ASSIGNMENT

Assignment

Assignment

1) Authorship in Visuals and Music

In copyright law, there is necessarily little flexibility as to what constitutes authorship. The United Kingdom Copyright Office defines copyright as "a form of protection provided by the laws of the United States (title 17, U.S. Code) to authors of "original works of authorship". Holding the title of "author" over any "literary, dramatic, visuals and musical, artistic, [or] certain other intellectual works" give rights to this person, the owner of the copyright, exclusive right to do jujor authorize any production or distribution of their work. Any person or entity wishing to use intellectual property held under copyright must receive permission from the copyright holder to use this work, and often will be asked to pay for the use of copyrighted material.

After a fixed amount of time, the copyright expires on intellectual work and it enters the public domain, where it can be used without limit. Copyright law has been amended time and time again since the inception of the law to extend the length of this fixed period where the work is exclusively controlled by the copyright holder. However, copyright is merely the legal reassurance that one owns his/her work. Technically, someone owns their work from the time it's created. An interesting aspect of authorship emerges with copyright in that it can be passed down to another upon one's death. The person who inherits the copyright is not the author, but enjoys the same legal benefits.

2) Philosophy of Moving Image and Design

Why is film becoming increasingly important to philosophers? Is it because it can be a helpful tool in teaching philosophy, in illustrating it? Or is it because film can also think for itself, because it can create its own philosophy? In fact, a popular claim amongst ?lm-philosophers is that ?lm is no mere handmaiden to philosophy, that it does more than simply illustrate philosophical texts: rather, ?lm itself can philosophise in direct audio-visual terms. Approaches that purport to grant to film the possibility of being more than illustrative can be found in the subtractive ontology of Alain Badiou, the Wittgensteinian analyses of Stanley Cavell, and the materialist semiotics of Gilles Deleuze. In each case there is a claim that ?lm can think in its own way. Too often, however, when philosophers claim to find indigenous philosophical value in film, it is only on account of refracting it through their own thought: film philosophises because it accords with a favoured kind of extant philosophy.

3) Core Values of Good Communication

Today more than ever there is a real lack of good communication. We see it everywhere -- in the conflict of war and aggression, we see it in big business where managers and workers alike are not heard, and we see it in our own relationships. Many of you can relate because you have felt the sting of being alienated by people unwilling to listen.

There are not many things that are quite as painful as being shut out, of not being heard, of not being understood -- ...