Whose Book Is it Anyway? A View from Elsewhere on Publishing, Copyright and Creativity - cover image

Copyright

Janis Jefferies; Sarah Kember

Published On

2019-03-12

ISBN

Paperback978-1-78374-648-4
Hardback978-1-78374-649-1
PDF978-1-78374-650-7
HTML978-1-80064-577-6
XML978-1-78374-653-8
EPUB978-1-78374-651-4
MOBI978-1-78374-652-1

Language

  • English

Print Length

458 pages (xiv+444)

Dimensions

Paperback156 x 32 x 234 mm(6.14" x 1.25" x 9.21")
Hardback156 x 35 x 234 mm(6.14" x 1.38" x 9.21")

Weight

Paperback1903g (67.13oz)
Hardback2306g (81.34oz)

Media

Illustrations21
Tables3

OCLC Number

1099535636

LCCN

2019452861

BIC

  • LNR
  • LNRC
  • KNTP

BISAC

  • LAW050010
  • LAN027000

LCC

  • Z551

Keywords

  • collection of essays
  • copyright
  • copyright debate
  • open access
  • ethics
  • creativity
  • artist’s perspectives
  • writer’s perspectives
  • feminist perspectives
  • international perspectives
  • future of publishing
  • intellectual property
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Whose Book Is it Anyway?

A View from Elsewhere on Publishing, Copyright and Creativity

  • Janis Jefferies (editor)
  • Sarah Kember (editor)
Whose Book is it Anyway? is a provocative collection of essays that opens out the copyright debate to questions of open access, ethics, and creativity. It includes views – such as artist’s perspectives, writer’s perspectives, feminist, and international perspectives – that are too often marginalized or elided altogether.
The diverse range of contributors take various approaches, from the scholarly and the essayistic to the graphic, to explore the future of publishing based on their experiences as publishers, artists, writers and academics. Considering issues such as intellectual property, copyright and comics, digital publishing and remixing, and what it means (not) to say one is an author, these vibrant essays urge us to view central aspects of writing and publishing in a new light.

Whose Book is it Anyway? is a timely and varied collection of essays. It asks us to reconceive our understanding of publishing, copyright and open access, and it is essential reading for anyone invested in the future of publishing.

Contents

1. A Statement by The Readers Project Concerning Contemporary Literary Practice, Digital Mediation, Intellectual Property, and Associated Moral Rights

(pp. 21–32)
  • John Cayley
  • Daniel C. Howe
https://doi.org/10.11647/obp.0159.01

2. London-Havana Diary: Art Publishing, Sustainability, Free Speech and Free Papers

(pp. 33–64)
  • Louise O’Hare
https://doi.org/10.11647/obp.0159.02

3. The Ethics of Emergent Creativity: Can We Move Beyond Writing as Human Enterprise, Commodity and Innovation?

(pp. 65–90)
  • Janneke Adema
https://doi.org/10.11647/obp.0159.03

4. Are Publishers Worth It? Filtering, Amplification and the Value of Publishing

(pp. 91–104)
  • Michael Bhaskar
https://doi.org/10.11647/obp.0159.04

5. Who Takes Legal Responsibility for Published Work? Why Both an Understanding and Lived Experience of Copyright Are Becoming Increasingly Important to Writers

(pp. 105–128)
  • Alison Baverstock
https://doi.org/10.11647/obp.0159.05

6. Telling Stories or Selling Stories: Writing for Pleasure, Writing for Art or Writing to Get Paid?

(pp. 129–140)
  • Sophie Rochester
https://doi.org/10.11647/obp.0159.06

7. Copyright in the Everyday Practice of Writers

(pp. 141–180)
  • Smita Kheria
https://doi.org/10.11647/obp.0159.07

8. Comics, Copyright and Academic Publishing: The Deluxe Edition

(pp. 181–226)
  • Ronan Deazley
  • Jason Mathis
https://doi.org/10.11647/obp.0159.08

9. Diversity or Die: How the Face of Book Publishing Needs to Change if it is to Have a Future

(pp. 229–242)
  • Danuta Kean
https://doi.org/10.11647/obp.0159.09

10. Writing on the Cusp of Becoming Something Else

(pp. 243–266)
  • J. R. Carpenter
https://doi.org/10.11647/obp.0159.10

11. Confronting Authorship, Constructing Practices (How Copyright is Destroying Collective Practice)

(pp. 267–308)
  • Eva Weinmayr
https://doi.org/10.11647/obp.0159.11

12. Ethical Scholarly Publishing Practices, Copyright and Open Access: A View from Ethnomusicology and Anthropology

(pp. 309–346)
  • Muriel Swijghuisen Reigersberg
https://doi.org/10.11647/obp.0159.12

13. Show Me the Copy! How Digital Media (Re)Assert Relational Creativity, Complicating Existing Intellectual Property and Publishing Paradigms

(pp. 347–378)
  • Joseph F. Turcotte
https://doi.org/10.11647/obp.0159.13

14. Redefining Reader and Writer, Remixing Copyright: Experimental Publishing at if:book Australia

(pp. 379–402)
  • Simon Groth
https://doi.org/10.11647/obp.0159.14

1. Publishing Industry

(pp. 405–414)
  • Janis Jefferies
https://doi.org/10.11647/obp.0159.15

2. Is the Current Copyright Framework Fit for Purpose in Relation to Writing, Reading and Publishing in the Digital Age?

(pp. 415–416)
  • Laurence Kaye
https://doi.org/10.11647/obp.0159.16

3. Is the Current Copyright Framework Fit for Purpose in Relation to Writing, Reading, and Publishing in the Digital Age?

(pp. 417–422)
  • Richard Mollet
https://doi.org/10.11647/obp.0159.17

4. History of Copyright Changes 1710–2013

(pp. 423–426)
  • Rachel Calder
https://doi.org/10.11647/obp.0159.18

5. Is the Current Copyright Framework Fit for Purpose in Relation to Writing, Reading, and Publishing in the Digital Age?

(pp. 427–428)
  • Max Whitby
https://doi.org/10.11647/obp.0159.19

Introduction: Whose Book is it Anyway? A View from Elsewhere on Publishing, Copyright and Creativity

(pp. 1–18)
  • Janis Jefferies
  • Sarah Kember
https://doi.org/10.11647/obp.0159.20

Contributors

Janis Jefferies

(editor)
Professor Emerita of Visual Arts at Goldsmiths University of London

Sarah Kember

(editor)
Professor of New Technologies of Communication at Goldsmiths University of London