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

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