Steal This Footage – Howard Rheingold – Shifts in Technology and Power:
Rheingold recounts how the development of communication technology has removed the power top transmit messages from a tiny elite, and had been a force for democratization. Following Benkler’s idea of peer production he explains how the diffusion of many-to-many communication technologies enables new forms of collective action.
More Rheingold: The Social Media Classroom and community of practice are now available.
![Shepard Fairey’s “Barack Obama/Hope” image went viral during the 2008 election. Then controversy about the image’s source transformed it into the poster child for fair use in the public debate over copyright and free culture. Now FULAB takes “Hope” as its icon [Image source: Wikipedia]](http://fairuselab.net/wp-content/uploads/2009/03/shepard_fairey_hope_2008.jpg "shepard_fairey_hope_2008")
Re-imagining accessibility through the transformations of culture -- particularly the transformative promise of accessible technology for people with disabilities -- is the work of the Fair Use Lab. What does Shepard Fairey’s Hope poster have to do with accessibility? Read more: Shape-Shifters in the Fair Use Lab [MiT6 2009]
![Promotional artwork for "The Grey Album" by Justin Hampton. This was not used for the actual cover, but appeared on the Danger Mouse website in 2004. [Source: Wikipedia]](http://fairuselab.net/wp-content/uploads/2009/03/danger_mouse_grey_album_cover_200.jpg "danger_mouse_grey_album_cover_200")
Will DJ Danger Mouse become the Che Guevara of digital sampling? Consider the case for fair use made by The Grey Album.
In the moment when Paul Strand photographed her surreptitiously on the street in New York, the social engineers who created a system for licensing beggars never imagined that a blind woman had culture or could make culture. She herself may not have imagined it. Paul Strand probably didn’t give her much credit for making culture, either. Read more: Curiosity & The Blind Photographer [MiT5 2007] See more on blind photographers.
I am a parent, homeowner, knowledge worker, and person with disabilities. Oppression is not my true word, but praxis is. In Paulo Freire’s transformative work, I find an affirmation deeper than ideology or political activism -- an affirmation of the dynamic role of disability in culture. I believe the daily praxis of making adaptations and negotiating accommodations represents a significant form of cultural production. Read Disability As Praxis.![President George H.W. Bush signs into law the Americans with Disabilities Act (ADA) on July 26, 1990 as Justin Dart looks on. [Source: ucp.org]](http://fairuselab.net/wp-content/uploads/2010/07/ada_signing_072690_ucp_2.jpg "ada_signing_072690_ucp_2")
On its 20th anniversary, pundits will debate what the Americans with Disabilities Act has accomplished. I still believe what I said in a TV interview after the ADA signing ceremony in 1990. “The ADA will not end disability discrimination overnight. But in a nation governed by the rule of law, getting it in writing is the place to start.” So what is the ADA's legacy? A Generation of Problem-Solvers.
a blind flaneur