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Still More Ends and Odds

Among the things I cherish about print as a communication medium, irrevocability ranks very high indeed. I love that, because it keeps me honest. The habits I acquired as a writer publishing in print media have carried over to my writing online. So I want to assure my readers that whatever they read with my byline on it, in any medium, going all the way back to 1964 — I wrote and published that. That was me, at least at that time. I own it, warts and all. […]

Dog Day Afternoons: Bits & Pieces (6)

Why shouldn’t the concept of authorship extend beyond the anthropocentric? Why can’t a monkey own the rights to his own selfie? Does the distinction between human and non-human production apply only to the animal kingdom, or does it extend to any method of generating images that does not involve direct human agency? What about images made by devices endowed with artificial intelligence? […]

No End of “Innocence”

Apparently it’s a gift that keeps on giving. There’s simply no end to the Innocence of Muslims story. Now the U.S. Ninth Circuit Court of Appeals has ruled that Google must remove from YouTube all versions of Mark Basseley Youssef’s anti-Islam provocation. […]

The Photographer and the Painting (3)

By imitating paintings as freely and frequently as they do, and by tolerating and even endorsing such activity by their fellow practitioners, photographers undercut themselves and their colleagues who object to such infringements on the part of visual artists, abandoning any claim to the moral high ground. […]

The Photographer and the Painting (2)

What doesn’t get talked about during the periodic uproars over a painter’s appropriation of a photographer’s work are the numerous situations in which the shoe’s on the other foot. So photographers’ commonplace practice of basing photographs on works of graphic art, often in detail and faithful to the originals, is celebrated, not condemned, by the very same community that objects, vociferously, when painters and other graphic artists imitate or derive iconography from photographic images. What inexplicable double standard operates here? […]