Digital #MediaArt(s) Numérique(s)
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Media Arts Watch Lab - www.arts-numeriques.info - laboratoire de veille Arts Numériques - twitter @arts_numeriques - @processing_org - @DigitalArt_be - by @jacquesurbanska @_Transcultures
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07.04>21.05.2017 – No Copyright Infringement Intended / Curated by Antonio Roberts @ Phoenix

07.04>21.05.2017 – No Copyright Infringement Intended / Curated by Antonio Roberts @ Phoenix | Digital #MediaArt(s) Numérique(s) | Scoop.it

No Copyright Infringement Intended is a group exhibition exploring the relationship between copyright and culture in the digital age, investigating how the concept of ownership and authorship is evolving and coming into conflict with outdated copyright and intellectual property laws.

Since the 1990s the internet has provided the opportunity for mass copying, redistribution and remixing of content – profoundly changing the way culture is produced and shared and sparking legal battles and debates that still rage on. Today, the increasing availability of technologies like 3D scanning and 3D printing have extended the ability to digitally copy and reproduce to the physical realm.

... 

The exhibition includes work by Nick Briz, Emilie Gervais, Nicolas Maigret, Christopher Meerdo, Jan Nikolai Nelles & Nora Al-Badri, Duncan Poulton, Fernando Sosa, Andrea Wallace & Ronan Deazley

 

Curated by Antonio Roberts, a new media artist and curator based in Birmingham. Kindly supported by Arts Council England

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Real Artists Copy: An Conversation with Artist Nick Briz - by Chakka Reeves

Real Artists Copy: An Conversation with Artist Nick Briz - by Chakka Reeves | Digital #MediaArt(s) Numérique(s) | Scoop.it

New Media Artist and Educator Nick Briz has a perspective on copying, stealing and sharing on the web that all artists and creatives need to hear. Some of the topics we discussed in this episode include:  Why copying is our first tool as creators, how to be okay with the possibility of your work being copied, how to avoid appropriating cultures when copying and more. 

I first became aware of Nick and his work a few years ago when I found his How/Why to Leave Facebook video on Youtube. It was a big factor in why I opted to deactivate my account almost three years ago. ...

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KH000//Kopimashin, by Peter Sunde Kolmisoppi (2015) /// #mediaart #thepiratebay

The Kopimashin creates an endless amount of copies of a specific audio track (gnarls barkley’s crazy). The audio track is copied to /dev/null, a unix data pipe for avoiding permanent storage. The Kopimashins lcd display consists of three rows of information, the serial number of the mashin, amount of copies created and the dollar value it represents in losses for the record labels (Downtown Records / Warner Music), currently represented by USD1,25 per copied piece.

The goal of the kopimashin is to make the audio track the most copied in the world and while doing so bankrupting the record industry.

This project is part of the psk value series.


86mm x 54mm x 19mm. Series of 13.
raspberry pi, lcd display, python code

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A reminder that your Instagram photos aren’t really yours: Someone else can sell them for $90,000

A reminder that your Instagram photos aren’t really yours: Someone else can sell them for $90,000 | Digital #MediaArt(s) Numérique(s) | Scoop.it

The Internet is the place where nothing goes to die.


Those embarrassing photos of your high school dance you marked “private” on Facebook? The drunk Instagram posts? The NSFW snapchats? If you use social media, you’ve probably heard a warning akin to “don’t post anything you wouldn’t want your employer (or future employer) to see.”...


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Scientist Deliberately Pirates Art on a Nanoscopic Scale | project developed by Dr Robert Hovden

Scientist Deliberately Pirates Art on a Nanoscopic Scale | project developed by Dr Robert Hovden | Digital #MediaArt(s) Numérique(s) | Scoop.it
Copying a song, movie or image without the creator's permission is illegal in many instances, especially so if the infringement is intentional. But what if that piracy is done on a nanoscopic scale, so that infringed works are imperceptible to human senses? How does that affect the artists?
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Digital Art as ‘Monetised Graphics’: Enforcing Intellectual Property on the Blockchain by Martin Zeilinger

Digital Art as ‘Monetised Graphics’: Enforcing Intellectual Property on the Blockchain by Martin Zeilinger | Digital #MediaArt(s) Numérique(s) | Scoop.it

In a global economic landscape of hyper-commodification and financialisation, efforts to assimilate digital art into the high-stakes commercial art market have so far been rather unsuccessful, presumably because digital artworks cannot easily assume the status of precious object worthy of collection. This essay explores the use of blockchain technologies in attempts to create proprietary digital art markets in which uncommodifiable digital artworks are financialised as artificially scarce commodities. Using the decentralisation techniques and distributed database protocols underlying current cryptocurrency technologies, such efforts, exemplified here by the platform Monegraph, tend to be presented as concerns with the interest of digital artists and with shifting ontologies of the contemporary work of art.

 

I challenge this characterisation, and argue, in a discussion that combines aesthetic theory, legal and philosophical theories of intellectual property, rhetorical analysis and research in the political economy of new media, that the formation of proprietary digital art markets by emerging commercial platforms such as Monegraph constitutes a worrisome amplification of long-established, on-going efforts to fence in creative expression as private property. As I argue, the combination of blockchain-based protocols with established ambitions of intellectual property policy yields hybrid conceptual-computational financial technologies (such as self-enforcing smart contracts attached to digital artefacts) that are unlikely to empower artists but which serve to financialise digital creative practices as a whole, curtailing the critical potential of the digital as an inherently dynamic and potentially uncommodifiable mode of production and artistic expression. ...

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How to honor Aaron Swartz’s life — The Coffeelicious / Ben Wikler on Medium - #AaronSwartz

How to honor Aaron Swartz's life - The Coffeelicious - Medium

Today is the third anniversary of the suicide of Aaron Swartz.

Aaron was one of my closest friends. That night was the worst of my life.

In the weeks and months that followed, many of his friends and family — and many people that never knew him personally — asked themselves and each other the same question: what’s the best way to honor Aaron’s death? ...



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L’art de la capture d’écran, de Richard Prince à l’auto-screen par Laurence Allard

L’art de la capture d’écran, de Richard Prince à l’auto-screen par Laurence Allard | Digital #MediaArt(s) Numérique(s) | Scoop.it

Une polémique enfle au sujet du travail de  Richard Prince exposant pour des centaines de milliers de dollars des photographies capturés sur Instagram. Elle se cristallise notamment autour de la question juridique puisque l’artiste plaide le « fair use » (usage loyal à caractère transformatif) pour justifier la valeur artistique de son geste d’appropriation mais qui est ressenti par certains auteurs des photographies capturées comme de la simple prédation.


Dans ce blog consacré à décrire empiriquement la culture mobile sur la base de collecte de corpus et d’entretiens, nous voudrions aborder la controverse Richard Prince  en nous focalisant sur le type de contenu au coeur de cette polémique, à savoir non pas des photographies mobiles mais des captures d’écran agrandies et exposées.


En effet, ce contenu « capture d’écran » devient, selon nous, crucial à l’heure où nos existences connectées peuvent s’apparenter à un ready made by mobile. A travers la « capture » de soi, des autres, du monde  dans le flux de nos conversations digitales créatives mixant sur le vif des images et des mots tout au long d »une journée, la banalité de nos vies quotidienne se trouve théâtralisée, mise en scène, racontée… bref se trouve transfigurée tel un objet trivial promu oeuvre d’art comme « ready made » par l’artiste Marcel Duchamp. ...

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Copie Copains Club, a community of artists who copy each other - by regine debatt on wmmna

Copie Copains Club, a community of artists who copy each other - by  regine debatt on wmmna | Digital #MediaArt(s) Numérique(s) | Scoop.it

During the last edition of the GAMERZ festival, i discovered the existence of the Copie Copains Club (Copy Companion Club), a community of artists who copy each other. To become a member of the club, you either copy a fellow artist or you are copied by them. It's that easy!


Copie Copains Club aims to highlight the art of copying in the Post-Internet era. Today, the works and their representations circulating on the web become themselves available materials, ready to be replayed by other artists. At a time when production companies and governments toil to outlaw copying, CCC aims to be a space where everyone can freely enjoy the copying: a playground where contemporary artists or geeks designers of all generations and all countries can question their relation to intellectual property and their own creation.

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