14. Redefining Reader and Writer, Remixing Copyright: Experimental Publishing at if:book Australia
Bibliographic record
Abstract
Groth details several experimental literary projects created by if:book Australia and highlights the challenges to copyright they present and subsequent considerations for writers, audiences and publishers. if:book Australia has created works that are deliberately ephemeral, made freely available editing data, and encouraged the practice of ‘remixing’: using existing literature as source material for new works. In considering copyright and how it supports or hinders creative works, especially in new media, my approach is therefore deeply informed by the necessities of practice. The approach to copyright in such forms is based on mutual respect between artist and audience. Remix in particular relies on opening creative work to enable audiences to share and modify, while ensuring that the original artist and work is acknowledged. Digital media has permanently changed the underlying assumptions that have informed our approach to copyright. Making unauthorised copies of physical media requires an investment of resources that makes it unfeasible without the promise of financial reward. Intellectual property stored in a digital medium may be copied so effortlessly as to be invisible to audiences. Witness the number of incidental copies made of an email attachment, for example. Digital media also exposes the shortcomings of territoriality in licensing, something that Australian writers and audiences alike feel keenly when access to digital content is artificially ‘geoblocked’. But digital media does not replace physical media. An appropriate copyright system should therefore not dismiss all current copyright principles, but rather acknowledge and adapt them for the medium in which they are transmitted. Current debate in Australia focuses on adopting US style fair use rather than the more archaic and medium-specific fair dealing. Many writers’ organisations and individuals have publicly opposed such a measure, although their opposition has been conflated with other more egregious policy of lifting parallel import restriction.
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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 | 0.005 | 0.010 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.002 |
| Science and technology studies | 0.005 | 0.011 |
| Scholarly communication | 0.006 | 0.006 |
| Open science | 0.001 | 0.003 |
| Research integrity | 0.002 | 0.003 |
| Insufficient payload (model declined to judge) | 0.033 | 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".