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| * Paula Chakravartty et al., “#CommunicationSoWhite,” Journal of Communication 68, no. 2 (April 1, 2018): 254–66, https://doi.org/10.1093/joc/jqy003
| | Materials read as part of the reading group |
| * AB Satyaprakash, “10 Funny and Absurd Software Licenses That Will Make Your Day,” July 2022, https://medium.com/codex/10-funny-and-absurd-software-licenses-that-will-make-your-day-ca371c404a2a
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| * Klint Finley, “An Open Source License That Requires Users to Do No Harm,” Wired, accessed September 27, 2023, https://www.wired.com/story/open-source-license-requires-users-do-no-harm/
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| * Abigail De Kosnik, “Archontic Production: Free Culture and Free Software as Versioning,” in Rogue Archives: Digital Cultural Memory and Media Fandom (The MIT Press, 2016), 273–314
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| * Ken Chen, “Authenticity Obsession, or Conceptualism as Minstrel Show,” June 11, 2015, https://aaww.org/authenticity-obsession/
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| * Sara Ahmed, “Authorship,” in Differences That Matter: Feminist Theory and Postmodernism (Cambridge University Press, 1998), 119–45
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| * Daniel Blanga Gubbay, “Being Danced by the Dance,” in DiVersions V2, ed. Elodie Mugrefya and Femke Snelting (Brussels: Constant, 2021), https://diversions.constantvzw.org/publication/diversions_v2.pdf+
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| * Eric Schrijver, Copy This Book: An Artist’s Guide to Copyright (Eindhoven: Onomatopee, 2019)
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| * C. Thi Nguyen and Matthew Strohl, “Cultural Appropriation and the Intimacy of Groups,” Philosophical Studies 176, no. 4 (April 1, 2019): 981–1002, https://doi.org/10.1007/s11098-018-1223-3
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| * Millán Moira, “Cultural Extractivism Is the Subtraction of an Ancestral Knowledge or an Art to Destroying It.,” Segunda Cuadernos de Danza (blog), May 24, 2020, https://cuadernosdedanza.com.ar/textosdanzacontemporanea/602/cultural-extractivism-is-the-subtraction-of-an-ancestral-knowledge-or-an-art-to-destroying-it
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| * “Definition of Free Cultural Works,” Freedom Defined, February 17, 2015, https://freedomdefined.org/Definition
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| * Lauren Berlant and Earl McCabe, “Depressive Realism: An Interview with Lauren Berlant,” Realism, June 2011, https://static1.squarespace.com/static/574dd51d62cd942085f12091/t/5ae0eca1f950b776ecdf9abd/1524690081492/L+Berlant+-+Depressive+Realism+%28Interview%29.pdf
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| * Sara Ahmed, Differences That Matter: Feminist Theory and Postmodernism (Cambridge University Press, 1998)
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| * Cristina Rivera Garza, “Disappropriation: Writing with and for the Dead,” in The Restless Dead: Necrowriting and Disappropriation (Vanderbilt University Press, 2020), 43–79
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| * “Do No Harm License,” September 17, 2022, https://github.com/raisely/NoHarm
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| * Organization for Ethical Source, “Ethical Source Licenses,” 2024, https://ethicalsource.dev/licenses/
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| * Gary Hall, “Experimenting with Copyright Licences,” Copim, April 20, 2023, https://copim.pubpub.org/pub/combinatorial-books-documentation-copyright-licences-post6/release/1
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| * Katherine Mckittrick, “Footnotes (Books and Papers Scattered about the Floor),” in Dear Science and Other Stories (Durham and London: Duke University Press, 2021), 14–32
| |
| * Aymeric Mansoux, “How Deep Is Your Source,” in Digital Art Conservation, Preservation of Digital Art: Theory and Practice, ed. Bernhard Serexhe, vol. Preservation of Digital Art: Theory and Practice (ZKM Karlsruhe, 2012)
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| * Abigail De Kosnik, “Licensing and Licentiousness,” in Rogue Archives: Digital Cultural Memory and Media Fandom (The MIT Press, 2016), 307–14
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| * Denise Ferreira da Silva, “On Difference without Separability,” in In Incerteza Viva: 32nd Bienal de São Paulo, ed. Jochen Volz and Júlia Rebouças (Sao Paulo: Ministry of Culture, Bienal and Itaú, 2016)
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| * Lauren Berlant and Kathleen Stewart, “Some Things We Thought With,” in The Hundreds (Duke University Press, 2019), 157–73
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| * Boatema Boateng, The Copyright Thing Doesn’t Work Here: Adinkra and Kente Cloth and Intellectual Property (Minneapolis, London: University of Minnesota Press, 2011)
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| * Ginger Coons and Kyra, “The Empowermentors Collective—an Interview,” Libre Graphics Magazine, n.d., https://archive.libregraphicsmag.com/2.2/empowermentors/
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| * Florian Cramer and Clara Lobregat Balaguer, “The Moral of the Xerox - Missalette,” 2022, file:///home/fs/Downloads/file_4febcdf6-30fc-4997-8ca0-e73e376ac439_Clara_Lobregat_Balaguer+Florian_Cramer_-_Misalette-preview_edition.pdf
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| * Cristina Rivera Garza, The Restless Dead: Necrowriting and Disappropriation (Vanderbilt University Press, 2020)
| |
| * Fred Moten and Stefano Harney, “Usufruct and Use,” in All Incomplete (Wivenhoe, New York, Port Watson: Minor Compositions, 2021)
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| * Paul Soulellis, What Is Queer Typography? (Queer.Archive.Work, 2021)
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| * Carys J. Craig, Joseph F. Turcotte, and Rosemary J. Coombe, “What’s Feminist about Open Access? A Relational Approach to Copyright in the Academy.,” Feminists@law Vol 1, no. No 1 (2011)
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| * Sher Doruff, “Who Done It? Ethico-Aesthetics, the Production of Subjectivity and Attribution,” in FLOSS + Art, ed. Marloes van der Valk and Aymeric Mansoux (London: Mute, 2008), 118–27
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| * Kathy Acker, “Writing, Identity, and Copyright in the Net Age,” The Journal of the Midwest Modern Language Association Vol. 28, no. No. 1, Identities (Spring 1995): 93–98
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| * Donald Haase, “Yours, Mine or Ours? Perrault, The Brothers Grimm, and the Ownership of Fairy Tales,” Merveilles & Contes Vol. 7, no. No. 2 (December 1993): 383–402.
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