Beyonce VS Anne Teresa De Keersmaeker
http://www.youtube.com/watch?v=s9NpgqE4TPs&feature=fvwrel

(0:30) http://www.youtube.com/watch?v=3HaWxhbhH4c

Beyonce-Countdown: http://www.youtube.com/watch?v=2XY3AvVgDns&ob=av3n

Rosas Danst Rosas- Anne Teresa De Keersmaeker: http://www.youtube.com/watch?v=oQCTbCcSxis

http://www.guardian.co.uk/music/2011/oct/11/beyonce-pleasant-

consumerist-plagiarism-row

Beyoncé said: "Clearly, the ballet Rosas danst Rosas was one of many references for my video, Countdown. It was one of the inspirations used to bring the feel and look of the song to life. I was also paying tribute to the film Funny Face with the legendary Audrey Hepburn. My biggest inspirations were the 60s, the 70s, Brigitte Bardot, Andy Warhol, Twiggy and Diana Ross.

"Adria Petty, the co-director, showed me the contemporary ballet from almost 30 years ago. It was refreshing, interesting and timeless. I've always been fascinated by the way contemporary art uses different elements and references to produce something unique. The video already has close to 2m views so hopefully the fans will look at all the tributes and then discover Audrey Hepburn, Warhol, Bardot, Rosas Danst Rosas and all the works that inspired me and shaped this video."

De Keersmaeker said: "People ask me if I'm angry or honoured. Neither. On the one hand, I am glad that Rosas Danst Rosas can perhaps reach a mass audience which such a dance performance could never achieve, despite its popularity in the dance world since the 1980s.

"And, Beyoncé is not the worst copycat, she sings and dances very well, and she has a good taste! On the other hand, there are protocols and consequences to such actions, and I can't imagine she and her team are not aware of it."

She added: "What does it say about the work of Rosas Danst Rosas? In the 1980s, this was seen as a statement of girl power, based on assuming a feminine stance on sexual expression.

"I was often asked then if it was feminist. Now that I see Beyoncé dancing it, I find it pleasant but I don't see any edge to it. It's seductive in an entertaining, consumerist way."

more copying

After Trio A
http://dance-tech.tv/videos/after-trio-a-by-andrea-bozic-2010/
http://dance-tech.tv/2011/10/14/copy-of-copy-makes-original-about-after-trio-a-by-andrea-bozic/

On copying and on the praise of copying
http://occursus.wordpress.com/category/copying/

Few more links

Larry Lessig: How creativity is being strangled by the law

Larry Lessig: How creativity is being strangled by the law

http://www.youtube.com/watch?v=7Q25-S7jzgs



Lawrence Lessig, 2004 

Free Culture: How big media uses technology and the law to lock down culture and control creativity

http://www.free-culture.cc/freeculture.pdf

Hendrik Speck. Copyright Kills: Intellectual Property and Copyleft. 2010

http://www.youtube.com/watch?v=WbLUxglDLmQ&feature=feedu

Ana Vujanovic - Politics of Dance: Subject, Media and Procedures of Work 

http://www.dance-tech.net/video/ana-vujanovic-politics-of

Authoring Theatre

http://www.authoringtheatre.org.uk/keynotes/christopher-balme

If any feature characterizes the practice of postdramatic theatre then it is sampling. Instead of an identifiable authorial presence marked by the eponymous ‘dramatist’ we encounter directorial, compositional or curatorial functions embodied by an individual or by a group.  What links all exponents is the practice of sampling: reworking found material and fashioning it into a new ensemble. This – for postdramatic theatre at least –  new and dominant practice clearly has its origins in the old technique of collage developed in the context of Cubism. I shall discuss this practice with reference to two artists – the German director-composer Heiner Goebbels – who terms his artistic practice ‘sampling’ which is more than just a metaphor because he literally uses a ‘sampler’ to refashion preexisting musical material. This appears to be an uncontroversial and – in postdramatic theatre circles at least – much admired practice. This is less so with the new shooting star of the Germany literary scene Helene Hegemann whose novel Axolotl Roadkill was the centre of a plagiarism scandal. It transpired that the 17-year old author had copied sections of her acclaimed book from an underground novel by an internet blogger.  Her argument that it was not plagiarism but ‘mixing’ (NY Times, 11.2.2010) was legally shaky but artistically sound in the context of the Berlin Volksbühne (her father is the dramaturg Carl Hegemann) where collage is the order of the day.  The novel’s subsequent adaptation for the stage earlier this year would also suggest that her claim that “there is no originality only reality” has won out over nit-picking plagiarism hunters. Against the background of a plague of plagiarism cases in the scientific and political scene in Germany, I shall discuss the competing claims of ‘aesthetics 

Lecture on Repetition

• http://re-u.tumblr.com/

In praise of copying

Marcus Boon's Blog:
http://inpraiseofcopying.wordpress.com/


The collective:
1. Everyone you have ever copied: http://www.thecollectivesblog4.blogspot.com/
2. http://thecollectivesblog2.blogspot.com/ (plagiarism & originality)

Gustav Deutsch. (2004) Film ist. (1-12)

CATEGORIES

Film ist.

1.Movement and Time, 2. Light and Dankness, 3. An Instrument, 4. Material, 5. A Blink of an Eye, 6. A Mirror, 7. Comic, 8. Magic, 9. Conquest, 10. Witting and Language, 11. Emotions and Passion, 12. Memory and Document.

Since 1996 Gustav Deutsch has been poring through film archives, retrieving scraps of film, including damaged ends of reel, test shots and discarded editings, and adding them to an ongoing project entitled „Film ist“. These found clips, freed from their original context, are ripe for reinterpretation. What Deutsch finds interesting is how easily new meanings can be ascribed to them, how they lend themselves in montage to new governing narratives. The brief clips, often looped to make their tiny but definitive gesture cyclical, hence satisfyingly complete in themselves, cover a century of film. The material used derives from scientific films which were made for the purposes of documentation or instruction, as well as film which originated in, or is redolent of, the overlapping realms of fairground and variety theatre, for the purposes of entertainment. - Brian Marley - http://www.index-dvd.at/php/de/reviews.php?show_review=5


FILM IST> A PRIMER FOR A VISUAL WORLD> by Tom Gunning
1. Film ist.
Film has an antagonistic relationship to theory; this goes beyond the usual opposition between theory and practice, or between words and images. It goes to the core of what cinema is, and the difficulty of defining it.


As André Basin understood, the task o film theory is to ask -continually- "What is cinema?" and allow for continuous transformations in the answer. 


2. Word and Image: Making the point.
The best film theory has always, in fact been a dialogue with images.


Film ist. may be thought of as the first film theory done entirely in film.


What we see here is not a demonstration of categorization, but the power of names to point out, like an extended index fingers, aspects of our visual experience of film and to thus transform how we see these images.


3. The Lexicon and the Narrative
Not only do we see the principle of free association at its surrealist height, but we also realize the power of seeing shots in isolation, wrenched from context, twitching like amputated limbs, displaying their unique features divorced from contextual meaning. 


4. The Archive of the Unconscious
At some point soon the artists and scholars of the twentieth first century will discover that the film archives of the world are not simply the repositories of the world's masterpieces of Cinematic Art, but also Aladdin caves of treasures unnamed and unnumbered. 




Just how the various pieces find their own place and rhythm reminds one the modern poetry or the photo work of the American artist John Baldessari. Pictures which, from their origins, have nothing to do with each other, which don't "belong together", are compiled, tied together, fused with each other. (Alexander Horwalth)




FOUND FOOTAGE FILM : make use of pre-existing film material.
MONTAGE: Creating New Contexts of Meaning




REPETITION: From the very beginning of cinematography, repetition was a recurring motif: the juggler, the swimmer, the girl jumping rope, since taking our first breath rhythmically, repeated movement of the inner organs like heart and lungs have controlled our circulation and breathing. Thanks to rhythmically repeated movement we can move forward. Our everyday lives and jobs are characterized by repetition. Film loops permit perfect simulation of the repetition in life. They connect the beginning and the end of a scene, thereby creating a continuum. Repetition. In Life and Film.  - Gustav Deutsch- Interview