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Dramaturgies of Intellectual Property Law in Read-Write Theatre.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Dramaturgies of Intellectual Property Law in Read-Write Theatre./
作者:	Kircher, Andrew.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2021,
面頁冊數:	209 p.
附註:	Source: Dissertations Abstracts International, Volume: 83-03, Section: A.
Contained By:	Dissertations Abstracts International83-03A.
標題:	Theater. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28715513
ISBN:	9798538137459

Dramaturgies of Intellectual Property Law in Read-Write Theatre.
Kircher, Andrew.

Dramaturgies of Intellectual Property Law in Read-Write Theatre. - Ann Arbor : ProQuest Dissertations & Theses, 2021 - 209 p.

Source: Dissertations Abstracts International, Volume: 83-03, Section: A.

Thesis (Ph.D.)--City University of New York, 2021.

This item must not be sold to any third party vendors.

Digital and networked technologies have intensified our relationship to knowledge: all the world's information and creativity are so immediately and personally accessible that they become embodied. Into this moment, a new theatrical practice has emerged, what I identify as Read-Write Theatre (after Lawrence Lessig). In Read-Write cultural production, artists sample and speak through the full spectrum of disembodied data that is the internet-text, video, audio, and images. The artists I include in this critical category are marked by their posthuman relationship to knowledge and, most importantly, the ways that their theatrical work confounds contemporary intellectual property law.In this dissertation, I reframe intellectual property laws as dramaturgies, looking beyond what these laws permit to consider what modes of cultural production they insist. We live in an era of abundance, but the copyright laws that shape theatremaking assume-or even manufacture -a pre-digital notion of scarcity. I begin this project by tracing the legal and dramaturgical limits of copyright, before proposing three alternative models for Read-Write cultural production: a commons-based dramaturgy (Creative Commons), a reception- and aesthetics- based dramaturgy (trademark law), and an epidemiological dramaturgy (memes). In my conclusion, I consider the destabilizing impact that interconnected sensor data and DNA memory research could have on copyright dramaturgy.

ISBN: 9798538137459Subjects--Topical Terms:

522973
Theater.
Subjects--Index Terms:

Dramaturgies

Dramaturgies of Intellectual Property Law in Read-Write Theatre.
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100 1 $a Kircher, Andrew. $3 843762
245 1 0 $a Dramaturgies of Intellectual Property Law in Read-Write Theatre.
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 2021
300 $a 209 p.
500 $a Source: Dissertations Abstracts International, Volume: 83-03, Section: A.
500 $a Advisor: Eckersall, Peter.
502 $a Thesis (Ph.D.)--City University of New York, 2021.
506 $a This item must not be sold to any third party vendors.
520 $a Digital and networked technologies have intensified our relationship to knowledge: all the world's information and creativity are so immediately and personally accessible that they become embodied. Into this moment, a new theatrical practice has emerged, what I identify as Read-Write Theatre (after Lawrence Lessig). In Read-Write cultural production, artists sample and speak through the full spectrum of disembodied data that is the internet-text, video, audio, and images. The artists I include in this critical category are marked by their posthuman relationship to knowledge and, most importantly, the ways that their theatrical work confounds contemporary intellectual property law.In this dissertation, I reframe intellectual property laws as dramaturgies, looking beyond what these laws permit to consider what modes of cultural production they insist. We live in an era of abundance, but the copyright laws that shape theatremaking assume-or even manufacture -a pre-digital notion of scarcity. I begin this project by tracing the legal and dramaturgical limits of copyright, before proposing three alternative models for Read-Write cultural production: a commons-based dramaturgy (Creative Commons), a reception- and aesthetics- based dramaturgy (trademark law), and an epidemiological dramaturgy (memes). In my conclusion, I consider the destabilizing impact that interconnected sensor data and DNA memory research could have on copyright dramaturgy.
590 $a School code: 0046.
650 4 $a Theater. $3 522973
650 4 $a Intellectual property. $3 572975
650 4 $a Aesthetics. $3 523036
650 4 $a Law. $3 600858
653 $a Dramaturgies
653 $a Intellectual property law
653 $a Read-write theatre
690 $a 0465
690 $a 0513
690 $a 0650
690 $a 0398
710 2 $a City University of New York. $b Theatre and Performance. $3 3551672
773 0 $t Dissertations Abstracts International $g 83-03A.
790 $a 0046
791 $a Ph.D.
792 $a 2021
793 $a English
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28715513