received this announcement recently. I wish I had known about it
earlier, i might have just found it to be enough of an excuse to
fly to North Carolina. But maybe some of you who are closer can
go. Anyone who does, be sure to report back here on it....
smh
---------- Forwarded message ----------
Date: Thu, 28 Feb 2002 09:38:51 -0800
From: kellerATlaw.duke.edu
To: infoATdetritus.net
Subject: ummm...
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Dear detritus folks-
I'm running a conference on music sampling, collage-format
expression, and the law, to be held on March 30 in Durham NC at
Duke Law School. There will be any number of lawyers, DJs,
musicians, professors, and cultural theorists. I would dearly
love to pack the audience with detritus-minded folks. And I think
that those same folks would really enjoy the conference. Can I
ask you to pass this announcement on to rumori and to any other
interested persons/lists you know of? I'm glad to answer any
questions, Daphne Keller / kellerATlaw.duke.edu / 919-613-7270
Thanks so much and I hope to see you there!!
Daphne
CONFERENCE ANNOUNCEMENT
Music and Theft: Sampling, Technology, and the Law
A Conference at Duke Law School
Room 3043
1:00 PM Saturday, March 30
http://www.law.duke.edu/musicandtheft/
admission is free
Funded by grants from the Ford Foundation and the Center for the Public Domain
CONFERENCE OVERVIEW
Recording devices, and digital technologies in particular, turn prior recorded sound into the raw material for new work. Samplers have replaced electric guitars as tools of the trade for many musicians; remixes and sonic collage are musical staples from the Top 40 to obscure electronica and hip-hop.
But the law has not looked kindly upon unauthorized sampling. In the first sampling-based copyright infringement case, the court's opinion began with scripture - "Thou shalt not steal" - and ended with a referral for criminal prosecution.
Is recorded sound simply private property, and is its re-use simply theft? Or is recorded sound the raw material of creative expression, a resource without which artists' voices would be stifled? Sampling raises copyright law's characteristic tensions: the sound recording is both private property, enabling an author or musician to get paid for her work, and an element of communication and culture. But the fair use doctrine, statutory compulsory licensing, and the First Amendment, which may permit unauthorized creative re-use of copyrighted materials in other cases, have never been brought to bear on sampling. The only clearly legal sample is an authorized sample.
The Music and Theft conference will bring together artists and experts on the technological foundations and the artistic and cultural implications of sampling, along with experts on copyright law and licensing arrangements, to discuss ways in which the law does and should affect sample-based music.
SCHEDULE
First Panel: The Technology
Room 3043
Musicians on this panel will demonstrate the digital manipulation of preexisting recordings and MIDI files and discuss the impact of digital technology on music production and music theory. An experienced music attorney will discuss the legal consequences of the particular practices demonstrated by the musicians, as well as the law's overall responses to digital music.
Panelists: Anthony Kelley, Scott Lindroth, Tim Mandelbaum
Moderator: James Boyle
Second Panel: The Culture
Room 3043
This panel will explore the expressive and cultural significance of sampling. Panelists from diverse academic and practical backgrounds will bring to bear the perspectives of cultural theory, music history, music production, legal theory, and legal practice.
Panelists: Dick Hebdige, Daphne Keller, Fred Koenigsburg, Paul Miller aka DJ Spooky, David Sanjek
Moderator: David Lange
Reception
Burdman Lounge
PARTICIPANTS
James Boyle
Dick Hebdige
Daphne Keller
Anthony Kelley
Fred Koenigsburg
David Lange
Scott Lindroth
Tim Mandelbaum
David Sanjek
DJ Spooky
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