WEEK 2: INTRODUCTION: INTERNET HISTORY AND NETWORK THEORY
WEEK 3: WHAT IS THE AUTHOR?/ HISTORY OF THE AUTHOR
Michel Foucault, 'What Is an Author?' (1969)
Martha Woodmansee, 'On the Author Effect: Recovering Collectivity' (1994)
Aaron Meskin, 'Authorship' (2008) in Livingston and Plantinga (eds) The Routledge Companion toPhilosophy and Film, London: Routledge, 2008
Andrew Bennett, 'Authority, Ownership, Originality' in The Author(2005)
WEEK 4: THE NEAR-DEATH OF THE AUTHOR: POST-STRUCTURALISM, POSTMODERNISM & NETWORK CULTURE
Roland Barthes, 'The Death of the Author' (1969)
Andrew Murphie & John Potts, 'Digital Aesthetics: Cultural Effects of New Media Technologies' in Culture and Technology(2003)
William Deresiewicz, Chapter 10 in The Death of the Artist(2020)
Jonathan Taplin, ‘Pirates of the Internet’ in Move Fast and Break Things (2017)
WEEK 5: COPYRIGHT, TECHNOLOGY, DOWNLOADING & STREAMING
Cory Doctorow, 'How Copyright Broke' (2008)
Steve Collins, 'Kookaburra v. Down Under: It's Just Overkill' in Scan Journal Vol 7 No 1 2010
J. Smiers and M. Van Schijndel, 'A Level Cultural Playing Field' (2009)
Linda Jaivin, 'Big Content' in Phillipa McGuinness (ed) Copyfight(2015)
WEEK 6: FAN FICTION, BIG DATA, AI AND OTHER AUTHORSHIP CHALLENGES
Rebecca Tushnet, 'Architecture and Morality: Transformative Works, Transforming Fans'
in Darling and Pezanowski(eds) Creativity Without Law: Challenging the Assumptions of
Hannah Fry, 'Good artists borrow; great artists steal', from Hello World: Being Human in the Age of Algorithms (2018)
Rodley, Chris and Burrell, Andrew, 'On the Art of Writing with Data' in Potts, John (ed) The Future of Writing (2014) pp. 77 - 89, available as chapter download from library
WEEK 7: MEDIA INFRASTRUCTURES (Stefan Solomon)
This week we will focus on the material dimensions of networks, which are often overlooked in debates about digital technology. By considering the ways that electronic signals travel via a series of mobile towers, data centres, and undersea cables, we are able to gain a different, more physically-grounded perspective on modes of communication that can otherwise seem to be immaterial in nature.
Starosielski, N. (2015). ‘Fixed Flow: Undersea Cables as Media Infrastructure’. In L. Parks and N. Starosielski (Eds.), Signal Traffic: Critical Studies of Media Infrastructures (pp. 53-70). University of Illinois Press.
WEEK 8: STREAMING CULTURES
In this seminar, we will think critically about a particular kind of digital form that many of us use on a daily basis: streaming technology. In particular, we will think about the rise of Netflix as a ubiquitous platform that has redefined our notions of television, and we will spend some time discussing the various social and environmental impacts of streaming as a mode of media delivery.
Lobato, R. (2019). Introduction. In R. Lobato, Netflix Nations: The Geography of Digital Distribution (pp. 1-17). New York University Press.
Lobato, R. (2019). What is Netflix? In R. Lobato, Netflix Nations: The Geography of Digital Distribution (pp. 18-45). New York University Press.
WEEK 9: COGNITIVE MAPPING
Is it possible to actually 'see' the mode of production under which we live? How might artists try to represent capitalism as a totality that is beyond human perception? This week we look at the concept of 'cognitive mapping,' an aesthetic approach that was coined by Fredric Jameson in the 1980s in response to the rise of neoliberalism. Examining this idea, we will consider its evolution (or failure) over the last three decades, with reference to examples from photography and cinema.
Toscano, A. and Kinkle, J. (2015). Introduction: The Limits of the Known Universe, or, Cognitive Mapping Revisited. In A. Toscano and J. Kinkle, Cartographies of the Absolute (pp. 11-27). Zero Books.
WEEK 10: BLOCKCHAIN AND BITCOIN
We follow last week's seminar on cognitive mapping by addressing a pair of significant contemporary concepts: 'blockchain' and 'bitcoin.' In the last decade, blockchain and bitcoin (alongside many other cryptocurrencies) have emerged in response to the need for secure, decentralised, peer-to-peer networks for recording transactions. What implications might such networks have for us beyond their immediate financial concerns?
Ferguson, F. (2019) ‘Bitcoin: A Reader’s Guide (The Beauty of the Very Idea)’. Critical Inquiry 46(1), 140-166. https://doi.org/10.1086/705302
WEEKS 11 - 13: STUDENT SEMINAR PRESENTATIONS
Bennett, Andrew, The Author, London: Routledge, 2005
Bently, L., Davis, J. and Ginsburg, J (eds) Copyright and Piracy, Cambridge:
Cambridge University Press, 2010
Bettig, Ronald V., Copyrighting Culture: The Political Economy of Intellectual Property,
Boulder: Westview, 1996
Borschke, Margie, This Is Not a Remix: Piracy, Authenticity and Popular Music, New York: Bloomsbury, 2017
Burke, Sean (ed) Authorship From Plato to the Postmodern: A Reader, Edinburgh:
Edinburgh University Press, 2000
Burke, Sean, The Death and Return of the Author, Edinburgh: Edinburgh University Press, 2010
Darling, Kate and Pezanowski, Aaron (eds) Creativity Without Law: Challenging the Assumptions of Intellectual Property, New York: New York University Press, 2017
Demers, Joanna, Steal this Music: How Intellectual Property Law Affects Musical
Creativity, Athens: University of Georgia Press, 2006
Deresiewicz, William, The Death of the Artist, New York: Henry Holt, 2020
Doctorow, Cory, Content:Selected Essays on Technology, Creativity, Copyright and the Future of the Future, San Francisco: Tachyon Publications, 2008
Fry, Hannah, Hello World: Being Human in the Age of Algorithms, New York: W W Norton, 2018
Lessig, Lawrence, Free Culture: How Big Media Uses Technology and the Law to Lock
Down Culture and Control Creativity, New York: Penguin, 2004
Lobato, R., Netflix Nations: The Geography of Digital Distribution, New York University Press, 2019
McGuinness, Phillipa (ed)Copyfight, Sydney: NewSouth, 2015
Murphie, Andrew and Potts, John, Culture and Technology, Basingstoke: Palgrave
Postigo, Hector, The Digital Rights Movement, Cambridge: MIT Press, 2012
Potts, John (ed) The Future of Writing, Basingstoke: Palgrave Pivot, 2014
Reagle, Joseph and Koerner, Jackie (eds) Wikipedia @ 20: Stories of an Incomplete Revolution, Cambridge: MIT Press, 2020
Rose, Mark, Authors and Owners: The Invention of Copyright, Cambridge, MA: Harvard University Press, 1993
Simone, Daniela, Copyright and Collective Authorship, Cambridge: Cambridge University Press, 2019
Smiers, J. and Van Schijndel, M., Imagine There is No Copyright and No Cultural Conglomerates Too...,Amsterdam: Institute of Network Cultures, 2009
Taplin, Jonathan, Move Fast and Break Things: How Facebook, Google and Amazon Have
Cornered Culture and What it Means For Us, New York: Macmillan, 2017
Woodmansee, Martha and Jaszi, Peter (eds) The Construction of Authorship, Durham:
Duke University Press, 1994
Zwar, Jan, Throsby, David, Longden, Thomas, Australian Authors: Industry Brief No. 1: Key
Findings, 2015,Department of Economics, Macquarie University at http://goto.mq.edu.au/book-industry
Zuboff, Shoshana, The Age of Surveillance Capitalism: The Fight for a Human Future at the New Frontier of Power, New York: Public Affairs, 2019