Copies and derivatives are everywhere. Culture would not be without people duplicating, adapting and creating ripoffs of existing material. Yet at the same time paywalls and extractive licensing schemes do much work to block off copying. And somehow certain works are still labelled ‘original’, and it’s generally only those supposed ‘originals’ that get prized. How do we move on from here?
The Festival of Derivatives celebrates all things original and copy.
The making of forged documents in 19th-century Finland
What is appropriate? “Inappropriate users” reshaping access to care within an Italian Emergency Room
Rewriting the Picaresque Genre in Güneli Gün’s On the Road to Baghdad: A Picaresque Novel of Magical Adventures, Begged, Borrowed and Stolen from The Thousand and One Nights (1991)
On creativity and forced derivation in academia
Studio Copy Right
Brian M. Kelly
A derivative paper based on the philosophy journal Analysis
On derivatives and original difference in 1980s Japanese music
Any questions? Contact Chris Onrust Meyns.
The Festival of Derivatives celebrates an inclusive, welcoming festival experience for everyone. That means we’re dedicated to providing a harassment-free conference experience for everyone, regardless of gender, gender identity and expression, age, sexual orientation, disability, physical appearance, body size, race, ethnicity, religion (or no religion), or technology choices.