DOCSLIB.ORG

De/Mystifying Smartphone-Video Through Vilém Flusser's Quanta

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
De/Mystifying Smartphone-Video Through Vilém Flusser's Quanta De/Mystifying Smartphone-Video through Vilém Flusser’s Quanta Jamie Jenkinson 64,028 words 1 Contents Abstract 3 Introduction 4 Methodology 21 In Practice: Structure (iPhone 4, 2011) 24 Film and Video Structural/Materialist Film 28 Technical Supports 35 “Moving Image” 38 The Instability of Digital Video 48 Unstable Methods in Structural Practice 54 Digital Duration 59 The ‘Coming into Presence’ of Film and Video 64 In Practice: Desert Rose (iPhone 6, 2016) and Elm (iPhone 6, 2016) 73 Smartphone-Video User-Video 2005-2010: Production and Distribution 81 User-Video 2010-2020: Video Hierarchy and the Poor Image 89 Smart Cameras and AI Aesthetics 97 Early Awareness of Video Automation 103 User Integration of 20th Century Avant-Garde Techniques 109 High Profile Usership 117 A Brief Survey of Distributed Camera Phone Video Practice 126 User Anonymity 129 In Practice: Symi (iPhone 7 Plus, 28/09/17-03/10/17) 135 Quanta Thinking in Quanta 145 Quantum Dialogues and Intersubjective user(s) 155 Thinking Machines, Soft Thought, and the ‘Something-New’ 162 Smartphone-Video as a Non-Polarised Quantum Dialogue 168 The Act of Recording 174 In-Camera Smartphone-Video 179 The Ritual Gestures in Smartphone-Video 181 Improvisation in Smartphone-Video 189 The Gesture of De/Mystification 195 In Practice: T-rex, Stone Circling, It’s Gonna be a Beast (iPhone 7 Plus, 13-15/08/19) 204 Conclusion 214 In Practice: Online Archive selection 219 Bibliography 220 Works 239 2 Abstract Videos made on smartphones are recognised in popular culture in a manner that is not reciprocated in media theory and fine art practice. The difference between smartphone-video and other film and video technology has been obscured within post-medium contexts such as “moving image,” where an ideological indifference creates new physical and psychological barriers between video ‘user’ and moving image ‘artist.’ This thesis considers smartphone-video as a significantly different gesture to other moving image technologies, which I raise through media theorist Vilém Flusser’s interpretation of “quanta,” and his interest in ‘the gesture of video’ as a “quantised phenomenon.” I approach these ideas through my own smartphone-videos, which are initially influenced by principles of Peter Gidal’s structural/materialist filmmaking. By readdressing Gidal’s methods of non-illusionist demystification, smartphone-video can be considered a very different gesture to filmmaking. Film becomes stable, causal, and Newtonian; while video becomes unstable, probable, and quantum. Developments in digital imaging and computer processors highlight such quantum mechanics, which although complex, function in ways classical physics cannot explain. This thesis proposes how Flusser’s concept of quanta can account for the unstable qualities found in smartphone-video’s manner of operation when de/mystified through principles of Gidal’s structural/ materialist filmmaking. Such observations consider video's quantum instability through AI driven automation and user-friendly features that enable “quantum dialogues” between user and machine as decision-makers. Observing smartphone-videos as non-polarised quantum dialogues through improvisation in the act of recording, expresses Flusser’s theory of gestures, and elucidates his proto-decolonial efforts against “universal phenomena.” The gesture of smartphone-video encompasses much more than I had imagined, and subsequently — with the aid of Karen Barad — considerations are made to a de/mystification of video’s gesture, operating through proximity in an intra-subjective network of user(s). 3 Introduction We need to think in video. (Flusser, 2014a: 25) Video is understood in popular culture as a mode, tool, or function of many camera-integrated devices, and yet recognising this video remains an inconclusive subject of media theory. Within this field, video can be: ‘analogue’ though not digital (Spielmann, 2008: 72); ‘the digital’ as part of a broader ‘new media’ (Manovich, 2001: 68); ‘hybridised’ as indeterminate through relations to other predetermined media (Rodowick, 2007: 36); and/or ‘moving image’ as mediumless and/or ‘film’ under the post-medium condition (Kim, 2016: 71). It is outside this academic discourse where ‘video’ functions in practice as a social tool through its integration into various devices such as televisions, laptops, doorbells and dashboards etc., though most notably in the smartphone. The term video is commonplace within these tools, as ‘video mode,’ ‘video upload,’ ‘video call’ etc. Yet despite the proliferation of video devices and their widespread use, this video lacks a critical framework to acknowledge and understand videos made by users of such devices. This thesis represents an attempt to consider “smartphone-video” as a relevant topic of media theory, expanded upon through my ongoing smartphone-video experiments accompanying this thesis. In approaching 4 my understanding of smartphone-video, I adopt principles of Peter Gidal’s structural/materialist filmmaking as a means of demystifying video; and the concept of ‘quanta’ as interpreted by media theorist Vilém Flusser, and consider this as a process of de/mystification toward the end of the thesis. Structural/materialist filmmaking is commonly associated with Gidal and affiliated filmmakers at the London Filmmakers Cooperative (LFMC) from 1966. I have adopted principles from structural/ materialist practice (expanded upon below) as a means of ‘demystifying’ smartphone-video’s ‘coming into presence’ while upholding a ‘one to one relationship between viewer and viewed’ in a context relevant to the smartphone-user (Gidal, 2016: 37, 39; 1990: 1, 7). In filmmaking, these principles led to a non-illusionist clarification of film through a dialectical relationship between the physical material base of film’s celluloid strip and the image represented on the screen. Resulting ideas of ‘film as film,’ as a supposed medium specific investigation, have been interpreted as a definitive understanding of film as a ‘medium’ (20). I expand upon various problems with this understanding below, but it is this idea of a comparative ‘video as video’ that initially inspired my video practice through a naive investigation into what video might offer if these same principles were applied. There are various coexisting understandings of video in media theory. Some maintain that video can only exist as ‘analogue,’ as media theorist Yvonne Spielmann proposes in Video: The Reflexive Medium (2005). She writes, if ‘video merges into the matrix of computer media, another stage of the development of the media appears, which no longer belongs to the realm of video’ (72). Computer, or ‘digital video’ becomes part of a wider field of ‘digital media,’ which for some, such as Mary Ann Doane, is questioned as an ‘oxymoron’ (Doane, 2007: 143); while others, such as Lev Manovich, have claimed, ‘There is no such thing as “digital media”’ (Malevich, 2013: 152). Within 5 this complex and undulating field, it becomes difficult to identify the thing we make when in video mode on our smartphones, that are filed in video folders, and conform to video upload specifications. These issues run parallel to the prevailing post medium condition, where defining media on their own terms is undesirable. The post medium condition opposes the modernist position of medium specificity commonly associated with critic and essayist Clement Greenberg in the mid 20th century. Greenberg’s essentialist fetishisation of a medium’s essential form came to be dismissed by artists and critics for its rigid and elitist framework, ushering in the ‘post medium condition’ as notably proposed in critic and essayist Rosalind Krauss’ ‘“A Voyage on the North Sea”: Art in the Age of the Post-Medium Condition’ (1999). More recently, in essays ‘The Guarantee of the Medium’ (2009) and book Under Blue Cup (2011), Krauss promotes a move towards ideas against the post medium condition under the term “technical support.” In the opening chapter of this thesis I challenge some of Krauss’ position, but the potential for a middle-ground between modernist essentialism and post-medium indifference becomes a useful means of positioning an understanding of smartphone-video outside of these polarising approaches. In media theory, video and the digital are discussed in terms of an ‘unstable’ quality (Spielmann, 2006: 58; Malevich, 2001: 84). This flexible/dynamic/variable/manipulatable quality has led some to questions the potential of establishing a definitive understanding of digital video (Kim, 2016: 96), which seems to ‘exude a fantasy of immateriality’ (Doane 2007: 143). It may then appear counterproductive to apply ‘materialist’ principles — those used to demystify the physical support of film’s celluloid — to video. This research takes a step back from this position by considering celluloid as the result of, rather than the reasoning for, a non-illusionist materialism. Video can be considered as a similarly illusionistic technical support in terms of representation. The importance is 6 not the physical materiality, but an illusion to be demystified. It is here that I adopt Vilém Flusser’s quanta as a crucial framework in considering the instability of video as capable of being demystified through structural/materialist principles; and where video begins to diverge dramatically from filmic thinking, and into the quantum concerns proposed by Flusser. Quanta is a problematic wording for many, as it holds connotations in various fields through computation, physics and pseudo-science.
Load more

Recommended publications
  • Touchstones of Popular Culture Among Contemporary College Students in the United States
    Minnesota State University Moorhead RED: a Repository of Digital Collections Dissertations, Theses, and Projects Graduate Studies Spring 5-17-2019 Touchstones of Popular Culture Among Contemporary College Students in the United States Margaret Thoemke [email protected] Follow this and additional works at: https://red.mnstate.edu/thesis Part of the Higher Education and Teaching Commons Recommended Citation Thoemke, Margaret, "Touchstones of Popular Culture Among Contemporary College Students in the United States" (2019). Dissertations, Theses, and Projects. 167. https://red.mnstate.edu/thesis/167 This Thesis (699 registration) is brought to you for free and open access by the Graduate Studies at RED: a Repository of Digital Collections. It has been accepted for inclusion in Dissertations, Theses, and Projects by an authorized administrator of RED: a Repository of Digital Collections. For more information, please contact [email protected]. Touchstones of Popular Culture Among Contemporary College Students in the United States A Thesis Presented to The Graduate Faculty of Minnesota State University Moorhead By Margaret Elizabeth Thoemke In Partial Fulfillment of the Requirements for the Degree of Master of Arts in Teaching English as a Second Language May 2019 Moorhead, Minnesota iii Copyright 2019 Margaret Elizabeth Thoemke iv Dedication I would like to dedicate this thesis to my three most favorite people in the world. To my mother, Heather Flaherty, for always supporting me and guiding me to where I am today. To my husband, Jake Thoemke, for pushing me to be the best I can be and reminding me that I’m okay. Lastly, to my son, Liam, who is my biggest fan and my reason to be the best person I can be.
    [Show full text]
  • From Testimony to Story Video Interviews About Nazi Crimes
    Education with Testimonies FROM TESTIMONY TO STORY Video Interviews about Nazi Crimes. Perspectives and Experiences in Four Countries edited by Dagi Knellessen and Ralf Possekel The stories of Holocaust survivors and others who were persecuted by the Nazis are an invaluable resource for understanding what effect persecution had on victims and how they dealt with this experience over time. In recent decades, researchers in many countries began videotaping contemporary witnesses as they told their stories, allowing their voices to be heard, when personal encounters are no longer possible. In the interviews, biographical narratives and personal memories are used to document the mass crimes committed by the Nazis and also to illuminate how survivors processed these memories in their lifetime. This multi-faceted historical source poses special challenges to educational work. This volume reflects international developments, trends and debates about the videotaped contemporary witness interviews and their digital archives. Different interview collections and educational approaches from Israel, the Czech Republic, Poland and Germany are presented. These essays document the exchange that took place between education experts from these four countries as part of the series Entdecken und Verstehen. Bildungs- arbeit mit Zeugnissen von Opfern des Nationalsozialismus (“Discovering and Understanding: Educational Work with Testimonials from Victims of National Socialism”) that was initiated and organized by the Foundation EVZ in 2010 and 2011. Education
    [Show full text]
  • Youtube 1 Youtube
    YouTube 1 YouTube YouTube, LLC Type Subsidiary, limited liability company Founded February 2005 Founder Steve Chen Chad Hurley Jawed Karim Headquarters 901 Cherry Ave, San Bruno, California, United States Area served Worldwide Key people Salar Kamangar, CEO Chad Hurley, Advisor Owner Independent (2005–2006) Google Inc. (2006–present) Slogan Broadcast Yourself Website [youtube.com youtube.com] (see list of localized domain names) [1] Alexa rank 3 (February 2011) Type of site video hosting service Advertising Google AdSense Registration Optional (Only required for certain tasks such as viewing flagged videos, viewing flagged comments and uploading videos) [2] Available in 34 languages available through user interface Launched February 14, 2005 Current status Active YouTube is a video-sharing website on which users can upload, share, and view videos, created by three former PayPal employees in February 2005.[3] The company is based in San Bruno, California, and uses Adobe Flash Video and HTML5[4] technology to display a wide variety of user-generated video content, including movie clips, TV clips, and music videos, as well as amateur content such as video blogging and short original videos. Most of the content on YouTube has been uploaded by individuals, although media corporations including CBS, BBC, Vevo, Hulu and other organizations offer some of their material via the site, as part of the YouTube partnership program.[5] Unregistered users may watch videos, and registered users may upload an unlimited number of videos. Videos that are considered to contain potentially offensive content are available only to registered users 18 years old and older. In November 2006, YouTube, LLC was bought by Google Inc.
    [Show full text]
  • VIDEO and ABSTRACT EXPRESSIONISM Hermine Freed
    VIDEO AND ABSTRACT EXPRESSIONISM Hermine Freed If the content of formalist art is form, then the forms in a video whereas others view us through our behavior. Through video, art work are a function of its content. Just as formal similari- we can view our behavior and personal interactions removed ties can be found in minimalist sculptures or abstract expres- from immediate feelings and experiences . Laing speaks of the sionist paintings, videotapes tend to be stylistically unique, ego boundary as the extension between man and society. The although there are likely to be conceptual similarities amongst works of Acconci, Benglis, Campus, Holt, Jonas, Morris, Nau- them. These similarities often arise out of inherent qualities in man, Serra and myself operate on that boundary line. the medium which impress different artists simultaneously . If Peter Campus and Bruce Nauman have both made live minimalist sculptors have explored the nature of the sculptural video installations which involve the viewer directly. In Cam- object, then video artists tend to explore the nature of the pus' Shadow Projection the viewer sees himself projected on a video image. As the range of possibilities is broad, so are the screen from behind with a shadow of his image superimposed sources, ideas, images, techniques, and intentions. Neverthe- over the enlarged color image. He stands between the screen less, similarities can be found in tapes of artists as seemingly and the camera (the interface between seer and seen), turns to dissimilar as Campus, Nauman, and Holt, and some of those see himself, and is frustrated because he is confronted with the similarities can be related to their (unintentional) resemblance camera and can never see his image from the front.
    [Show full text]
  • Resource What Is Modern and Contemporary Art
    WHAT IS– – Modern and Contemporary Art ––– – –––– – – – – – – – – – – – – – – – – – – – – – – – – – – ––– – – – – ? www.imma.ie T. 00 353 1 612 9900 F. 00 353 1 612 9999 E. [email protected] Royal Hospital, Military Rd, Kilmainham, Dublin 8 Ireland Education and Community Programmes, Irish Museum of Modern Art, IMMA THE WHAT IS– – IMMA Talks Series – – – – – – – – – – – – – – – – – – – – – ? There is a growing interest in Contemporary Art, yet the ideas and theo- retical frameworks which inform its practice can be complex and difficult to access. By focusing on a number of key headings, such as Conceptual Art, Installation Art and Performance Art, this series of talks is intended to provide a broad overview of some of the central themes and directions in Modern and Contemporary Art. This series represents a response to a number of challenges. Firstly, the 03 inherent problems and contradictions that arise when attempting to outline or summarise the wide-ranging, constantly changing and contested spheres of both art theory and practice, and secondly, the use of summary terms to describe a range of practices, many of which emerged in opposition to such totalising tendencies. CONTENTS Taking these challenges into account, this talks series offers a range of perspectives, drawing on expertise and experience from lecturers, artists, curators and critical writers and is neither definitive nor exhaustive. The inten- What is __? talks series page 03 tion is to provide background and contextual information about the art and Introduction: Modern and Contemporary Art page 04 artists featured in IMMA’s exhibitions and collection in particular, and about How soon was now? What is Modern and Contemporary Art? Contemporary Art in general, to promote information sharing, and to encourage -Francis Halsall & Declan Long page 08 critical thinking, debate and discussion about art and artists.
    [Show full text]
  • Developing a Curriculum for TEFL 107: American Childhood Classics
    Minnesota State University Moorhead RED: a Repository of Digital Collections Dissertations, Theses, and Projects Graduate Studies Winter 12-19-2019 Developing a Curriculum for TEFL 107: American Childhood Classics Kendra Hansen [email protected] Follow this and additional works at: https://red.mnstate.edu/thesis Part of the American Studies Commons, Education Commons, and the English Language and Literature Commons Recommended Citation Hansen, Kendra, "Developing a Curriculum for TEFL 107: American Childhood Classics" (2019). Dissertations, Theses, and Projects. 239. https://red.mnstate.edu/thesis/239 This Project (696 or 796 registration) is brought to you for free and open access by the Graduate Studies at RED: a Repository of Digital Collections. It has been accepted for inclusion in Dissertations, Theses, and Projects by an authorized administrator of RED: a Repository of Digital Collections. For more information, please contact [email protected]. Developing a Curriculum for TEFL 107: American Childhood Classics A Plan B Project Proposal Presented to The Graduate Faculty of Minnesota State University Moorhead By Kendra Rose Hansen In Partial Fulfillment of the Requirements for the Degree of Master of Arts in Teaching English as a Second Language December, 2019 Moorhead, Minnesota Copyright 2019 Kendra Rose Hansen v Dedication I would like to dedicate this thesis to my family. To my husband, Brian Hansen, for supporting me and encouraging me to keep going and for taking on a greater weight of the parental duties throughout my journey. To my children, Aidan, Alexa, and Ainsley, for understanding when Mom needed to be away at class or needed quiet time to work at home.
    [Show full text]
  • Robert Morris, Minimalism, and the 1960S
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 1988 The Politics of Experience: Robert Morris, Minimalism, and the 1960s Maurice Berger Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1646 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] INFORMATION TO USERS The most advanced technology has been used to photograph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book.
    [Show full text]
  • Summer 2019 Vol.21, No.3 Screenwriter Film | Television | Radio | Digital Media
    CANADIAN CANADA $7 SUMMER 2019 VOL.21, NO.3 SCREENWRITER FILM | TELEVISION | RADIO | DIGITAL MEDIA A Rock Star in the Writers’ Room: Bringing Jann Arden to the small screen Crafting Canadian Horror Stories — and why we’re so good at it Celebrating the 23rd annual WGC Screenwriting Awards Emily Andras How she turned PM40011669 Wynonna Earp into a fan phenomenon Congratulations to Emily Andras of SPACE’s Wynonna Earp, Sarah Dodd of CTV’s Cardinal, and all of the other 2019 WGC Screenwriting Award winners. Proud to support Canada’s creative community. CANADIAN SCREENWRITER The journal of the Writers Guild of Canada Vol. 21 No. 3 Summer 2019 ISSN 1481-6253 Publication Mail Agreement Number 400-11669 Publisher Maureen Parker Editor Tom Villemaire [email protected] Contents Director of Communications Lana Castleman Cover Editorial Advisory Board There’s #NoChill When it Comes Michael Amo to Emily Andras’s Wynonna Earp 6 Michael MacLennan How 2019’s WGC Showrunner Award winner Emily Susin Nielsen Andras and her room built a fan and social media Simon Racioppa phenomenon — and why they’re itching to get back in Rachel Langer the saddle for Wynonna’s fourth season. President Dennis Heaton (Pacific) By Li Robbins Councillors Michael Amo (Atlantic) Features Mark Ellis (Central) What Would Jann Do? 12 Marsha Greene (Central) That’s exactly the question co-creators Leah Gauthier Alex Levine (Central) and Jennica Harper asked when it came time to craft a Anne-Marie Perrotta (Quebec) heightened (and hilarious) fictional version of Canadian Andrew Wreggitt (Western) icon Jann Arden’s life for the small screen.
    [Show full text]
  • From Point to Pixel: a Genealogy of Digital Aesthetics by Meredith Anne Hoy
    From Point to Pixel: A Genealogy of Digital Aesthetics by Meredith Anne Hoy A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Rhetoric and the Designated Emphasis in Film Studies in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Whitney Davis, co-chair Professor Jeffrey Skoller, co-chair Professor Warren Sack Professor Abigail DeKosnik Professor Kristen Whissel Spring 2010 Copyright 2010 by Hoy, Meredith All rights reserved. Abstract From Point to Pixel: A Genealogy of Digital Aesthetics by Meredith Anne Hoy Doctor of Philosophy in Rhetoric University of California, Berkeley Professor Whitney Davis, Co-chair Professor Jeffrey Skoller, Co-chair When we say, in response to a still or moving picture, that it has a digital “look” about it, what exactly do we mean? How can the slick, color-saturated photographs of Jeff Wall and Andreas Gursky signal digitality, while the flattened, pixelated landscapes of video games such as Super Mario Brothers convey ostensibly the same characteristic of “being digital,” but in a completely different manner? In my dissertation, From Point to Pixel: A Genealogy of Digital Aesthetics, I argue for a definition of a "digital method" that can be articulated without reference to the technicalities of contemporary hardware and software. I allow, however, the possibility that this digital method can acquire new characteristics when it is performed by computational technology. I therefore treat the artworks covered in my dissertation as sensuous artifacts that are subject to change based on the constraints and affordances of the tools used in their making.
    [Show full text]
  • A Rhetorical Model for Homiletics. Rodney Kennedy Louisiana State University and Agricultural & Mechanical College
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1990 The piE stemic Power of Metaphor: A Rhetorical Model for Homiletics. Rodney Kennedy Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Kennedy, Rodney, "The pE istemic Power of Metaphor: A Rhetorical Model for Homiletics." (1990). LSU Historical Dissertations and Theses. 5063. https://digitalcommons.lsu.edu/gradschool_disstheses/5063 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps.
    [Show full text]
  • Full Edition 1
    WAKE FOREST JOURNAL OF BUSINESS AND INTELLECTUAL PROPERTY LAW VOLUME 14 NUMBER 1 FALL 2013 AN EXAMINATION OF BASEL III AND THE NEW U.S. BANKING REGULATIONS Andrew L. McElroy .................................................................. 5 HOW TO KILL COPYRIGHT: A BRUTE-FORCE APPROACH TO CONTENT CREATION Kirk Sigmon ........................................................................... 26 THE MIXED USE OF A PERSONAL RESIDENCE: INTEGRATION OF CONFLICTING HOLDING PURPOSES UNDER I.R.C. SECTIONS 121, 280A, AND 1031 Christine Manolakas ............................................................... 62 OPEN SOURCE MODELS IN BIOMEDICINE: WORKABLE COMPLEMENTARY FLEXIBILITIES WITHIN THE PATENT SYSTEM? Aura Bertoni ......................................................................... 126 PRIVATE FAIR USE: STRENGTHENING POLISH COPYRIGHT PROTECTION OF ONLINE WORKS BY LOOKING TO U.S. COPYRIGHT LAW Michał Pękała ....................................................................... 166 THE DMCA’S SAFE HARBOR PROVISION: IS IT REALLY KEEPING THE PIRATES AT BAY? Charles K. Lane .................................................................... 192 PERMISSIBLE ERROR?: WHY THE NINTH CIRCUIT’S INCORRECT APPLICATION OF THE DMCA IN MDY INDUSTRIES, LLC V. BLIZZARD ENTERTAINMENT, INC. REACHES THE CORRECT RESULT James Harrell ........................................................................ 211 ABOUT THE JOURNAL The WAKE FOREST JOURNAL OF BUSINESS AND INTELLECTUAL PROPERTY LAW is a student organization sponsored by Wake Forest University
    [Show full text]
  • Lucid Dream-Pop
    MUSIC TRACK IT DOWN The only tunes you need this March p.130 HOCUS OPUS The month’s most spellbinding albums p.152 COMPETITIVE COMPILATIONS Key comps and mixes reviewed p.156 LU C I D DREAM-POP Kelly Lee Owens breaks the mould with her stunning, self-titled debut album... p.152 djmag.com 129 HOUSE BEN ARNOLD James Hadfield and Danny Linton. With its tribal howls, Soak skirts the right side of QUICKIES 'world music' without being Phil Weeks wanky — always a perilous Raw Instrumental Vol. 2 [email protected] tightrope act. Instead, it's PW/Robsoul Recordings wonky and wonderful. Man 8.0 Power himself drops in a moody, Phil Weeks is clearly never visited with writer's acidic re-rub, while Axel Boman block. This eight-track EP being rather sturdy wallops yet another remix out evidence of this, a collection of weaponised into the bleachers, dropping house music to damage dancefloors. Bravo. the four-four in favour of a new genre, Balearic garage (which Justin Cudmore has just been coined here, this Forget It EP very moment). The Bunker New York 8.5 Oh yes. This blisteringly acidic four-tracker for MICHAEL ZAHNSCHIRM & THERESA LIPP ZAHNSCHIRM MICHAEL Jamie Lidell/Matthew The Bunker New York had us at hello. 'New Jack Pic: Herbert MONEY Lidell/Herbert The House' is a deeply classy slab, while 'Forget Moony Me SHOT! Accidental Jnr It' is machine music par excellence. Contemplatin' EP 9.0 Klamauk Lidell and Herbert have been 9.5 muckers for donkey's years, MIA LUCCI KINDISCH Thoroughly arresting house but this bootleg of the former's music here from German/ track 'When I Come Back Venezuelan/Austrian, Around' from his majestic 2005 Eduardo A.
    [Show full text]