Haggerty is best known as a commercial artist, particularly of now-classic album covers. Introduction Mondrian Mickey On the cover of this book is a painting by Mick Haggerty-Mondrian Mickey- from 1976. ![]() And most of all, I have to thank Billy, without whom this would have been a book on art and math. I owe a debt I can never repay to my wife, Delaina Pearson, who has probably been forced to learn more about Richard Prince, fair use, and the Amen Break than she would have ever wanted to know, but always untiringly, always cheerfully, always encouragingly. Husick and three by anonymous scholars-I owe each of these reviewers a great deal, and the book is much better than it would have been without their help. The book has also benefited from several reviews, one by Lawrence A. I owe thanks to the team at the University of Chicago Press, including my editor Elizabeth Branch Dyson, who championed the project editorial associate Rachel Kelly, who shepherded the book from manuscript to marketing copyeditor Lisa Wehrle who beautifully polished my writing and designer Adeetje Bouma. Young, Reinold Schmücker, Eberhard Ortland, and Roger A. ![]() Several philosophers of art have played direct roles in personally invigorating, shaping, or challenging my views on their way to this book, especially Jerrold Levinson, Karen Gover, Sherri Irvin, James O. ![]() I have benefited tremendously from years of discussion with Maria Balcells, Craig Derksen, Pete Groff, Ben Jones, Dustyn Martincich, Joe Scapellato, and Megan Sunday (yes, Billy’s wife). Over the next decade, I would engage a great many people on the topics of copyright and appropriation, and I owe all of them a debt. It’s taken some time, and I couldn’t have predicted how that vow would take over my life. I vowed then and there that I would prove him wrong. Contents Acknowledgments / vii I n t r o d u ct i o n One T wo / Culture Clashes / 9 / Ontology, Copyright, and Artistic Practice / 31 Three Four Five /1 / The Myth of Unoriginality / 49 / Authorship, Power, and Responsibility / 67 / Toward an Ontology of Authored Works / 87 Six / The Rights of Authors / 101 Seven E i g ht / The Rights of Others / 121 / Appropriation and Transformation / 139 A ft e r w o r d / 163 Notes / 177 Bibliography / 205 Index / 221 A c k n o wl e d g m e n t s The research project that eventually became this book began ten years ago in a bar, where my friend Billy Sunday was doing his very best to justify his rampant illegal downloading of movies, music, and video games from the Internet. H53 2017 | DDC 346.04/82-dc23 LC record available at ♾ This paper meets the requirements of ANSI/NISO Z39.48-1992 (Permanence of Paper). paper) | ISBN 9780226460383 (e-book) Subjects: LCSH: Copyright-Philosophy. | Includes bibliographical references and index. Description: Chicago London : The University of Chicago Press, 2017. Title: Artistic license : the philosophical problems of copyright and appropriation / Darren Hudson Hick. Library of Congress Cataloging-in-Publication Data Names: Hick, Darren Hudson, author. ![]() Chapter 8: “Appropriation and Transformation” reprinted with minor alter ations from Darren Hudson Hick, “Appropriation and Transformation,” Ford ham Intellectual Property, Media & Entertainment Law Journal, 2013, 23, issue 4, 1155–95, copyright © 2012 Fordham Intellectual Property, Media & Entertainment Law Journal and Darren Hudson Hick. To request permission for other uses, contact the University of Chicago Press, 1427 E. Beyond that, things quickly become less clear. You are welcome to reproduce brief quotations from the book for the purposes of critical articles and reviews. What exactly that means is the complex matter at the heart of this book. Artistic License Artistic License The Philosophical Problems of Copyright and Appropriation Darren Hudson Hick The University of Chicago Press Chicago and London The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2017 by The University of Chicago All rights reserved.
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