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- All Subjects: Law and art--United States.
- Creators: Russomanno, Joseph
- Creators: Roney, Claire Marie
- Status: Published
Description
The purpose of this study is to explore the shifting cultural norms of copyright law, and that concept’s impact on the performance and practice of artists producing original works of authorship. Although related concepts predate it, and today it exists as a subset of a broader category known as intellectual property, the purpose of copyright beginning with the United States Constitution was to allow for a temporary economic monopoly to an author of a fixed creative work. This monopoly was meant to incentivize authors to contribute to the public good with works that promote progress in science and art. However, increases over time in the scope and duration of copyright terms grant broader protections and controls for copyright owners today, while advances in technology have provided the public with the potential for near-limitless low-cost access to information. This creates a conflict between proprietary interest in creative works and the public’s right and ability to access and build on those works. The history of copyright law in America is rife with efforts to balance these competing interests.
The methodology for this study consisted of flexible strategies for collecting and analyzing data, primarily elite, semi-structured interviews with professional artists, attorneys, and others who engage with the cultural and legal norms of intellectual property regimes on a regular basis. Constant comparative analysis was used to maintain an emic perspective, prioritizing the subjective experience of individuals interviewed for this research project. Additional methods for qualitative analysis were also employed here to code and categorize gathered data, including the use of RQDA, a software package for Qualitative Data Analysis that runs within the R statistical software program. Various patterns and behaviors relevant to intellectual property reforms as they relate to artist practices were discussed in detail following the analysis of findings, in an effort to describe how cultural norms of copyright intersect with the creation of original works of authorship, and towards the development of the theory that the semiotic sign systems subject to intellectual property laws are not themselves forms of real property, as they do not meet the categorical requirements of scarce resources.
The methodology for this study consisted of flexible strategies for collecting and analyzing data, primarily elite, semi-structured interviews with professional artists, attorneys, and others who engage with the cultural and legal norms of intellectual property regimes on a regular basis. Constant comparative analysis was used to maintain an emic perspective, prioritizing the subjective experience of individuals interviewed for this research project. Additional methods for qualitative analysis were also employed here to code and categorize gathered data, including the use of RQDA, a software package for Qualitative Data Analysis that runs within the R statistical software program. Various patterns and behaviors relevant to intellectual property reforms as they relate to artist practices were discussed in detail following the analysis of findings, in an effort to describe how cultural norms of copyright intersect with the creation of original works of authorship, and towards the development of the theory that the semiotic sign systems subject to intellectual property laws are not themselves forms of real property, as they do not meet the categorical requirements of scarce resources.
ContributorsBillingsley, Evan (Author) / Russomanno, Joseph (Thesis advisor) / Anderson, Douglas (Committee member) / de la Garza, Amira (Committee member) / Thornton, Leslie-Jean (Committee member) / Arizona State University (Publisher)
Created2018
Description
Academic integrity policies coded specifically for journalism schools or departments are devised for the purpose of fostering a realistic, informative learning environment. Plagiarism and fabrication are two of the most egregious errors of judgment a journalist can commit, and journalism schools and departments address these errors through their academic integrity policies. Some schools take a zero-tolerance approach, often expelling the student after the first or second violation, while other schools take a tolerant approach, in which a student is permitted at least three violations before suspension is considered. In a time where plagiarizing and fabricating stories has never been easier to commit and never easier to catch, students must be prepared to understand plagiarism and fabrication with multimedia elements, such as video, audio, and photos. In this project, journalism academic integrity codes were gathered from across the U.S. and designated to a zero-tolerance, semi-tolerant or tolerant category the researcher designed in order to determine what is preparing students most for the real journalism world, and to suggest how some policies could improve themselves.
ContributorsRoney, Claire Marie (Author) / McGuire, Tim (Thesis director) / Russomanno, Joseph (Committee member) / W. P. Carey School of Business (Contributor) / Walter Cronkite School of Journalism and Mass Communication (Contributor) / Barrett, The Honors College (Contributor)
Created2016-12