digital networks as medium for embodied knowledge dance-tech project explores the potential of the new Internet technologies for knowledge production and distribution on body based artistic practices and it's intersections with other disciplines such as new media, architecture, philosophy, anthropology and more. All dance-tech projects attempt to place situated embodiment as a fundamental condition and movement arts as relevant practices to contemporaneity with interdisciplinary framework. dance-tech is conceived as a tactical media project and it aims to develop and maintain a series of online and hybrid collaborative platforms for the interdisciplinary explorers of the performance of movement, innovators and emergent performance practices. It develops as an experimental, adaptable and changing pedagogical intervention on the knowledge distribution systems of contemporary performance and their contexts. It seeks to systematically and flexibly, explore the changing new media landscape and its openness for creative and social innovation.
Joe Biden: There's No Reason To Treat Intellectual Property Any Different Than Tangible Property Ah, Joe Biden. Is there nothing about intellectual property that he can't get wrong? Variety has an interview with the Vice President on intellectual property issues, and while there's nothing new, it's like a compendium of wrong or misleading statements. It's no wonder the entertainment industry so loves him. There's no lie or misrepresentation he won't repeat. "Look, piracy is outright theft," Biden said. First, "piracy" is not "outright theft." He is quick to say that he considers it more than a problem of just the entertainment industry. Biden may be even worse than John Morton at this conflation game. "Virtually every American company that manufactures something is getting killed by counterfeiters: clothing, software, jewelry, tires," Biden said. Getting killed? Besides, if we're really saying that copying ideas and passing them off as your own is "theft" and should be punished the same as "theft" of tangible goods, shouldn't Joe Biden be in jail? Oh come on!
The Future of Ideas The Future of Ideas: The Fate of the Commons in a Connected World (2001) is a book by Lawrence Lessig, at the time of writing a professor of law at Stanford Law School, who is well known as a critic of the extension of the copyright term in US. It is a continuation of his previous book Code and Other Laws of Cyberspace, which is about how computer programs can restrict freedom of ideas in cyberspace. While copyright helps artists get rewarded for their work, Lessig warns that a copyright regime that is too strict and grants copyright for too long a period of time (e.g. the current US legal climate) can destroy innovation, as the future always builds on the past. Lessig also discusses recent movements by corporate interests to promote longer and tighter protection of intellectual property in three layers: the code layer, the content layer, and the physical layer. The code layer is that which is controlled by computer programs. Editions References External links
Comprendre le procès Apple/Samsung en 97 secondes Envie d'un contenu léger, facile à digérer en ce week-end ? Aucun souci, nous avons trouvé pour vous un récapitulatif en vidéo de l'affaire opposant Samsung à Apple. 97 secondes : c’est le temps qu’il aura fallu aux auteurs de la vidéo qui suit pour résumer de manière mine de rien assez précise les tenants et aboutissants de la complexe affaire opposant Samsung à Apple, et concernant également Google, et par extension, Motorola. Cette affaire pourrait prochainement prendre un tournant inattendu : Samsung ayant lancé il y a quelques jours de cela le discrédit sur le président du jury ayant influencé la décision du verdict rendu en août dernier, et obligeant la firme coréene à verser 1 milliard de dollars à son concurrent.
MotionBank and Other Choreographic Media Tools Workshop@ HZT Berlin In this workshop several choreographic media tools will be introduced and worked with. Among those are digital publications of recent years: Steve Paxton: Material for the Spine (DVD-rom, 2008)Anne Teresa de Keersmaeker/ Rosas: A Choreographer's Score (4 DVDs, 2012)William Forsythe: Synchronous Objects (web-based, 2009)Motion Bank -scores by Deborah Hay,Jonathan Burrows and Matteo Fargion The Siobhan Davies Archive project (web-based, 2007)meta-academy@bates 2013 on the work of Nancy Stark Smith The contents of these digital dance and choreography tools all have their origin in the choreographic and dance practice.How can these ideas/ contents be transferred back into the studio and how can individual questions and interests be formulated towards these propositions? After short introductions during the first days, the focus will be on a practice lead exploration of these tools. See this visualisation the evolution of the content and resources:
Ten songs stolen by politicians 24 September 2010Last updated at 13:28 By Cat Koo BBC News Swedish band Abba is suing a Danish anti-immigration party for using their song, Mama Mia in a rally. The youth wing of the party sang the song, changing its lyrics to suit their far-right agenda. But the Swedish legends are by no means the only musicians to object to politicians using their work. Earlier this year, the British Conservative Party used the rock group's 2004 hit in their election campaign. Singer Tim Booth complained about the use of the band's song at a Labour Party Conference in 2008. French President Nicolas Sarkozy's UMP party used the smash single by indie band MGMT at its national congress, and in two online videos, in 2009. The incident happened a week before the French parliament considered a law put forward by Mr Sarkozy's party to crack down on online piracy. • Jackson Browne sued Mr McCain for the use of Running on Empty.
Free Culture (book) Free Culture: How Big Media Uses Technology and the Law to Lock Down Culture and Control Creativity (published in paperback as Free Culture: The Nature and Future of Creativity) is a 2004 book by law professor Lawrence Lessig that was released on the Internet under the Creative Commons Attribution/Non-commercial license (by-nc 1.0) on March 25, 2004. duration (from 32 to 95 years),scope (from publishers to virtually everyone),reach (to every view on a computer),control (including "derivative works" defined so broadly that virtually any new content could be sued by some copyright holder as a "derivative work" of something), andconcentration and integration of the media industry. It also documents how this industry has successfully used the legal system to limit competition to the major media corporations through legal action against: This book is an outgrowth of the U.S. Supreme Court decision in Eldred v. Free Culture covers the themes of Piracy and Property. "How free is this culture?"
Au front de la révolution du droit d’auteur ! Poser les fondements d'une réforme du droit d'auteur et du financement de la création : tel est l'objet d'un nouveau document préparé par Philippe Aigrain pour La Quadrature du Net. Notre chroniqueur Lionel Maurel, bibliothécaire engagé, a contribué avec enthousiasme à son élaboration et invite ses confrères à s'en emparer, alors que le gouvernement va entamer une consultation sur l’acte II de l’exception culturelle. Le rejet d’ACTA par le Parlement européen, tout comme la mise en échec en début d’année de la loi SOPA aux États-Unis, obtenus grâce à une mobilisation citoyenne sans précédent, constituent à l’évidence deux grandes victoires. Mais leur portée reste limitée, car il s’agissait essentiellement de batailles défensives, menées par les défenseurs des libertés numériques et de la culture libre pour barrer la route à des projets liberticides. Légalisation du partage non-marchand entre individus Contribution créatrice Usages collectifs Nouvelles taxes Une économie du partage
dance-tech platforms 'Digital Barbarism' Wages Online Copyright Battle Students for Free Culture Leaked Report Reveals Music Industry’s Global Anti-Piracy Strategy A confidential internal report of the music industry outfit IFPI has been inadvertently made available online by the group itself. Penned by their Head of Internet Anti-piracy Operations, the report details the global strategy for the major recording labels of IFPI. Issues covered include everything from torrent sites to cyberlockers, what behavior IFPI expects of Internet service providers, the effectiveness of site blocking, and how pirates are accessing unreleased music from industry sources. Dated April 2012, the IFPI report obtained by TorrentFreak was put together by the music industry group’s chief anti-piracy officer Mo Ali. The 30-page report presents a global view of IFPI’s “problems”, “current and future threats” and the industry’s responses to them. IFPI says it has five possible reactions to a threat: Take down, Disruption, Investigation, Lobbying and Litigation. The Threats: P2P Initially IFPI splits illicit content availability into two sections. Central hosting/cyberlockers
Ectract principles of the CounterPoint Tool from