Cutting Across Media

Kembrew McLeod and Rudolf Kuenzli (Editors)

Description

In this collection of essays, leading academics, critics, and artists historicize collage and appropriation tactics that cut across diverse media and genres. They take up issues of appropriation in the popular and the avant-garde, in altered billboards and the work of the renowned painter Chris Ofili, in hip-hop and the compositions of Bela Bartok and Zoltan Kodaly, and in audio mash-ups, remixed news broadcasts, pranks, culture jamming, and numerous other cultural forms. The borrowing practices that they consider often run afoul of intellectual property regimes, and many of the contributors address the effects of copyright and trademark law on creativity. Among the contributors are the novelist and essayist Jonathan Lethem, the poet and cultural critic Joshua Clover, the filmmaker Craig Baldwin, the hip-hop historian Jeff Chang, the 'zine-maker and sound collage artist Lloyd Dunn, and Negativland, the infamous collective that was sued in 1991 for sampling U2 in a satirical sound collage. Cutting Across Media is both a serious examination of collage and appropriation practices and a celebration of their transformative political and cultural possibilities.Contributors. Craig Baldwin, David Banash, Marcus Boon, Jeff Chang, Joshua Clover, Lorraine Morales Cox, Lloyd Dunn, Philo T. Farnsworth, Pierre Joris, Douglas Kahn, Rudolf Kuenzli, Rob Latham, Jonathan Lethem, Carrie McLaren, Kembrew McLeod, Negativland, Davis Schneiderman, David Tetzlaff, Gabor Valyi, Warner Special Products, Eva Hemmungs Wirten

Sujets

• Popular culture
• History of art

Informations

• Publié par: Duke University Press
• Date de parution: 05 août 2011
• Nombre de lectures: 0
• EAN13: 9780822393214
• Langue: English
• Poids de l'ouvrage: 3 Mo

Extrait

A P P R O P R I A T I O N

A R T ,

I N T E R V E N T I O N I S T C O L L A G E ,

A N D C O P Y R I G H T L A W

Edited by

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D U K E U N I V E R S I T Y P R E S S

Durham & London

2011

©2011 Kembrew McLeod

and Rudolf Kuenzli

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kEEW  ç EO àN ûOF kûENZî • 1 I Collage, Herefore I Am: An Introduction toCuttin Across Media

àçûS OON • 24 Digital Mana: Ôn the Śource of the Inïnite Proliferation of Mutant Copies in Contemporary Culture

çàîE  ç àEN • 38 Copyrights and Copywrongs: An Interview with Śiva Vaidhyanathan

àî EZàFF • 51 Das Plagiierenwer: Convolute Uii

OY ûNN • 57 PhotoStatic Maazineand the Rise of the Casual Publisher

kEEW  ç EO • 76 Plagiarism® 101: An Appropriated Ôral istory of He Tape-beatles

C O N T E N T S

JOSûà çOE • 84 Ambiguity and Heft

OûGàS kàN • 94 here Does Śad ews Come rom?

NEGàîàN • 117 Éxcerpts from “Two Relationships to a Cultural Public Domain”

àîS SçNEîEàN • 132 Éverybody’s ot Śomething to ide Éxcept for Me and My Lawsuit: illiam Ś. Burroughs, J Danger Mouse, and the Politics of rey Tuesday

kEEW  ç EO • 152 ow Copyright Law Changed ip-op: An Interview with Public Énemy’s Chuc D and an Śhoclee

WàNE SEçîà OûçS • 158 ip-op Meets the Avant-arde: A Cease and Desist Letter from Attorneys Representing Philip lass

v

i

îO . FàNSWO • 160 etting Śnippety

kEEW  ç EO • 164 Crashing the Śpectacle: A orgotten istory of Digital Śampling, Infringement, Copyright Liberation, and the Énd of Recorded Music

çàîG àWîN • 178 Billboard Liberation: A Photo Éssay

îEE JOîS • 185 Ôn the Śeamlessly omadic uture of Collage

OàîNE OàES çOX • 199 Cultural Śampling and Śocial Critique: He Collage Aesthetic of Chris Ôïli

GáO áYî • 219 Remixing Cultures: Bartó and Kodâly in the Age of Indigenous Cultural Rights

JEFF çàNG • 237 A Day to Śing: Creativity, Diversity, and reedom of Éxpression in the etwor Śociety

CONTENTS

Eà EûNGS WîéN • 252 Visualizing Copyright, Śeeing egemony: Toward a Meta- Critique of Intellectual Property

àî àNàS • 264 Collage as Practice and Metaphor in Popular Culture

O àà • 276 Assassination eapons: He Visual Culture of ew ave Ścience iction

kEEW  ç EO • 290 ree Culture: A Conversation with jonathan Lethem

JONààN EE • 298 He Écstasy of Inuence: A Plagiarism

Biblioraphy327 • Contributors341 • ïndex345 •

A C K N O W L E D G M E N T S

His boo largely exists because of the conference Collage as Cultural Practice, which Rudolf Kuenzli and Kembrew McLeod organized at the University of Iowa in spring 2005. Many of the chapters contained inCut- tin Across Mediaemerged directly from this event. e than the Ôber- mann Center for Advanced Śtudies, especially its director, jay Śemel, for the generous funds to hold this conference. Additional contributions from the University of Iowa allowed us to mae the topic of collage a semester-long focus via a museum exhibition titledïnterventionist Col- lae: From Dada to the Present, an exhibit in the entrance hall of the Main Library onCollae and Zines, and a collage ïlm series, as well as a con- ference and several events focusing on intellectual property, which is a topic that directly bears on the future possibilities of collage in ïlm, art, literature, and music.  All these events came about due to the enthusiastic support of col- leagues and sta members in the Department of Communication Śtudies, Énglish, Cinema, and Comparative Literature, as well as the University Libraries, the ûî Museum of Art, the ûî College of Law, and the Proect on the Rhetoric of Inquiry. unding for boo indexing came from ûî ’s Ôce of the Vice President for Research Boo Śubvention und. e are also in- debted to a group of Intermedia students who spontaneously organized a semester-long do-it-yourself collage station in a community gallery. e than our graduate research assistants, Raymond atins and Charlie illiams, for their help in organizing the conference, and Kathryn loyd, Pua Birla, and ane Umsted for assisting us in editing the manuscripts.  Ôur special thans go to jonathan Lethem for allowing us to reprint “He Écstasy of Inuence”; egativland for selected passages from “Two Relationships to a Cultural Public Domain,” from theirNo Business ç / multimedia pacage; Carrie McLaren andStay Free!Magazine for “Copy- rights and Copywrongs: An Interview with Śiva Vaidhyanathan” and

viii

McLeod’s “ow Copyright Law Changed ip-op: An Interview with Pub- lic Énemy’s Chuc D and an Śhoclee”; Mr. Len for providing a copy of the cease and desist letter he received from attorneys representing Philip lass; and Davis Śchneiderman for “Éverybody’s ot Śomething to ide Éxcept for Me and My Lawsuit: J Danger Mouse, illiam Ś. Burroughs, and the Politics of rey Tuesday,” which originally appeared inPlaiary: Cross-Disciplinary Studies in Plaiarism, Fabrication, and FalsiIcation2006.  e also than Douglas Kahn for suggesting the title of this boo. e are greatly indebted to Due University Press, which chose the reviewers; their enthusiasm for this proect and their astute comments helped us mae this collection more concise and more focused. In particular, we than Ken issoer for intellectual and editorial guidance, and Courtney Berger and Leigh Barnwell for their editorial assistance. I would also lie to than the following people at Due University Press who helped usher this boo into the world: Laura Śell, Amanda Śharp, Émily oung, eal McTighe, Danielle Śzulczewsi, Michael McCullough, Katie Courtland, Amy Ruth Buchanan, Daïna Diabate, Beth Mauldin, and elena Knox, as well as j. aomi Linzer Indexing Śervices. Mucho thans to the ûî Com- munication Śtudies graduate students who helped me create a teaching guide based on this boo and Creative License: He Law and Culture of Digital Śampling: Éve Bottando, Benamin Burroughs, jong In Chang, Dan altese, and Benamin Morton. Last, thans to the world’s most rocin’ literary agent, Śarah Lazin.

ACKNOWL EDGMENTS

I Collage, Herefore I Am An Introduction toCuttin Across Media

K EM BR EW M C LEOD A N D RU DOLF KU EN ZLI

“A good composer does not imitate, he steals,” Igor Śtravinsy once re- mared, expressing a sentiment that many well-nown artists have shared (quoted in Ôswald, 1990, 89). hether we are taling about Dada, Cubism, uturism, Śurrealism, Śituationism, or Pop Art, creators across artistic movements have long acnowledged the centrality of appropria- tion in their creative practices. Collage was an essential method used to create literary wors lie T. Ś. Éliot’sHe Waste Land, Kathy Acer’sBlood and guts in ih School, illiam Burroughs’sNaked Lunch, james joyce’s Ulysses, and Marianne Moore’s poetry. In the world of audio, collage prac- tices played a ey role in the development of avant-garde music, as well as the birth of hip-hop—a largely African American musical genre re- sponsible for popularizing remix culture within the mainstream, perhaps more so than anything else.  Innovations in communication technologies (the phonograph, radio, magnetic tape, and, later, digital media) gave people new ways of cap- turing sound and image, which fundamentally changed their relation- ship with media. Śtarting at the beginning of the twentieth century, newspapers were the dominant media outlets that circulated cultural and political texts, acting as ideological gateeepers that shaped popu- lar culture. or artists armed with scissors and paste, the messages in newspapers’ pages could be literally cut up, rearranged, and thus trans- formed with available household tools and technologies. Later, magnetic tape and celluloid were subected to the hands-on manipulations of art- ists who critiqued the dominant culture.  Collage is not merely a technique that characterizes a series of artis- tic, literary, and musical movements, for it can be much more than that.