Made available in DSpace on 2014-06-12T16:25:29Z (GMT). No. of bitstreams: 2 arquivo1872_1.pdf: 976399 bytes, checksum: 5802755e0f78c608f811bb479acbc2fd (MD5) license.txt: 1748 bytes, checksum: 8a4605be74aa9ea9d79846c1fba20a33 (MD5) Previous issue date: 2008 / Esta pesquisa propõe lançar um olhar sobre as representações do Nordeste do Brasil na Wikipédia, enciclopédia online cujo conteúdo está sujeito a edições por quaisquer usuários, cadastrados ou não. Entrecruzando caminhos teóricos da cibercultura com correntes dos estudos culturais, buscamos entender os embates travados no âmbito do projeto e como essas tensões, construídas historicamente, são percebidas nos processos de identificação e negociação de diferenças que caracterizam as interações entre os participantes do site. Nosso universo empírico abrange o intervalo de, aproximadamente, um ano de edições efetuadas no verbete Região Nordeste do Brasil da Wikipédia lusófona, servindo de ponto de partida para que possamos levantar discussões a respeito de conceitos como a institucionalização e a formação de estereótipos e lugares-comuns em projetos colaborativos na internet. Para proceder a este estudo, associamos tal perspectiva a um breve panorama histórico dos processos colaborativos de produção informacional, desde antes do aprimoramento das redes de comunicação digital, situando a diluição do poder no ciberespaço e o que chamamos de Operadores de Normatização da Wikipédia

In 2007, Nuria Azancot published an article in the magazine El Cultural in which she identified a burgeoning group of Spanish writers that she referred to as the “Nocilla Generation.” The catalyst behind the article was a literary reunion that took place weeks before in Seville and brought together authors from all parts of Spain to talk about the status and future of writing. She described them as “transgressors” and “bloggers” who hybridized literary genres and held a revolutionary approach to the literary that was clearly marked by the Internet. Numerous articles and dissertations have since highlighted the impact that technology has had on the literature of this generation and how the Internet has allowed these authors a very active presence on social media. Few of these critical examinations have engaged in close textual analyses of the works of this so-called “Nocilla Generation” of writers. This dissertation engages with these issues for the purpose of exploring three main points. First, it seeks to identify and examine the role of the Internet on the literary production of Agustín Fernández Mallo, Alberto Olmos and Vicente Luis Mora. Second, it looks at the way that the internetization of literature implicitly undermines the traditional understanding of authorship. Third, the project suggests that the concept of an author as the source of an original creation should be replaced with a “re-wreader” (a blend of reader and writer infused with the repetitive nature of the prefix “re.”). The main thesis of this dissertation is that the interneticized text gives rise to a new understanding of authorship that is best captured in the figure of a re-wreader writing re-wreaderly texts that echo the ideas of the readerly and writerly from Barthes. The result: a textual space at once strange yet familiar in which a search for meaning, textual stability or origins gives itself over to the pleasure of the search, a search for something or nothing, a search for the search, a search in which all the material of the world (printed and digital) is there to be used and repackaged into a new literary creation.

Esta tesis analiza las transformaciones en la manera de entender a la producción artística, centradas en la posibilidad de derivar y las reformulaciones de las nociones de obra, autor y creación que proponen las experiencias que se enmarcan en el movimiento de la Cultura libre y el Copyleft. Este movimiento -que no se limita al campo del arte- propone otras maneras de producir, circular y (re)apropiar los bienes simbólicos en relación con las posibilidades que abre Internet en lo que a producción y distribución en red se refiere, así como también en relación a los cambios que producen las tecnologías digitales en los sentidos de lo original y la copia.

Resumo: A Internet propiciou a formação de uma rede descentralizada de informações nunca antes encontrada em nossa sociedade. Baseando-se na digitalização dos produtos culturais, a arquitetura da rede permitiu uma ampla distribuição de informações de maneira fácil e relativamente barata, favorecendo uma distribuição cultural de novo tipo, baseada na facilidade de apropriação, de compartilhamento e de produção de réplicas idênticas ao original. Contudo, essa prática tão comum da cibercultura freqüentemente desconsidera as leis de proteção dos direitos autorais, pois estimula uma livre circulação de informações em detrimento da proteção dos interesses autorais e mercadológicos de distribuição. A Internet inaugura ainda novos movimentos sociais, pautados pela construção comum de licenças autorais atualizadas e de práticas políticas de Desobediência Civil nesse novo terreno de disputa. Portanto, objetivamos neste trabalho investigar as formas de distribuição de informação no arcabouço tecnoinformacional e as suas relações com as estruturas jurídicas das leis proteção autoral e com as velhas e novas formas de acumulação. / Abstract: The Internet made possible the beginning of a unique decentralized network of information in our society. Relied on the digitalization of cultural products, the net's framing allowed a biggest sharing of information in a easier and cheaper way, supporting a cultural distribution of a new kind, based on the facilities of appropriation, sharing and production of identical copies from the original one. However, this ciberculture common practice frequently disrespect the copyright laws, because it encourage a free circulation of information in detriment of the authors and merchandising interests protection. The Internet still made possible the emerging of new social movements, ruled by common construction of actualized author's licenses and by political actions of Civil Disobedience within this new space of conflict. Thus, our objective in this work is investigate the new paths of information sharing ways in the techno-informational structure and its relations with the juridical framing of the copyright and with the new and old ways of accumulation. / Orientador: Mauro de Mello Leonel Júnior / Coorientador: Aloísio Shumacher / Banca: Francisco Luiz Corsi / Banca: Pablo Ortelado / Mestre

This paper proposes an examination of Creative Commons (CC) licensing and considerations for adoption or non adoption among musicians. According to the Creative Commons Web site, the licenses were created to work alongside current copyright law allowing rights holders a “some rights reserved” copyright (“What is CC?”, Creative Commons, 2010). However, despite its current uptick in adoption, many remain hesitant and refuse to adopt the licenses to protect their work. Moreover, for those who have adopted the licenses, little is known about why they chose to adopt the licenses. Thus, the study answers the need for further research in understanding why musicians choose to use or not to use CC licenses. The study attempts to answer the following question: What considerations determine whether musicians adopt CC licenses for their work? In the pages that follow, I survey the historic and current position of copyright law. Specifically, the paper begins by problematizing current copyright law by demonstrating its economic and social inefficiencies in light of new advancements in technology. In other words, current copyright favors incumbent cultural industries who demand increased economic incentives at the expense of the public’s right to access these works. Moreover, it favors existing content holders who insist on creating laws that retain maximum control over their property. It then questions whether Creative Commons licenses can successfully reconcile these inefficiencies. Moreover, the overarching goal of this research is to examine the perceived viability of these licenses and to consider whether current advocacy efforts adequately address concerns of potential adopters. It analyze information gathered from multiple in-depth interviews of musicians who have and have not adopted the licenses. It will also examine advocacy efforts. The study hopes to contribute qualitative data that will shape future discussions on copyright, culture and new technologies by considering adequacies and or inadequacies of current licenses & advocacy efforts. / text

Made available in DSpace on 2014-06-11T19:30:27Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-05-03Bitstream added on 2014-06-13T20:00:39Z : No. of bitstreams: 1 nunes_mfm_dr_arafcl.pdf: 3082209 bytes, checksum: cc5d14df5bf5f4925f5a625224d53876 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Cette thèse examine le copyleft comme un évènement discursif qui déclenche les oscillations du dispositif du droit d’auteur dans la contemporanéité, accompagnées d’une complexité de facteurs historiques, qui contemplent depuis l’avènement d’un nouveau support de diffusion d’oeuvres jusqu’aux transformations dans les relations de savoir et pouvoir qui interviennent dans son fonctionnement. L’oeuvre dans le support digital éprouve de nouvelles dynamiques: les formes de publications et distribution en chaîne corrompent l’esthétique de l’originalité et ont été décisives pour l’identité de « l’auteur propriétaire ». De cette manière, le XXème siècle vit avec l’émergence de champs du savoir qui atténue les effets de la vérité qui a soutenu la fabulation de l’auteur moderne. Nous avons ainsi, actionné la méthodologie française de l’Analyse du Discours, d’après laquelle le droit d’auteur n’a jamais une relation de propriété entre les individus et la production du langage, dans le but d’examiner le droit de l’auteur dans la perspective discussive. Nous nous sommes intéressés à la penser comme un dispositif qui règle la circulation des discours dans des conditions déterminées historiquement, à partir des relations de pouvoir-savoir et des modes de subjectivation qui les constituent. / Esta tese examina o copyleft como acontecimento discursivo que deflagra as oscilações sofridas pelo dispositivo da autoria na contemporaneidade, sucedidas de uma complexidade de fatores históricos, que contemplam desde o advento de um novo suporte de difusão de obras até as transformações nas relações de saber e poder que interferem no seu funcionamento. A obra em suporte digital experimenta novas dinâmicas: as formas de publicação e distribuição em rede subvertem a estética da originalidade foi decisiva para a identidade do “autor proprietário”. Assim também, o século XX convive com a emergência de campos de saber que atenuam os efeitos de verdade que sustentaram a fabulação do autor moderno. Acionamos a metodologia da Análise do Discurso de vertente francesa, segundo a qual o regime de autoria não é jamais uma relação de propriedade entre indivíduos e produção de linguagem, a fim de investigar a autoria na perspectiva discursiva. Interessa-nos pensá-la enquanto dispositivo que governa a circulação dos discursos em determinadas condições históricas, a partir de relações de poder-saber e dos modos de subjetivação que o constituem.

Made available in DSpace on 2014-06-11T19:28:01Z (GMT). No. of bitstreams: 0 Previous issue date: 2008-10-03Bitstream added on 2014-06-13T19:57:13Z : No. of bitstreams: 1 cruz_lr_me_mar.pdf: 1278685 bytes, checksum: 8afdc5f67f56b2ec7ff79b5b3f382e71 (MD5) / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / A Internet propiciou a formação de uma rede descentralizada de informações nunca antes encontrada em nossa sociedade. Baseando-se na digitalização dos produtos culturais, a arquitetura da rede permitiu uma ampla distribuição de informações de maneira fácil e relativamente barata, favorecendo uma distribuição cultural de novo tipo, baseada na facilidade de apropriação, de compartilhamento e de produção de réplicas idênticas ao original. Contudo, essa prática tão comum da cibercultura freqüentemente desconsidera as leis de proteção dos direitos autorais, pois estimula uma livre circulação de informações em detrimento da proteção dos interesses autorais e mercadológicos de distribuição. A Internet inaugura ainda novos movimentos sociais, pautados pela construção comum de licenças autorais atualizadas e de práticas políticas de Desobediência Civil nesse novo terreno de disputa. Portanto, objetivamos neste trabalho investigar as formas de distribuição de informação no arcabouço tecnoinformacional e as suas relações com as estruturas jurídicas das leis proteção autoral e com as velhas e novas formas de acumulação. / The Internet made possible the beginning of a unique decentralized network of information in our society. Relied on the digitalization of cultural products, the net’s framing allowed a biggest sharing of information in a easier and cheaper way, supporting a cultural distribution of a new kind, based on the facilities of appropriation, sharing and production of identical copies from the original one. However, this ciberculture common practice frequently disrespect the copyright laws, because it encourage a free circulation of information in detriment of the authors and merchandising interests protection. The Internet still made possible the emerging of new social movements, ruled by common construction of actualized author’s licenses and by political actions of Civil Disobedience within this new space of conflict. Thus, our objective in this work is investigate the new paths of information sharing ways in the techno-informational structure and its relations with the juridical framing of the copyright and with the new and old ways of accumulation.

<p>Studien behandlar ämnet fri programvara utifrån ett diskursanalytiskt perspektiv. Texter och tal av Richard M.</p><p>Stallman, grundaren av Free Software Foundation (FSF), ligger i fokus för studien. FSF är en rörelse som har i</p><p>syfte att göra och kämpa för fri programvara. Detta innebär uttryckligen en kritik mot programvara som är ofri</p><p>eller proprietär. Studien visar på tre olika diskurser som är betydelsefulla för fri programvara; frihetsdiskursen,</p><p>maktdiskursen och etikdiskursen. Det förs även en mer teoretisk kopplad diskussion där texternas relateras till</p><p>teorier om hackeretik, frihet och mänskliga rättigheter.</p>

Ce travail de recherche traite des rapports entre le droit de la propriété littéraire et artistique et le principe d'équité, qui permet à chacun des acteurs de la propriété littéraire et artistique : auteur, public, exploitant, de se voir attribuer des prérogatives à sa juste mesure, en faisant en sorte de léser le moins possible les autres acteurs. Les rapports à l'équité sont dans un premier temps étudiés dans le cadre de l'exploitation traditionnelle des droits d'auteur : d'une part par l'intermédiaire des sociétés de gestion collective et d'autre part du fait des contrats d'exploitation portant sur des œuvres. Dans ces cas de figure, l'équité sert de référence dans les relations contractuelles entre l'auteur et l'exploitant. Les rapports à l'équité sont également étudiés dans le cadre du phénomène des œuvres évolutives et des licences libres qui les accompagnent. Les rapports à l'équité sont ensuite étudiés dans le cadre des limitations des droits de l'auteur. Certains de ces limitations font l'objet de compensation, telles les licences légales et les exceptions rémunérées. Les exceptions qui ne font pas l'objet d'une rémunération font l'objet d'une rationalisation. Sont évalués à l'aune de l'équité les moyens de rationalisation d'une part et les exceptions rationalisées du fait de ces moyens d'autre part. L'équité est mesurée dans cette hypothèse entre les prérogatives des ayants droit et celles des bénéficiaires des exceptions. / This PhD thesis deals with the link between the French copyright system and the principle of equity. The French copyright system should allow each of its actors: the author, the public and the manager of the work, to receive attribution pertaining to their role without being overly affected by the other actors' prerogatives. First, we shall study effects on the principle of equity within the framework of traditional exploitation, namely when the author confides the exploitation of his work either to a copyright collecting agency or to a publishing company. Influences on equity will be measured in the nature of the contractual relationship between the author and the copyright manager. Impact on equity will also be studied in cases of open artworks and open licences, such as Copyleft and Creative Commons licences. Next, we shall evaluate the influence on equity within the framework of copyright limitations. These limitations can be offset either by payment – such is the case with legal licences or remunerated exceptions – or by a restriction of their use. Unremunerated exceptions undergo rationalization; we shall examine both the means of rationalization and the rationalized exceptions from a point of view of equity. In the various cases of limitation, the impact on equity will be determined according to the relationship between the copyright owner and the beneficiary of the limitation.

Studien behandlar ämnet fri programvara utifrån ett diskursanalytiskt perspektiv. Texter och tal av Richard M. Stallman, grundaren av Free Software Foundation (FSF), ligger i fokus för studien. FSF är en rörelse som har i syfte att göra och kämpa för fri programvara. Detta innebär uttryckligen en kritik mot programvara som är ofri eller proprietär. Studien visar på tre olika diskurser som är betydelsefulla för fri programvara; frihetsdiskursen, maktdiskursen och etikdiskursen. Det förs även en mer teoretisk kopplad diskussion där texternas relateras till teorier om hackeretik, frihet och mänskliga rättigheter.