copies

Aspect 15: Influence and Reference

ASPECT v. 15, “Influence and Reference” includes video documentation of AfterSherrieLevine.com. The original project is from 2001, the video documentation was made in 2009. As ASPECT is a DVD publication they use the audio commentary tracks for a critical analysis of the works. I was very fortunate: Marita Sturken gave an awesome audio commentary.

 

1703 Right of Copy

This is a reproduction of the original 1703 Right of Copy. Queen Anne granted Oxford the right to publish Clarendon’s History for 14 Years.

Yes. 14 Years. Just think of all the work between 1924 and… 1986 that would be part of the Public Domain

via http://blog.mises.org/12151/the-right-of-copy-a-courtly-privilege

 

Academic institutions clinging to print media as arbiter of tenure, disregarding electronic forms are… “Dead-Tree-Huggers”

I tweeted this just now, but I feel like it deserves a bit more context. This came out of an email with Adam Hyde (his coinage!) trying to convince him or one of our collaborators in Berlin to find and scan a print version of this article about our collaborative book project. I have found that the committees reviewing my materials for tenure not only frown on all forms of online publication, they also frown on printed copies of electronic versions of documents even if they also appear in print. A scan of the meatspace dead-tree newspaper is viewed as significantly more “legitimate” than a screenshot of the same text from the newspaper’s website. They are Dead-Tree-Huggers.

 

S.A.S.E.

Marijke Appelman, Paul Branca, Jennifer Cane, Travis Hallenbeck and Guthrie Lonergan, Michael Mandiberg, Jennifer Delos Reyes, Gabriel Saloman, Suzie Silver, Lia Trinka-Browner, Jess Wilcox

S.A.S.E. uses the idea of the self addressed stamped envelope as its foundation (a method of distribution within the postal mail system that is always initiated by the one who wants to receive the information).

This method of distribution was (futilely) translated into a digital communication system, e-mail.

Eleven people were asked to organize an exhibition of images that would be contained within the space of an e-mail.

Ten e-mail exhibitions were created (each includes a selection of images, a statement, and a works list).

All the images were found online - either from web-sites or in e-mails.

 

I have been trying to find a way to distribute my CC licensed master files, from little Illustrator files, master video files, to the 500MB InDesign file for the Digital Foundations book (http://www.digital-foundations.net). This is an experiment. Because these are all graphics and master files, i am going to put them in “Other.” We’ll see how this goes.

 

Tiananmen Square: Do you exclusively paint Thomas Kinkade paintings?

Tiananmen Square: Do you exclusively paint Thomas Kinkade paintings?

June 3, 2009

Four years ago, in preparation for a research visit to Shenzhen’s Dafen Painting Village, I requested that roughly a dozen Chinese painters paint a copy of the image of the man standing in front of the tanks during the Tiananmen Square protest on June 4, 1989. I did this partly out an interest in copies and reproductions and partly just to see if I could do it: the image is famous worldwide, but I have since learned it is virtually unknown under Chinese national censorship.

 
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