13. Show Me the Copy! How Digital Media (Re)Assert Relational Creativity, Complicating Existing Intellectual Property and Publishing Paradigms
Bibliographic record
Abstract
Advances in electronic – and digital now – technologies have given new life to socio-cultural practices based on the appropriation and re-combination of already existing cultural resources. From Canadian pianist Glenn Gould’s pioneering use of electronic media to the outer-boroughs of New York City where the pioneers of hip-hop music used turntables and vinyl records to create a new art form, electronic technologies continue to facilitate emerging and innovative creative practices while rekindling marginalized forms of social and cultural production. The rise of digital technologies has similarly contributed to the birth of a so-called remix culture, wherein existing texts and cultural works are appropriated, combined, in novel and potentially transformative ways. Such practices demonstrate the vitality of relational creativity and the re-emergence of socially embedded and technologically constituted forms of knowledge production, dissemination, and collaboration. However, existing intellectual property (IP) law, in general, and copyright law, in particular, remain grounded on normative foundations that privilege Romantic conceptions of individual genius and creativity. This essay argues that existing IP law does not properly align with how human creativity occurs and, therefore, does not reflect the emerging conditions of knowledge production facilitated by digital technologies and the re-assertion of relational creativity.
Fetched live from OpenAlex and de-inverted. Abstracts are not stored in this database: the inverted indexes are 8.6 GB of the frame’s 9.3 GB of text, and the host has 13 GB free.
How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.001 | 0.004 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.003 | 0.017 |
| Scholarly communication | 0.017 | 0.015 |
| Open science | 0.001 | 0.004 |
| Research integrity | 0.002 | 0.003 |
| Insufficient payload (model declined to judge) | 0.017 | 0.005 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".