Copyright, politics and the creative economy
by Graeme Earl
The Centre for Global Futures in Art Design & Media at Winchester School of Art proudly presents:
A public lecture by Professor Ian Hargreaves entitled Copyright, politics and the creative economy – Monday 12 March, 5pm, Lecture Theatre A. Please circulate widely among colleagues, members of staff and/or postgraduate students. Everyone is welcome.
Ian Hargreaves
Professor of Digital Economy at Cardiff School of Journalism, Media and Cultural Studies
Founding board member of OfCom
Chair of Review Commission of the Intellectual property Framework
Member of the Leveson Inquiry
Ian Hargreaves will talk about the Review Commission of the Intellectual Property Framework on which he worked in 2010 and 2011. The resulting report ‘Digital Opportunity: A Review of Intellectual Property and Growth’ was published in May 2011. He will consider the responses to the review, the state of play now, eight months after the publication, and how the report bears upon the outlook for the creative industries and the creative economy.
—
Dr Stefanie Van de Peer
WSA Senior Research Fellow
Winchester Centre for Global Futures in Art Design & Media
Winchester School of Art
University of Southampton
Park Avenue
Winchester
Hampshire
SO23 8DL
Centre for Global Futures: http://www.soton.ac.uk/wrc
Twitter: @WSAGlobalFutures
Facebook: http://www.facebook.com/wsaglobalfutures
Work Futures in the Digital Economy 22.03.2012 - 23.03.2012
Southampton University’s Work Futures USRG is hosting a two day symposium, March 22-23 2012, in collaboration with the Digital Economy USRG. The event will draw together some of the leading researchers in this field, from across a range of disciplines including Management, Sociology, Computer Science and Education.
- How is the digital economy changing working lives and work organizations?
- What kinds of education and skills are valuable in the digital economy?
- How is the local, national and global organization of work changing with or in response to digital technologies?
- What do careers look like in the digital economy?
- How are digital business models and modes of service delivery shaping new kinds of work and organization?
- Who is gaining and losing from the digitization of work?
- How/can governments and policy makers support a fair and vibrant digital economy for all?
These questions cut across disciplines, theoretical perspectives and methodological approaches. This symposium draws together expertise across these boundaries.
International Computer Applications in Archaeology Conference
by Graeme Earl
Registration is still open for the International Computer Applications in Archaeology conference. This takes place at the Avenue Campus 26-29 March 2012.
There are 8 parallel themes with sessions of interest to DE researchers in:
- HCI
- GIS
- Linked Data
- Simulation
- Network analysis
- Graphics
- Imaging and scanning
- Geophysics
- Mobile computing
And other topics. The conference has more than 300 workshops, papers and posters by computer science researchers as well as those working in cultural heritage.
Details and programme at: www.caa2012.org
Digitalisation not Dematerialisation: The Musical Artefact in the Digital Age
by Graeme Earl
Nicola Dibben (University of Sheffield) will be talking on Tuesday, 6 March 2012, 3.15 pm in Building 2 / Room 1083 about “Digitalisation not Dematerialisation: The Musical Artefact in the Digital Age”
“Digitalisation has brought profound changes to the way people make, use, and acquire music. Inthis paper I examine the future of the musical artefact through a case study of Björk’s 2011 album and app suite “Biophilia”—the first music album by a major pop icon to be released as a set of interactive iPad/iPhone apps, and a project I contributed to. Björk exploits audiovisual material and the high production values of material artefacts, yet she is also one of the first to adopt the new technologies here the app suite as alternative to the album. Biophilia represents a good case study to examine the consequences and opportunities of digitalisation for music: the creation of new formats and their implications for modes of listening, stratification of the market for physical artefacts, the role of extramusical materials, implications for the expression of a unified artistic vision, unification of digital and material copy, and new opportunities for musical learning.”