How much do you know about when a copyright is protecting a
specific work, and how comfortable are you in answering students’ question on
this topic?
2. The Lessig article made me think of my English
capstone course where we used Adam Bradley’s “The Poetry of Pop” as our
textbook. We studied elements of music as a sort of literary genre throughout the semester. I found
the process of tearing apart a song and getting to know the singer and even the
record companies to be similar to studying a writer, their works and
collections.
While the Lessig article highlights Greg Gillis as someone
who is an advocate of the remixing culture, what is your stance on remixing
from music content already created? On the same note, why is the remixing
culture so accepted when taking from a song is basically like taking from
another piece of work- whether it be literary or digital?
Currently there is a lot of controversy surrounding Childish Gambino and music theft, and it has grown incredibly out of proportion. This demonstrates how touchy of a subject plagiarism is when it comes to IP as well as in an industry where fame and money matter. It also shows how differently people can view the idea of plagiarism or remix. /personally I am kind of tone deaf to it as a monolithic thing because ive done a lot of reading into how it is used in contemporary art, but I would argue that it depends on how transformative the remix is and if the remix artists 'mark' or authentic intention can be seen in the new product
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