Hi Bernie, You must read this: Erika Balsom’s ‘After Uniqueness: A History of Film and Video Art in Circulation’ <https://cup.columbia.edu/book/after-uniqueness/9780231176934>
Extremely relevant to discussions of intellectual property/copying technologies/copyright connected to artist moving image, and extremely good too :) I wrote a review <http://sethpimlott.com/erika-balsom-after-uniqueness.html> for Art Monthly in the UK when it was released that might give a sense of it. All best, Seth On Fri, 3 May 2019 at 02:50, Bernard Roddy <[email protected]> wrote: > Hey everyone: > > I'm teaching a course in a computer science program in which I devote a > week to intellectual property. The use of found footage became more > interesting as a result of looking for cases with which to raise ethical > debate and present new terms of analysis. > > In a slight departure from the expected narrative of the ethical dilemma > faced in employment circumstances by the computer programmer or data > analyst (security analysis seems to be the major to go wtih), I looking at > a 2003 text from Artforum on the preservation of a film by Bruce Conner > (Crossroads, 1976). Has anyone seen this film? > > But also, are there other such sources that anyone can think of for this > kind of discussion? I am thinking of the whole matter of engaging a court > system but in terms that are sympathetic with moving image artistic > practice. > > Bernie > _______________________________________________ > FrameWorks mailing list > [email protected] > https://mailman-mail5.webfaction.com/listinfo/frameworks >
_______________________________________________ FrameWorks mailing list [email protected] https://mailman-mail5.webfaction.com/listinfo/frameworks
