Reuse Case: Unsolicited Collaboration: Difference between revisions
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In the course of a longterm project on book piracy, | In the course of a longterm project on book piracy, two artist researchers visited several pirate book markets. Leaving the markets with a big bag full of pirate copies, they started to compare the pirated versions with the official copies. It seemed the pirates not only took control over the objects but also the content: to one of the pirate copies (an autobiographical novel by a wellknown journalist and TV presenter), somebody borrowed the official author's voice and sneaked in two more fictionalized chapters about the author's life without asking for authorization from the author or publisher. The extra chapters are good enough to pass undetected by a reader. Should this act of infiltrating the author's voice be seen as a critique of normalised concept of individual authorship as something proprietary and stable? Is this an unsolicited collaboration proposing authorship as dialogical and participative? What is the motivation behind inhabiting someone elses voice? There is no cultural capital, nor financial gain, since the pirate author remains anonymous. Buyers dont want to read a chapter by an anonymous author, when they buy a book, say from a well known author. Afterall, local friends were extremely surprised and slightly unsettled to see altered books. How many modified books have they been reading over the years? | ||
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Revision as of 17:02, 26 July 2024
In the course of a longterm project on book piracy, two artist researchers visited several pirate book markets. Leaving the markets with a big bag full of pirate copies, they started to compare the pirated versions with the official copies. It seemed the pirates not only took control over the objects but also the content: to one of the pirate copies (an autobiographical novel by a wellknown journalist and TV presenter), somebody borrowed the official author's voice and sneaked in two more fictionalized chapters about the author's life without asking for authorization from the author or publisher. The extra chapters are good enough to pass undetected by a reader. Should this act of infiltrating the author's voice be seen as a critique of normalised concept of individual authorship as something proprietary and stable? Is this an unsolicited collaboration proposing authorship as dialogical and participative? What is the motivation behind inhabiting someone elses voice? There is no cultural capital, nor financial gain, since the pirate author remains anonymous. Buyers dont want to read a chapter by an anonymous author, when they buy a book, say from a well known author. Afterall, local friends were extremely surprised and slightly unsettled to see altered books. How many modified books have they been reading over the years?
