On Friday 31st of January, the MoBo research lab, coordinated by Julia Clever, looked into sharing, copying and remixing as an artistic practice. In the morning we discussed creative spaces, exceptions and loophole practices in the field of actual author legislation, also regarding the 2019/790 EU directive on copyright.
On the panel were lawyer Herman Croux(MVVP), Rébecca Fruitman and Joachim Soudan (out from Festival Mondial des Cinémas Sauvages) and Peter Westenberg (Constant vzw, association for Arts and Media in Brussels). Present were also Olivier Maeterlinck, Head of corporate communication & member relations at Sabam and Martha P.. MArtha P. is a lawyer and media-watcher that follows all of the EU-commission stakeholder dialogues, held to define best-practices for the application of the 2019/790 EU directive into national law in 2021. Martha P. pointed out the absence of the artist’s voice during these meetings.
There seems to be no sufficient representation of the author’s perspective in the stakeholder meetings – besides by the copyright associations, that downsample the possible range of licensing based on pragmatical parameters. The creative fluidity of licensing and sharing as essential part of contemporary artistic freedom in an online world is apparently not put on the table during EU discussions. Which activists or lobbyists would fight for this? You can always let us know by emailing to email@example.com.
Watch the stakeholder dialogues here:
During the afternoon of the 31th of January we worked hands on during the “Wild filmmaking. Cut, copy, run, collective” laboratory in the afternoon. During this film remix-party we cut and pasted new works out of the collection of “Festival Mondial des Cinémas Sauvages“, the biannual filmfestival in Brussels. For the remix party, Rébecca Fruitman and Joachim Soudan (moviemakers and members of Festival Mondial des Cinémas Sauvages) joined forces with Peter Westenberg, visual artist and cultural instigator working in the field of community based, technology related public art. The films will be shown in the MoBo-library and at Cinema Nova and will be added to the archive of Cinémas Sauvages. Le Festival Mondial des Cinémas Sauvages also festively donate a part of their cinematic collection and their audio-archives assembled for Radio Panique, to lead a new, independant life in MoBo’s online filmotheque. They are also building up their own online streaming channel on the open domain Youtube-alternative Peertube.
To be continued..
From 27 to 31 January, the RITCS School of Arts was devoted to research for a whole week. The focus of this research week was on @FUTURE NARRATIVES, stories of the future.
Digital culture is a culture of copying. At the same time, copyright laws regard audiovis-
ual artworks as being original works. What does it mean for free online sharing when the 2019/790 EU directive on copyright will attribute full liability to the uploading platforms?
How do audiovisual artists see themselves as being part of a culture that is essentially social and largely networked, which places collectivity on the front plan? Why and how do they reject or ignore copyright laws and how are they able to take matter into own hands?