Kulturpark Berlin will be hosting Radio Espacio Estacion and the end Radio
Online broadcasting is scheduled from Thursday June 28th through Sunday July 1st

Thursday: 4pm – 8pm EST
Friday: 2pm – 6pm EST
Saturday – Sunday: 5am – 2pm EST
* Broadcasting is not limited to the times above. Stay tuned!!

Listen to their sounds online only HERE >> radioespacioestacion.com

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Erik Smith‘s recent work focuses on urban sites and the landscape, developing a line of research between mediums and strategies. In a project realized last fall in Berlin, where he has lived and worked since 2003, Smith slowly excavated a section of the former “dead zone” of the Berlin Wall, digging with a shovel, and unearthed a large spiral staircase which served as a kind of found/revealed public sculpture. Smith brings this line of investigation to his residency in Miami, turning his attention toward transitional or disused sites and the processes remaking them.

Serving as the point of departure for AABBCCDV is the imminent demolition of the building that was home to Dimensions Variable since its inception, and which functioned both as an exhibition venue as well as studio space for its organizers. Located in a part of the city that has seen significant growth in commercial traffic over the past decade, and recently vacated to make way for new development, the soon-to-be-demolished structure can be read as a marker for urban transformations in general, a process that is as much about speculative growth and renewal as it is negation and fragmentation.

Erik Smith (US) studied comparative literature and art in the US and Italy and has lived and worked in Berlin, Germany since 2003. Selected solo exhibitions include Test Dig No. 1, Skulpturenpark Berlin_Zentrum, Berlin (2011), The Ghost of James Lee Byars Calling, de Appel Center for Contemporary Art, Amsterdam (NL) (2007), and New Conceptual Sculpture, Rena Bransten Gallery, San Francisco, CA (1999). His work has also been shown in numerous group exhibitions including Black Mirror, Arsenic, Lausanne (CH) (2010), In Practice Projects, Sculpture Center, LIC, NY (2008), and Redistribution of the Sensible, Magnus Müller Gallery, Berlin (2005). Smith is a 2012 visiting resident at LegalArt.

http://dimensionsvariable.net/2012/04/24/aabbccdv-erik-smith/

LegalArt and Common Threads are pairing up to celebrate the mission of both organizations. Join this unique event of food, art and entertainment and support both organizations. (21+ up)

Brought to you by The Foundry, LegalArt’s Patron Society.

Food Provided by:
Chow Down Grill
Gastropod
Mad Max Jack’s

Sponsored by:
Société Perrier
42 Below
Peroni
Michelle Bernstein Catering
DJ Nando Arcieri

Art created by:
Liz Ferrer
Patti Hernandez
Jiae Hwang
Lucas Leyva
Jillian Mayer
Jared Sharon
Leo Valencia
Amy von Harrington
Pioneer Winter

Advance tickets $25 per person
At the door $40 per person

ONLINE TICKETS ARE SOLD OUT.
ADMISSION AT THE DOOR IS $40 AND CAN BE PAID WITH CASH, CHECK OR CREDIT CARD.
WE LOOK FORWARD TO SEEING YOU!

What is a copyright and how long does it last?

A copyright provides a creator of an “original work of authorship” (i.e., literary, musical, and artistic works) the right to control how the work is used. This right is available to both published and unpublished works. For example, a creator has the sole right to:

• Reproduce the work,
• Prepare derivative works,
• Distribute copies,
• Perform the work publicly, and
• Display the work publicly

The duration of the copyright depends on the year in which the work was created. Typically, a copyright lasts for the life of the author plus seventy years.

Are there any limitations to the rights a copyright holder possesses?

Yes, there are certain limitations to these rights, such as the “fair use” doctrine. This doctrine permits the use of limited copyrighted material, without permission from the author, for the purposes of criticism, comment, news reporting, teaching, scholarship, or research. There are a number of factors that a court considers when determining whether the use is fair, but the most important consideration is how “transformative” the new work is.

So, what is considered “fair use”?

Unfortunately, there is no concrete definition on what qualifies as fair use. Like free speech, judges and lawmakers who created the fair use exception wanted to keep its meaning open to interpretation in court. Most fair use, however, falls into two categories: commentary and criticism, or parody.

Commentary and criticism includes using small snippets of a copyrighted work to write a review of that work, summarizing the work, using a few paragraphs of the work for a teaching lesson, or copying a portion of the work for use in a court case.

A parody includes any work that ridicules another work (usually more well-known) in a comic way. Just think of Weird Al! However, just because you use a piece from an original work to poke fun at it does not necessarily mean you are creating a parody. There is an important distinction between making a comment by using pieces from an original work and making a comment that relates back to the original work. For example, a satire does not fall within the fair use exception because the copyrighted work is merely a vehicle used to ridicule another target and can stand on its own two feet. By contrast, a parody needs to mimic an original work in order to make its point, and therefore using snippets from a copyrightable work is permissible.

Overall, the more transformative a work is, the more likely it will be considered a fair use. It is important to note that the Fair Use Doctrine is an affirmative defense, which means it is only argued after a suit has been brought.

Who owns the copyright of a work created during the course of employment?

Another such limitation is related to works “made for hire,” which are works prepared by an employee within the scope of his or her employment, or works specially ordered or commissioned. When a work is “made for hire,” the employer, not the employee, is considered the copyright owner unless there is a written agreement stating otherwise.

There are a number of factors that are considered when determining who an employee is for purposes of specifying who owns a copyright. For example, if your employer exercises control over how the work should be done, establishes the work place, provides the tools, plans your schedule, directs how you will be paid, then you are likely defined as an employee.

Why register a copyright?

When a copyrightable work is created, the author immediately becomes the copyright owner once the work is fixed in a tangible medium, regardless of registration. So why register a copyright? Well, registration with the U.S. Copyright Office provides several advantages.

Registration:
• Provides a public record of the copyright claim,
• Is necessary before an infringement suit may be filed,
• Provides prima facie evidence of the copyright’s validity if the work is registered before or within five years of publication,
• Entitles a copyright owner to statutory damages and attorney’s fees if the work is registered within three months of first publication, and
• Allows the copyright owner to record the registration with the U.S. Customs Service for protection against the importation of infringing copies.

How do I register a copyright?

First, complete an application by filling out the proper form for the type of work you are seeking registration. You can find a list of forms here.

Next, include the correct filing fee, which depends on whether registration is filed online or by paper. You can find a list of proper fees here.

Last, submit a deposit of your work, usually one copy for unpublished works and two copies for published works.

It takes about four months for the Copyright Office to examine your application. Once it is approved, you will receive a certificate of registration.

Where can I go to learn more about copyrights?

Here a few links that may be helpful in your search for learning more a little more about copyrights:
• United States Copyright Office
• Copylaw Blog from the Law Offices of Lloyd J. Jassin
• Copyright Alliance
• Future of Music Coalition
• Creative Commons
• Stanford Copyright and Fair Use Center
• United States Copyright Office

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LegalArt has dedicated itself to providing artists with affordable legal services, grants and educational opportunities. By empowering artists with access to legal and professional support, resources and information, and a live/work residency program, LegalArt creates opportunities and protections for Miami’s art community; fostering a generation armed with the skills to legally protect their creations. All LegalArt programming helps artists by creating a community both dedicated to and invested in their success.