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@ -4,7 +4,7 @@ title: Piracy and civil disobedience, then and now
**(Note: This is a kernel of the session which has yet to be written.)** **(Note: This is a kernel of the session which has yet to be written.)**
# On the concept of piracy: # On the concept of piracy
Amedeo Policante, The Pirate Myth.Genealogies of an Imperial Concept. Routledge, 2015. Amedeo Policante, The Pirate Myth.Genealogies of an Imperial Concept. Routledge, 2015.
https://library.memoryoftheworld.org/#/book/49ecca24-12bc-44f9-9c4c-ecafbd74b3e6 https://library.memoryoftheworld.org/#/book/49ecca24-12bc-44f9-9c4c-ecafbd74b3e6
@ -45,7 +45,7 @@ https://library.memoryoftheworld.org/#/book/c529dbe5-e7b8-4bd2-9d6c-b320733551d2
> In bold and intelligently written essays, historian Peter Linebaugh takes aim at the thieves of land, the polluters of the seas, the ravagers of the forests, the despoilers of rivers, and the removers of mountaintops. From Thomas Paine to the Luddites and from Karl Marx—who concluded his great study of capitalism with the enclosure of commons—to the practical dreamer William Morris who made communism into a verb and advocated communizing industry and agriculture, to the 20th-century communist historian E. P. Thompson, Linebaugh brings to life the vital commonist tradition. He traces the red thread from the great revolt of commoners in 1381 to the enclosures of Ireland, and the American commons, where European immigrants who had been expelled from their commons met the immense commons of the native peoples and the underground African American urban commons, and all the while urges the ancient spark of resistance. > In bold and intelligently written essays, historian Peter Linebaugh takes aim at the thieves of land, the polluters of the seas, the ravagers of the forests, the despoilers of rivers, and the removers of mountaintops. From Thomas Paine to the Luddites and from Karl Marx—who concluded his great study of capitalism with the enclosure of commons—to the practical dreamer William Morris who made communism into a verb and advocated communizing industry and agriculture, to the 20th-century communist historian E. P. Thompson, Linebaugh brings to life the vital commonist tradition. He traces the red thread from the great revolt of commoners in 1381 to the enclosures of Ireland, and the American commons, where European immigrants who had been expelled from their commons met the immense commons of the native peoples and the underground African American urban commons, and all the while urges the ancient spark of resistance.
## Piracy Now: ## Piracy Now
@ -217,7 +217,7 @@ https://library.memoryoftheworld.org/#/book/70653f2d-22b6-4496-be92-05ea7d449ad0
> Creativity and Its Discontents is a sharp critique of the intellectual property rights (IPR)–based creative economy, particularly as it is embraced or ignored in China. Laikwan Pang argues that the creative economy—in which creativity is an individual asset to be commodified and protected as property—is an intensification of Western modernity and capitalism at odds with key aspects of Chinese culture. Nevertheless, globalization has compelled China to undertake endeavors involving intellectual property rights. Pang examines China's IPR-compliant industries, as well as its numerous copyright violations. She describes how China promotes intellectual property rights in projects such as the development of cultural tourism in the World Heritage city of Lijiang, the transformation of Hong Kong cinema, and the cultural branding of Beijing. Meanwhile, copyright infringement proliferates, angering international trade organizations. Pang argues that piracy and counterfeiting embody the intimate connection between creativity and copying. She points to the lack of copyright protections for Japanese anime as the motor of China's dynamic anime culture. Theorizing the relationship between knockoffs and appropriation art, Pang offers an incisive interpretation of China's flourishing art scene. Creativity and Its Discontents is a refreshing rejoinder to uncritical celebrations of the creative economy. > Creativity and Its Discontents is a sharp critique of the intellectual property rights (IPR)–based creative economy, particularly as it is embraced or ignored in China. Laikwan Pang argues that the creative economy—in which creativity is an individual asset to be commodified and protected as property—is an intensification of Western modernity and capitalism at odds with key aspects of Chinese culture. Nevertheless, globalization has compelled China to undertake endeavors involving intellectual property rights. Pang examines China's IPR-compliant industries, as well as its numerous copyright violations. She describes how China promotes intellectual property rights in projects such as the development of cultural tourism in the World Heritage city of Lijiang, the transformation of Hong Kong cinema, and the cultural branding of Beijing. Meanwhile, copyright infringement proliferates, angering international trade organizations. Pang argues that piracy and counterfeiting embody the intimate connection between creativity and copying. She points to the lack of copyright protections for Japanese anime as the motor of China's dynamic anime culture. Theorizing the relationship between knockoffs and appropriation art, Pang offers an incisive interpretation of China's flourishing art scene. Creativity and Its Discontents is a refreshing rejoinder to uncritical celebrations of the creative economy.
# On Civil Disobedience # On the concept of Civil Disobedience
Beyond Doing Good: Civil Disobedience as Design Pedagogy Beyond Doing Good: Civil Disobedience as Design Pedagogy
Authors: Hannah Rose Mendoza Authors: Hannah Rose Mendoza