Lunch provided. Please RSVP if you plan to attend.
Funk carioca, funk from Rio de Janeiro, becomes possible through extensive networks of people, sounds, payola, gifts, tribute, and technologies. I explore various economies of reciprocity in the music genre and how they relate to attribution of authorship and ownership. Names—of DJs, MCs, soundsystems and websites—become important as they are associated with, dubbed over, or erased from songs or sound samples to either expand or control their circulation. Furthermore, historically Brazilian patterns of personalismo and patronage shape how musicians utilize new technologies to extend their personal networks, build their names, and appeal to DJs to get played. The logics of intellectual property and authorship seem inverted—musicians often pay to play and the song’s destination (the DJ) rather than its origin (the composer) is named and credited in the lyrics.
Alexandra Lippman is a Postdoctoral Fellow with the Innovating Communication in Scholarship project at the University of California, Davis and is affiliated with Science and Technology Studies. She holds a Ph.D. in Anthropology from the University of California, Irvine. Her primary research explores how globalizing alternative intellectual property practices impact digital media, access to knowledge, and music in Brazil. She is the founder of the Sound Ethnography Project and has published in Norient and Anthropology Today for a special issue on alternative copyright, which she co-edited.
Note this is our Food for Thought format where everyone is asked to read a paper ahead of time. After you RSVP, you will be emailed with the paper to be discussed.
Tues, Oct 7, 2014 from 12:10-1:30pm in SSH 1246 of the UC Davis campus.
Please join us in welcoming the new ICIS postdoctoral fellow, Alexandra Lippman, at a Food for Thought Event. Alexandra will be presenting on her work, Tempos and Temporalities of Ownership: Property, Piracy and Public Domain in Funk Carioca:
Time has long been a concern of anthropologists. In this article, I argue that music has something to add to anthropological understandings of temporality. After all, the organization of time is one of music’s fundamental characteristics. In order to introduce music into anthropological discussions of time, I discuss ownership within funk carioca, a popular Afro-Brazilian musical genre, which relies on sampling, dubbing, and versioning. I identify four different forms ownership and their distinct temporalities within funk carioca. These situations of ownership are a commons, copyrighted, desired for, and pirated. I call their respective temporalities looping time, limited time, imagined futurity, and in-the-meantime. These temporalities are linked, respectively, to an ongoing present, the past, the future, and a heterotemporality. Each mode of ownership presents musicians with unique ways to make money and/or build their reputation. Songs’ circulation through multiple modes of ownership—often simultaneously—further suggests how these modes are coeval rather than mutually exclusive.
Note this is our Food for Thought format where everyone is asked to read a paper ahead of time. After you RSVP, you will be emailed with the paper to be discussed. Please RSVP here to receive a copy of her paper.
This event is co-sponsored with the Center for Science and Innovation Studies & the Science and Technology Studies Program at UC Davis.