<div dir="ltr">
<p class=""><font size="4"><b><font color="black" face="Arial"><span style="line-height:115%">Friction and
Fiction: IP, Copyright and Digital Futures</span></font></b></font></p>
<p class=""><font color="black" face="Arial"><span style="line-height:115%">Victoria & Albert Museum</span></font></p><p class=""><span style="color:black;font-family:Arial;line-height:115%">The Lydia and Manfred Gorvy
Lecture Theatre</span></p>
<p class=""><font color="black" face="Arial"><span style="line-height:115%">26 September 2015</span></font></p><p class=""><span style="color:black;font-family:Arial;line-height:115%">10:00 – 17:00</span></p>
<p class=""><font size="2" color="black" face="Arial"><span style="line-height:115%">This one day symposium takes place in the company of
leading writers, technologists, publishers and agents and ask whether the
existing framework of publishing copyright can be adequately adapted to meet -
and balance - the rights, needs and creative ambition of authors and publishers.
In collaboration with Goldsmiths, University of London, Whose Book is it
anyway? IP, collaborative business models, and questions of ethics and
creativity in digital publishing (2012-2016). and CREATe, the RCUK Centre for
Copyright and New Business Models in the Creative Economy.</span></font><span style="line-height:115%;color:black;font-family:Arial"> </span></p>
<p class=""><font size="2" color="black" face="Arial"><span style="line-height:115%"><a href="http://www.gold.ac.uk/create/copyrightframework/">http://www.gold.ac.uk/create/copyrightframework/</a> and </span></font><a href="http://www.create.ac.uk" style="line-height:115%;font-family:Arial">www.create.ac.uk</a></p><p class="">Register for the event here: <a href="http://www.eventbrite.co.uk/e/friction-and-fiction-ip-copyright-and-digital-futures-tickets-18521068013">http://www.eventbrite.co.uk/e/friction-and-fiction-ip-copyright-and-digital-futures-tickets-18521068013</a></p>
<p class=""><font color="black" face="Arial" size="4"><span style="line-height:115%"><br></span></font></p><p class=""><font color="black" face="Arial" size="4"><span style="line-height:115%">Programme</span></font><span style="line-height:115%;color:black;font-family:Arial"> </span><br></p>
<p class="" style="line-height:120%"><u><font color="black" face="Arial"><span style="line-height:120%">10:00 – 10:30 - Registration/Coffee</span></font></u></p>
<p class="" style="line-height:120%"><u><font color="black" face="Arial"><span style="line-height:120%">10: 30 – 11:00 - Keynote speech by Danuta Kean</span></font></u></p>
<p class="" style="line-height:120%"><b style="line-height:120%"><font size="2" color="black" face="Arial"><span style="line-height:120%">Diversity or die: how the face of
book publishing needs to change if it is to have a future.</span></font></b></p>
<p class=""><font size="2" color="black" face="Arial"><span style="line-height:115%">The talk will focus on what the <i>Writing the
Future</i> research found and what is happening in the general
population and the wider business community.</span></font></p>
<p class=""><i><font size="2" color="black" face="Arial"><span style="line-height:115%">Danuta Kean is a respected
publishing industry and media analysts, who has written and edited three
reports on diversity inthe publishing industry. She was one of the main
researchers for Spread the Word’s Writing the Future: Black and Asian authors
and publishing staff in the UK marketplace report published in April 2015. As
well as writing for a variety of publications, includingthe Daily Mail and the
Financial Times, she is books editor of Mslexia, the magazine for women
writers. She is currently working on a crime novel.</span></font></i><span style="line-height:115%;color:black;font-family:Arial"> </span></p>
<p class=""><i><font size="2" color="black" face="Arial"><span style="line-height:115%">Spread the Word is the writer
development organisation for London. The Writing the Future report can be
downloaded from: <a href="http://www.spreadtheword.org.uk">www.spreadtheword.org.uk</a></span></font></i></p>
<p class="" style="line-height:120%"><u><font color="black" face="Arial"><span style="line-height:120%">11: 00 – 11:30 - Keynote speech by Michael Bhaskar</span></font></u></p>
<p class=""><b><font size="2" color="black" face="Arial"><span style="line-height:115%">Filtering and Amplification: What Publishing Does and How it Changes</span></font></b></p><p class=""></p>
<p class=""><font size="2" color="black" face="Arial"><span style="line-height:115%">We hear a lot
about how publishing and the book are going through their</span> </font><span style="line-height:115%;color:black;font-family:Arial">biggest change in
centuries. In fact many elements remain consistent. If we look, we can trace a
consistent thread to publishing from ancient China to Silicon Valley. But there
are fundamental changes in the digital age - and the most dramatic is the
change in supply. This means that publishers core role, more than ever, is as
curators and amplifiers amidst a flood of material like no other.</span></p>
<p class=""><i><font size="2" color="black" face="Arial"><span style="line-height:115%">Michael Bhaskar is Co-founder and Publishing Director of Canelo, a new
digital publisher. Previously he was Digital Publishing Director at Profile
Books and Serpent's Tail and has worked at Pan Macmillan, a literary agency, an
economics consultancy and a newspaper amongst others. He writes widely on
media, society and technology and is author of The Content Machine, a book
exploring the past present and future of publishing. He is currently writing a
book about curation to be published by Little, Brown next year. He can be found
on Twitter as @michaelbhaskar</span></font></i></p>
<p class="" style="line-height:120%"><u><font color="black" face="Arial"><span style="line-height:120%">11: 30 – 11:45 - Keynotes Q&A</span></font></u></p>
<p class=""><u><font color="black" face="Arial"><span style="line-height:115%">11: 45 – 13:00 - What are
Words Worth: All together now</span></font></u></p>
<p class=""><span style="line-height:115%;color:black;font-family:Arial">Chair: Jon Rogers</span></p>
<p class=""><font color="black" face="Arial"><span style="line-height:115%">Panel Description</span></font></p>
<p class=""><font size="2" color="black" face="Arial"><span style="line-height:115%">What Are Words Worth Now?” is a survey of almost 2500
working writers, commissioned by the Authors’ Licensing & Collecting
Society (ALCS) and carried out by Queen Mary, University of London. The report
has found that increasingly few professional authors are able to earn a living
from their writing.</span></font></p>
<p class=""><font size="2" color="black" face="Arial"><span style="line-height:115%">Commenting on the findings of the survey, Owen
Atkinson, Chief Executive of ALCS said:</span></font></p>
<p class=""><font size="2" color="black" face="Arial"><span style="line-height:115%">‘These are concerning times for writers. This rapid
decline in both author incomes and in the numbers of those writing full-time
could have serious implications for the economic success of the creative
industries in the UK. If writers are to continue making their irreplaceable
contribution to the <i>UK economy, they need to
be paid fairly for their work. This means ensuring clear, fair </i></span></font><i><font size="2" color="black" face="Arial"><span style="line-height:115%">contracts with equitable terms
and a copyright regime that support creators and their ability to earn a living
from their creations’.</span></font></i><span style="line-height:115%;color:black;font-family:Arial"> </span></p>
<p class=""><font size="2" color="black" face="Arial"><span style="line-height:115%">In contrast to the sharp decline in earnings of
professional authors, the wealth generated by the UK creative industries is on
the increase.</span></font><span style="line-height:115%;color:black;font-family:Arial"> </span></p>
<p class=""><b><font size="2" color="black" face="Arial"><span style="line-height:115%">Jack Underwood, "Solo for
Mascha Voice and other Tenuous Rooms"</span></font></b></p>
<p class=""><font size="2" color="black" face="Arial"><span style="line-height:115%">Having been denied permission to publish
free-translations of poems by the German poet Mascha Kaleko, I instead began to
produce new poems that were both an appreciation of Kaleko's originals, but
that also sought to problematise and negotiate issues around intellectual
property in poetry. As well as reading from these "Solo for Mascha
Voice" poems, I will discuss how a practical engagement with text in such
a way can be viewed, in epistemological terms, as an advancement of of our
critical knowledge of source texts, and how this might also advance our
understanding of Creative Writing Studies as practical critical discourse.</span></font></p>
<p class=""><i><font size="2" color="black" face="Arial"><span style="line-height:115%">Dr Jack Underwood studied at
Norwich School of Art and Design and Goldsmiths College, where he is now a
lecturer in English and Creative Writing. His debut collection Happiness was
published by Faber in 2015, and he reviews new work for Poetry London and The
Poetry Review. He is currently writing a non-fiction book on the subject of
poetry and uncertainty.</span></font></i> </p>
<p class=""><b><font size="2" color="black" face="Arial"><span style="line-height:115%">Sophie Rochester, “Writing for
pleasure, writing for art or writing to get paid?”</span></font></b></p><p class=""></p>
<p class=""><span style="line-height:115%;color:black;font-family:Arial">The Literary Platform often considers the distinction
between telling stories and selling stories in its work, with special emphasis
on how the digital environment has impacted on this distinction. When does
writing as an art-form finish and writing as part of a commercial publishing
infrastructure begin? Much emphasis in our work is on how writers can sustain a
career and how writers are remunerated for telling stories. Our Fiction
Uncovered programme looks to support British 'mid-list' writers, the
all-important pool of writers that publishers and agents alike look to nurture
and break out to bestseller status. With so many who believe they have a novel
to write (in the US over 81% people), and with the self-publishing industry now
well established, who deserves to get paid? Readers hold the key to decision
making around purchases online whether those titles and self-published or
traditionally published. Traditional publishers, however, are still much more
successful at getting works into the bricks and mortar retailers. In 2012, we
also explored what an 'ethical reader' might look like and asked if readers
might pay more for books if they believed it was supporting a publishing
ecosystem. Around the world, traditional publishing is being disrupted by new
ways of story dissemination. Our China report launched in May 2015 explores how
China's online literature platforms have created wealthy mega-stars, where new
writers can deliver serialised stories to young mobile readers. Our closest
Western equivalent is Wattpad, a platform where writers tell stories and engage
socially with readers, but financial remuneration is not always an end goal. In
a world where almost everyone has access to a publishing platform, how is
quality determined and how do we place a value on words and who decides?</span></p>
<p class=""><i><font size="2" color="black" face="Arial"><span style="line-height:115%">Sophie Rochester founded the
specialist digital publishing consultancy The Literary Platform in 2009. In
2010 she launched Fiction Uncovered – now the Jerwood Fiction Uncovered Prize –
celebrating the work of British fiction writers. She is co-founder of The
Writing Platform (partnered with Bath Spa University and Queensland University
of Technology) and co-author of The Publishing Landscape in China.</span></font></i></p>
<p class=""><i><font size="2" color="black" face="Arial"><span style="line-height:115%">She has been a speaker on digital
publishing at TOC New York, the Frankfurt Book Fair, Bologna Book Fair, Editech
Milan, British Council Crossing the River conferences in Beijing, Shanghai and
Hong Kong. She is also a visiting lecturer at the London College of
Communications MA in Publishing and UEA’s MA in Creative Writing.</span></font></i></p>
<p class=""><b><font size="2" color="black" face="Arial"><span style="line-height:115%">Louise O’Hare, “Sonrisa/Smile”</span></font></b></p>
<p class=""><font size="2" color="black" face="Arial"><span style="line-height:115%">Sonrisa is a bilingual magazine of new work that sets
up a dialogue between artists and readerships in Havana and London, and their
networks beyond. Issue O of Sonrisa will be published in February 2016, printed
in different formats according to location, and distributed freely via e-book
in El Paquete Semanal and by Publication Studio London. Louise O'Hare from Three
Letter Words will talk about the publishing scene in Havana discussing the
intentions of this project which makes use of the potentials of both pre- and
post- digital modes of networking and publishing.</span></font></p>
<p class=""><i><font size="2" color="black" face="Arial"><span style="line-height:115%">Louise O’Hare is interested in
the potentials of art publishing strategies. Ongoing projects include Sonrisa,
a bilingual magazine of new work by artists based in Havana and London, and
Three Letter Words, a commissioning organisation currently developing a new
online distribution channel for small-scale art publishers. In 2011 she founded
the London Bookshop Map, a platform for disseminating work by artists who have
included Dora García, Katrina Palmer and Hannah Rickards among others. O’Hare
is currently working on 'Safe' ,an exhibition inspired by Todd Haynes' seminal
film of the same name (HOME, Manchester, November 2015), and undertaking a
practice-based PhD at Northumbria University (Funded Studentship Award
2014–17). She is an associate editor at Afterall, and lectures on MRes Art:
Theory and Philosophy at Central Saint Martins. She received her MA in Curating
Contemporary Art from the Royal College of Art, London, in 2010.</span></font></i></p>
<p class=""><u><font color="black" face="Arial"><span style="line-height:115%">13: 00 – 14:00 - Lunch</span></font></u><span style="color:black;font-family:Arial;line-height:115%"> </span></p>
<p class=""><u><font color="black" face="Arial"><span style="line-height:115%">14: 00 – 15:15 - How Do
Writers Eat?</span></font></u></p>
<p class=""><font color="black" face="Arial"><span style="line-height:115%">Chair: Michael Bhaskar</span></font></p>
<p class=""><font color="black" face="Arial"><span style="line-height:115%">Panel Description</span></font></p>
<p class="MsoNormal"><font size="2" color="black" face="Arial"><span style="line-height:115%">According to the late Charles Clark, the former
copyright advisor to the Publishers Association, is often quoted - "The
answer to the machine is the machine". He said this during a European
Commission Hearing on the Copyright Directive around 2000, in the context of
the legal protection for of technical protection measures. Thinking about the
role of technology today, especially in how it can help to move rights
management from out of the filing cabinet and onto the network, what do you see
as the role of technology in enabling creativity, new business models and
rights management , including helping authors to get paid. In this context, you may like to comment on
the role of Copyright Hubs like the UK's Copyright Hub, Rights Registries and
emerging standards for identifiers of works, rights and owners.</span></font></p>
<p class=""><b><font size="2" color="black" face="Arial"><span style="line-height:115%">Casey Brienza, Off the Page in
America: New Manga Publishing Models for a Digital Future</span></font></b><span style="line-height:115%;color:black;font-family:Arial"> </span></p>
<p class=""><font size="2" color="black" face="Arial"><span style="line-height:115%">Since the arrival of the Amazon Kindle in 2007 and the
closure of the Borders bookstore chain in 2011, the American manga publishing industry
has been under increased pressure to confront the imperatives of the digital
age. To this end, they have experimented with a range of new publishing models,
including fan-funded publishing, web aggregation, iPad/iPhone books, and
locally produced original titles. Drawing upon participant observation and 70
semi-structured interviews with professional in and around the field, I explore
five of these new models, their strengths and their weaknesses, and conclude,
perhaps paradoxically, that the most promising of these responses to a digital
future is not in itself digital at all. It is, in fact, to go back to basics:
Developing their own original content and otherwise exploit their own locally
cultivated intellectual property across a range of print media. While not
particularly pleasing from a Japanese cultural policy perspective as it
arguably makes what counts as “manga” less Japanese and more American, this
does open up new avenues of remunerated creative opportunity for comics
artists—particularly female ones—which would never have existed without the
manga industry.</span></font></p>
<p class=""><i><font size="2" color="black" face="Arial"><span style="line-height:115%">Casey Brienza is Lecturer in
Publishing and Digital Media in the Department of Culture and Creative
Industries at City University London. She holds a PhD in Sociology from the
University of Cambridge. To date, she has written over fifteen articles and
chapters about transnational cultural production and consumption and the
political economy of the global culture industries, specifically as these
relate to publishing and emerging digital technologies. Casey is the author of
Manga in America: Transnational Book Publishing and the Domestication of
Japanese Comics (Bloomsbury 2016), editor of Global Manga: “Japanese” Comics
without Japan? (Ashgate 2015), and co-editor with Paddy Johnston of Cultures of
Comics Work (under contract with Palgrave Macmillan).</span></font></i></p>
<p class=""><b><font size="2" color="black" face="Arial"><span style="line-height:115%">Ruth Jamieson, Why print
magazines just won’t die </span></font></b></p>
<p class=""><span style="line-height:115%;color:black;font-family:Arial">The internet was supposed to kill print magazines. And
yet, walk into any newsagent and you will be confronted by a greater choice of
magazines than ever before. While many mainstream consumer magazines have
floundered, a new breed of independent, niche titles is flourishing. These
titles are pioneering new business models, reinventing the reader/publisher
relationship, creating new markets and breathing new life into old media. Why
has this happened, why won’t print journalism die and how are the new indie
magazine publishers making the internet work for them?</span></p>
<p class=""><i><font size="2" color="black" face="Arial"><span style="line-height:115%">Ruth Jamieson is the author
of Print is Dead, Long Live Print, an eye-opening look into the field of
independent print journalism, showcasing over 50 examples of innovative
magazines from around the globe that are shaping the future of print. These
include Boneshaker, Lucky Peach, Anorak, Riposte, The Gentlewoman, Fantastic Man,
The Gourmand, WRAP, Kinfolk and many more. </span></font></i></p>
<p class=""><b><font size="2" color="black" face="Arial"><span style="line-height:115%">Martin Kretschmer, </span></font></b><b>The effects of
digitisation on earnings: Can we trust the data?</b></p>
<p class="MsoNormal"><font size="2" color="#191919" face="Arial">Martin
Kretschmer has conducted a number of studies on creators’ earnings and
copyright contracts, including –</font></p>
<p class="MsoNormal"><font size="2" color="black" face="Arial"><span style="color:windowtext"> </span></font></p>
<p class="MsoNormal" style="margin-left:36pt"><font size="2" color="black" face="Arial"><span style="color:windowtext">•<font face="Times New Roman"> </font></span></font><i><font color="#191919">Artists’ Earnings and Copyright: A review of British and
German music industry data in the context of digital technologies</font></i><font color="#191919">
(2005, funded by the Arts Council England, published in the journal <i>First Monday</i>);</font><font color="black"><span style="color:windowtext"></span></font></p>
<p class="MsoNormal" style="margin-left:36pt"><font size="2" color="black" face="Arial"><span style="color:windowtext">•<font face="Times New Roman"> </font></span></font><i><font color="#191919">The Relationship between Copyright and Contract Law: A Review
commissioned by the UK Strategic Advisory Board for Intellectual Property
Policy (SABIP)</font></i><font color="#191919"> (2010, with E. Derclaye, M. Favale, R. Watt);</font><font color="black"><span style="color:windowtext"></span></font></p>
<p class="MsoNormal" style="margin-left:36pt"><font size="2" color="black" face="Arial"><span style="color:windowtext">•<font face="Times New Roman"> </font></span></font><i><font color="#191919">Copyright Contracts and Earnings of Visual Creators: A
Survey of 5,800 British Designrs, Fine Artists, Illustrators and Photographers</font></i><font color="#191919">
(2011, with L. Bently, S. Singh, E. Cooper, commissioned by DACS,</font><a href="http://papers.ssrn.com/sol3/papers.cfm?abstract_id=1780206"><font color="#0000e9">
http://papers.ssrn.com/sol3/papers.cfm?abstract_id=1780206</font></a><font color="#191919">);</font><font color="black"><span style="color:windowtext"></span></font></p>
<p class="MsoNormal" style="margin-left:36pt"><font size="2" color="black" face="Arial"><span style="color:windowtext">•<font face="Times New Roman"> </font></span></font><i><font color="#191919">Authors’ Earnings from Copyright and Non-Copyright Sources:
A Survey of 25,000 British and German Writers</font></i><font color="#191919">
(2007, with P. Hardwick, UK data updated in 2014 by ALCS / Queen Mary, </font><a href="http://papers.ssrn.com/sol3/papers.cfm?abstract_id=2619649"><font color="#0000e9">http://papers.ssrn.com/sol3/papers.cfm?abstract_id=2619649</font></a><font color="#191919">; </font><a href="http://www.alcs.co.uk/documents/authors-earning-2015-download_version.aspx"><font color="#0000e9">http://www.alcs.co.uk/documents/authors-earning-2015-download_version.aspx</font></a><font color="#191919">).</font><font color="black"><span style="color:windowtext"></span></font></p>
<p class="MsoNormal"><font size="2" color="black" face="Arial"><span style="color:windowtext"> </span></font></p>
<p class="MsoNormal"><font size="2" color="#191919" face="Arial">Together
these studies offer a detailed empirical picture of the conditions under which
creators have worked in the UK since the digital turn of the mid-1990s, using
survey methods, supplemented by focus group research and legal analysis. In
particular, the studies focus on sources and distribution of earnings from
copyright and non-copyright sources (using the creator’s household as a key
unit of analysis), on sources and distribution of earnings by genre and media
(including digital formats), and on contractual practices relating to copyright
(such as taking legal advice, negotiating terms, assigning rights and being
credited). The talk will aim to place the question ‘How Do Writers Eat?’
into wider trends, not only relating to publishing sector.</font><font color="black"><span style="color:windowtext"></span></font></p>
<p class="MsoNormal"><font size="2" color="#191919" face="Arial"> </font><font color="black"><span style="color:windowtext"></span></font></p>
<p class="MsoNormal"><i><font size="2" color="black" face="Arial">Martin
Kretschmer is Professor of Intellectual Property Law at the University of
Glasgow, and Director of CREATe, the RCUK Centre for Copyright and New Business
Models in the Creative Economy (<a href="http://www.create.ac.uk">www.create.ac.uk</a></font>).</i></p>
<p class=""><u><font color="black" face="Arial"><span style="line-height:115%">15: 15 – 15:30 - Break</span></font></u></p>
<p class=""><u><font color="black" face="Arial"><span style="line-height:115%">15: 30 – 16:45 - A View from
Elsewhere</span></font></u></p><p class=""><span style="color:black;font-family:Arial;line-height:115%">Chair: Casey Brienza</span></p>
<p class=""><span style="line-height:115%;color:black;font-family:Arial">Panel Description</span></p>
<p class="MsoNormal"><font size="2" color="black" face="Arial"><span style="line-height:115%">Our premise is that iIf we were starting from scratch,
we might devise a copyright system which is global and diverse rather than
based on territoriality, normativity and national copyrights. Such a system
might recognize its relation to questions of access, ethics and structural
difference. It would encompass and enable,
one that would recognizes the experimental creativities of diverse
authors, readers and publishing presses. Rather than investing in utopianism,
we ask whether, Can the existing framework can be adequately adapted to meet -
and balance - the rights, and needs and
creative ambition of authors and
publishers?</span></font></p>
<p class=""><b><font size="2" color="black" face="Arial"><span style="line-height:115%">JR Carpenter, “Writing on the
Cusp of Becoming Something Else”</span></font></b></p>
<p class=""><font size="2" color="black" face="Arial"><span style="line-height:115%">As an author of print and digital literature I make
extensive use of archival materials, ‘found’ texts and images, and ‘borrowed’
source code. In this presentation I will frame these acts of appropriation as
contributions to a larger cultural project. In 1870 Lautréamont famously wrote:
“Plagiarism is necessary. Progress implies it.” In 2011 McKenzie Wark wrote:
“For past works to become resources for the present requires… their
appropriation as a collective inheritance, not as private property.”
Incorporation of variation, appropriation, and transformation into the process
of composition results in writing that is always on the cusp of becoming
something else.</span></font></p>
<p class=""><i><font size="2" color="black" face="Arial"><span style="line-height:115%">J. R. Carpenter is a Canadian
artist, writer, researcher, performer and maker of maps, zines, books, poetry,
short fiction, long fiction, non-fiction, and non-linear, intertextual,
hypermedia, and computer-generated narratives. Her pioneering works of digital
literature have been exhibited, published, performed, and presented in
journals, galleries, museums, and festivals around the world. She is a winner
of the CBC Quebec Writing Competition (2003 & 2005), the QWF Carte Blanche
Quebec Award (2008), and the Expozine Alternative Press Award for Best English
Book for her first novel, Words the Dog Knows (2008). She lives in South Devon,
England. </span></font></i><a href="http://luckysoap.com"><i>http://luckysoap.com</i></a><i>.</i></p>
<p class=""><b><font size="2" color="black" face="Arial"><span style="line-height:115%">Eva Weinmayr, “Copyright flattens
stuff — Piracy and Feminism”</span></font></b></p>
<p class=""><span style="line-height:115%;color:black;font-family:Arial">What would happen if we unhinged cultural production
from intellectual property law? Let’s
look at it through a feminist lens: in a
short presentation I will sketch out the gendered construction of intellectual
property which creeps into our vocabulary (and actions) reducing the complex
social and cultural relationships to concepts of ownership and control. Why
would we like to “own” ideas which are meant to circulate and proliferate
through others?</span></p>
<p class=""><i><font size="2" color="black" face="Arial"><span style="line-height:115%">Eva Weinmayr is an artist, writer
and publisher. Recently published books include (pause) 21 scenes concerning
the silence of Art in Ruins (Occasional Papers, London) and Downing
Street—Help! David Cameron likes my art (New Documents, Los Angeles). She is
currently conducting a PhD at Valand Academy in Gothenburg. In 2009 she
co-founded AND Publishing, an platform exploring the immediacy of digital print
and new forms of dissemination. Since 2010 she runs together with artist Andrea
Francke The Piracy Project, an international exhibition and publishing activity
exploring the philosophical, legal and social implications of book piracy.</span></font></i></p><p class=""><i><font size="2" color="black" face="Arial"><span style="line-height:115%"><a href="http://www.evaweinmayr.com">www.evaweinmayr.com</a> and </span></font></i><i style="line-height:115%;color:black;font-family:Arial"><a href="http://www.andpublishing.org">www.andpublishing.org</a></i></p>
<p class=""><b><font size="2" color="black" face="Arial"><span style="line-height:115%">Smita Kheria, “Creators and
copyright: Voices from the field”</span></font></b></p><p class=""></p>
<p class=""><font size="2" color="black" face="Arial"><span style="line-height:115%">Smita will draw upon her ongoing research project
(titled ‘<a href="http://blogs.sps.ed.ac.uk/copyrightandcreators/create-projects/individual-creators/"><font color="#1155cc">Individual
Creators</font></a>’ and funded by<a href="http://www.create.ac.uk/"><font color="black"><span style="text-decoration:none"> </span></font></a><a href="http://www.create.ac.uk/"><font color="#1155cc">CREATe</font></a>)
that is investigating the interaction between copyright and the everyday life
of creative practitioners. Research for the project includes over 100
semi-structured interviews with a selection of creative practitioners (writers,
illustrators, composers, and visual artists), fieldwork observation at
festivals and relevant events, and the collection of secondary data from social
media sources such as Facebook and Twitter. In this presentation, she will
discuss some examples of her interviewees' successes and failures in
experimenting with finding a balance between sharing work freely and
identifying new revenue streams while navigating the complexities of the
copyright framework.</span></font><span style="line-height:115%;color:rgb(38,38,38);font-family:Arial"> </span><span style="line-height:115%;color:rgb(38,38,38);font-family:Arial"> </span><span style="line-height:115%;color:rgb(38,38,38);font-family:Arial"> </span></p><p class=""></p>
<p class=""><i><font size="2" color="#262626" face="Arial"><span style="line-height:115%">Dr Smita Kheria is
a Lecturer in Intellectual Property Law at the University of Edinburgh. She is
a co-director (Intellectual Property) of SCRIPT Centre for IP and Technology
Law and a member of CREATe. Her research interests relate to using empirical
research to address questions pertaining to copyright law and policy and, to
exploring connections between Intellectual Property law and new forms of
property and culture through the lens of creators and users. She has been
involved in several research projects that have examined how copyright
intersects with the everyday practices of digital artists, online creative
communities, arts and humanities researchers and professional creators and
performers.</span></font></i></p>
<p class=""><u><font color="black" face="Arial"><span style="line-height:115%">16: 45 – 16:55 Closing
Remarks and Open discussion</span></font></u></p>
<p class=""><b><font size="2" color="black" face="Arial"><span style="line-height:115%">Sam Edenborough, Closing Remarks</span></font></b></p><p class=""></p>
<p class=""><span style="line-height:115%;color:black;font-family:Arial">At a time when authors’ incomes are under threat more
than ever and when fundamental questions are being asked about IP and
copyright, all those involved in the business of getting books into readers’
hands are carefully considering their roles in the value chain. By how much, in
the digital age, have users’ needs actually changed such that a rebalancing of
the IP framework is necessary? As an agent I believe that readers are best
served by a robust IP regime that allows authors to control their rights, and
to gain maximum value from them, in order to make a living -- and thus to keep
writing. The themes of this conference reflect the variety of innovations that
authors, agents, publishers, booksellers, entrepreneurs and policy makers have
made, or are considering, in order to ensure that our literary culture thrives
to the benefit of all.</span></p>
<p class=""><i><font size="2" color="black" face="Arial"><span style="line-height:115%">Sam Edenborough is a director of
the London-based literary agency ILA Ltd and is currently serving as President
of the Association of Authors’ Agents, a trade body representing the interests
of UK literary agencies. In 1997 he began his career in publishing at A M Heath
& Co., one of the UK’s longest-established literary agencies. After working
as a foreign rights agent at Andrew Nurnberg Associates, he joined ILA in 2001,
where he represents clients’ translation rights in Brazil, Denmark, Italy, The
Netherlands, and Sweden.</span></font></i></p>
<p class=""><span style="line-height:115%;color:black;font-family:Arial">***</span></p>
<p class=""><i><font size="2" color="black" face="Arial"><span style="line-height:115%">Friction and Fiction Conference is
part of the CREATe project “Whose Book Is It Anyway? IP, collaborative business
models, and questions of ethics and creativity in digital publishing”. The
event is part of London Design Festival Digital Design Weekend at the Victoria
and Albert Museum.</span></font></i></p><p class=""><i><font size="2" color="black" face="Arial"><span style="line-height:115%">The event is free and open to all. Please register here: </span></font></i><a href="http://www.eventbrite.co.uk/e/friction-and-fiction-ip-copyright-and-digital-futures-tickets-18521068013">http://www.eventbrite.co.uk/e/friction-and-fiction-ip-copyright-and-digital-futures-tickets-18521068013</a></p>
</div>