How to copyright your work for cheap
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CAA also hopes that the process of researching and documenting practices with respect to fair use will foster a constructive dialogue among artists, curators, and scholars, many of whom both own and use copyrighted works.
HOW TO COPYRIGHT YOUR WORK FOR CHEAP CODE
CAA hopes that the final document will be adopted by its affiliated societies and other related organizations and institutions.ĭeveloping a code of best practices for fair use will, we hope, reduce some of the present uncertainties surrounding fair use, and facilitate creativity and scholarship. In the project’s final phase, the code will be disseminated widely in the field. The code will be presented to CAA’s Board of Directors for adoption. In 2015, during Phase 3, that consensus will be synthesized into a draft code of best practices, which will also be reviewed by a legal advisory committee. In 2014, during Phase 2, in five cities nationwide, CAA will host small group discussions among visual arts professionals, guided by Aufderheide and Jaszi, to ascertain where there is consensus with respect to fair use in particular cases. A list of participants is included in Appendix C.īuilding on the report, CAA will move ahead with the remaining three phases of the project. We are grateful for the assistance of the CAA Task Force on Fair Use, the project advisors, the CAA Committee on Intellectual Property, and the Community Practices Advisory Committee, the last comprising prominent members of the visual arts community, who read earlier drafts of the report. Based on interviews with one hundred visual arts professionals and a survey of CAA members, the report documents current practices and attitudes among visual arts practitioners (including artists, scholars, editors, and curators) regarding copyright and fair use. Professors Aufderheide and Jaszi, with graduate fellows Bryan Bello and Tijana Milosevic, have drafted the attached issues report, which is the culmination of the first phase of this project. Mellon Foundation, CAA engaged Patricia Aufderheide and Peter Jaszi, professors of communications and law, respectively, at American University, both to research the challenges confronting artists, scholars, and curators who seek to use third-party copyrighted material and to assist CAA in developing a code of best practices for fair use. Kress Foundation and a major grant from the Andrew W. Supported by generous preliminary funding from the Samuel H. In the fall of 2012, motivated by concerns about how the actual and perceived limitations of copyright can inhibit the creation and publication of new work in visual arts communities, particularly in the digital era, the College Art Association commenced a four-phase project to develop and disseminate a Code of Best Practices for Fair Use in the Creation and Curation of Artworks and Scholarly Publishing in the Visual Arts.