This blog, its parent website (The Nearby Café), and the three other websites that form the consortium Photo Education Online have become a Go Daddy-free zone. With that said, the cause on behalf of which Go Daddy collaborated in the making of and endorsed SOPA — prevention of internet piracy — is one in which I believe. I’ll continue to sail the online seas and hang anyone pirating my IP from the virtual yardarm here. “Arrr” yourself, matey. You’ve been warned. [...]
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This boycott, and the threat of massive further customer migration, led Go Daddy to reverse its stance and officially withdraw its support of SOPA on Dec. 23, effectively apologizing to the internet community for approving it in the first place and promising to endorse revisions of this legislation, or any similar bills, only “when and if the Internet community supports it” — which, knowing the “Internet community” as I do, will happen on the proverbial chilly day in the hot place. [...] While I consider the protection afforded me by the copyright law appropriate and necessary, I also believe in the justness of the “fair use” exception thereto, when properly applied. I make use of this myself, as a researcher and scholar and author, and allow others to make use of it in relation to my own work, so long as they respect the rules that apply to “fair use.” I can’t recall ever complaining about anyone quoting an excerpt from my writing — even a lengthy one — in a non-commercial context. [...] In selling a work of visual art — a painting, a sculpture, a photographic print — the artist doesn’t commonly sell the IP rights thereto. The artist gets to benefit for decades from the licensing of all IP rights to the work, as do his heirs and assigns. Presumably the artists cheering on the follow-up rights campaign don’t intend to give any share of that income to collectors of their works. But shouldn’t that be part of any droit de suite deal? [...] |
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Bob Dylan: The Painter and the Photograph (1)
Most if not all of Bob Dylan’s “Asia Series” paintings are based on identifiable photographs not of Dylan’s making — none of them recent, but at least some of which remain under copyright protection. I consider it perfectly reasonable to hold him accountable, as a visual artist, to the same strictures his attorneys would hold anyone who produced and marketed an interpretation of his work. In what ways are graphic artists allowed to respond to photographs — and, conversely, disallowed from responding to them — both legally and ethically? [...]