Whose Book is it Anyway?

Notes on Contributors

Introduction: Whose Book is it Anyway? A View from Elsewhere on Publishing, Copyright and Creativity
Janis Jefferies and Sarah Kember

PART I: Opening out the Copyright Debate: Open Access, Ethics and Creativity
1. A Statement by The Readers Project Concerning Contemporary Literary Practice, Digital Mediation, Intellectual Property, and Associated Moral Rights
John Cayley and Daniel C. Howe

2. London-Havana Diary: Art Publishing, Sustainability, Free Speech and Free Papers
Louise O’Hare

3. The Ethics of Emergent Creativity: Can We Move Beyond Writing as Human Enterprise, Commodity and Innovation?
Janneke Adema

4. Are Publishers Worth It? Filtering, Amplification and the Value of Publishing
Michael Bhaskar

5. Who Takes Legal Responsibility for Published Work? Why Both an Understanding and Lived Experience of Copyright Are Becoming Increasingly Important to Writers
Alison Baverstock

6. Telling Stories or Selling Stories: Writing for Pleasure, Writing for Art or Writing to Get Paid?
Sophie Rochester

7. Copyright in the Everyday Practice of Writers
Smita Kheria

8. Comics, Copyright and Academic Publishing: The Deluxe Edition
Ronan Deazley and Jason Mathis

PART II: Views from Elsewhere
9. Diversity or die: How the Face of Book Publishing Needs to Change if it is to Have a Future
Danuta Kean

10. Writing on the Cusp of Becoming Something Else
J. R. Carpenter

11. Confronting Authorship, Constructing Practices (How Copyright is Destroying Collective Practice)
Eva Weinmayr

12. Ethical Scholarly Publishing Practices, Copyright and Open Access: A View from Ethnomusicology and Anthropology
Muriel Swijghuisen Reigersberg

13. Show me the Copy! How Digital Media (Re)Assert Relational Creativity, Complicating Existing Intellectual Property and Publishing Paradigms
Joseph F. Turcotte

14. Redefining Reader and Writer, Remixing Copyright: Experimental Publishing at if:book Australia
Simon Groth

APPENDIX: CREATe Position Papers
1. Publishing Industry
Janis Jefferies

2. Is the Current Copyright Framework fit for Purpose in Relation to Writing, Reading and Publishing in the Digital Age?
Laurence Kaye

3. Is the Current Copyright Framework fit for Purpose in Relation to Writing, Reading, and Publishing in the Digital Age?
Richard Mollet

4. History of Copyright Changes 1710–2013
Rachel Calder

5. Is the Current Copyright Framework fit for Purpose in Relation to Writing, Reading, and Publishing in the Digital Age?
Max Whitby

List of Illustrations

Index