ethical and legal concepts. Covering unique concerns for copying in the domain of artworks, from music and art to plays and literature, contributors look at work by artists including Heinrich von Kleist, Robert Rauschenberg, Courbet and Manet and conclude with the normative dimensions of copying in the twenty-first century. By bringing this topic into the philosophical domain and highlighting its philosophical relevance, The Aesthetics and Ethics of Copying establishes the complex conditions-ontological, aesthetic, ethical, cultural, and legal-that underlie and complicate the topic. The result is a timely collection that establishes the need for further discussion.