20 BD hilarantes qui illustrent parfaitement le quotidien avec une femme (page 2)
20 BD hilarantes qui illustrent parfaitement le quotidien avec une femme – page 2
It is difficult to identify a more personal statement or method for collaborative reports than to use our bodies as canvases, which permanently mark a skin. Tattoos can begin some of the most productive artists. Their customers' tattooed compositions are more broad and easily visible than work done in the vicinity of any other medium. But within the tattoo field, it is carefully agreed on sufficiently described or serious analysis of the business and associated technical and socio-economic effects.
We turn briefly to an article from New Zealand. As is most common with online tattoo-related writings, the content primarily works as a promotional image for image hyping coloring as an exercise and is then peppered with quotes from a practical, easily contactable [often just mainstream] artists. However, the consequences of copyrighted tattoo designs and associated body art forms, especially ready-made tattoo works, are worth exploring in more detail:
"Tattoo artists need the right to copyright their work | There is an unwritten rule in New Zealand - decent tattoo artists do not copy patterns. Original tattoo design. Domestic founder Gordon Toi would receive tattoo protection." I would like to see some form of control over Maori tattoo and polynesian tattoo ... there so much exploitation. "Original patterns were often replicated, often abroad, without even talking to the New Zealand artist," he said.
"Skin is probably the hardest thing about copyright, because everyone copies it." Pacific Tattoo owner Tim Hunt wanted artists to respect the importance of Maori and Pacific cultural patterns and symbols. "Any artist can say, I can make you a design that has a corus and sees Maori," I said.
"But if you want something genuine, you have to go somewhere else." Overseas tattoo artists agree when their designs appear on the media, such as television. In 2011, the artist by Mike Tyson's Maori-inspired face tattoo sued Warner Bros over a depiction of similar facial art in a character in The Hangover: Part II. If copyright protected cultural images, Hunt would respect the change. "I want more tattoo artists to stand up and say," I don't know enough about it, I don't know the story behind it and I don't know the context behind it. "Overseas, tattoo artists copy images without a second thought.
New Zealand was different, he said. "It's kind of an unspoken code in New Zealand that you just don't do it." Hunting believed that the customer owned the tattoo, not the artist. Union Tattoo Owner Craigy Lee agreed that there was an unwritten code of conduct for not copying a custom tattoo. Decent artists would not dare to make money from someone else's design, he said. University of Auckland Professor Alex Sims said technically what is currently happening in New Zealand is probably copyright infringement - under the artist's banner. However, Sims warned against the strict application of copyright laws on tattoos, which may include the removal of tattoos, the prevention of tattoos in films and advertisements, or the demand for the removal of tattoos from social media. "It would give the copyright holder power to control images of a person, which would be extremely concerned and just wrong."
Tattoo vs art
For use in the tattoo world, a distinction must be made between copyrighted or applied tattooing techniques. We take up professional practitioners tattoo as their sustainable, primary means of income.
Tattooists can have multiple images and other as yet unapplied media content, such as designs, compositions, sketches or custom artwork. Like representations of various traditional art forms, these are reliably easy to record as well as upload, allowing for clear digital description of copyright ownership.
Separately, worn by clients, tattoos usually end up with tattooed pieces. By using a three-dimensional cloth, complexes are introduced for automated digital identification. In a large number of images for copyright protection of copyrighted material, independent investigation techniques can instead be used. While Instagram and alternative database upload databases offer some form of time stamped verification, but due to comparatively open editable structures, child source and proprietary names can be diluted. If the artwork of the tattoo is documented on skin or another type of cloth, the first practical distinction is.
Artist vs. Tech
For copyright considerations to be examined satisfactorily, grouping functions as the specific starting categories of the tattoo industry. On one side of the creative artistic spectrum of tattoo art are those tattoo artists who only carry out their style and technique.
Reproducing reflections on how the styles and aesthetics of the tattoo artist may have been derived or inspired is that the work of the tattoo artist is independently recognizable as "being their". In a sense, the tattoo artist has a stylistic monopoly.
Proportionally to other creative media, the tattoo artist has a certain vision, knowledge and or expertise that cannot be replaced simply or by anyone else. The tattoo artist can be defined as practicing the tattoo vessel to convey a unique style and or promote the continuity of a single aesthetic or technique.
Tattoo techniques can have clear gates of finished, tattooed, works. Although tattoos in such capitals cannot be precisely replicated, such unique quality attributes depend primarily on placement on a custom fabric, that is, on an entirely individual person. The continuous result is tailor-made rather than the isolation of a composition. Similarly, such tattooed work is formed within specific, often non-reproducible proportions. The resulting tattoo can actually be faithfully replicated by some other tattoo techniques, albeit on another exclusive cloth.
And as well as qualified technicians in any area, a tattoo technician can be replaced with no inherent loss or breakdown of the results. A technician is the tattoo that is physically and technically capable of applying categories of tattoos, but can make it unreasonable with regard to a single style, size, technique, aesthetics and design. The capacity rather than artistic temperament or vision here is the limiting factor.
Tradition vs. technology
Tattoo artists can imagine [as just two examples from millions] Ondrash conveys a unique aesthetic to Horioshi III in Japan and continues the culturally rich art of tebori. Both are solitary in the tattoo artist's jurisdiction, delineation of copyrighted unique compositions as opposed to reproductions of traditional iconography form another notable separation.
Just like any configuration in the more classic medium-sized media such as painting, such a dichotomy is not to claim that tattoo art itself unnecessarily even neatly falls on one side. Just as with all artistic chores, sources of inspiration as well as subjectively motivated conclusions such as the same compositions labeled as "homage" of some or "theft" to others are still objectively defined in some way. In practical terms, the tattoo artist who produces traditionally inspired works can be automatically and logically excluded from the copyrighted record of tattooed art outside the human canvas.
Copyright against claims
It may be a dual purpose of copyright registration. Firstly, this works as externally verified recognition, by a third party, by tailor-made or attributed authorship. Such add credibility, weight and or authority to content. Not least of which often lending substance to sales prices.
Secondly, the purpose of holding copyright registration may be preparation for cataloging procedures when initiating formalized legal protection. These procedures, however, require the criminals to be identified, engaged, refused to honor the registration, and then successfully convicted in a manner limited by their geographically applicable court. Quantification of offsetting entitlements is due to the correct identification of the offender, ownership of documented use, ownership of debt by response, and achievable legal consequences determined in part by physical location. All forms are strange, complicated factors.
Recognition against protection
It has been found as usual for a tattooist to use the patterns or even finished tattooed briefs of another. While much of the accredited tattoo artwork can be searched online, pure volumes available through various sources are bursting for single point attempts. [ie one tattooist's] crediting. The illegal or unauthorized use of tattooed works is probably only in printed or offline ports, as with those shown on the student clientele. Tattoos often serve as an individually designed and private art form.
Online viewing and thereby essentially public registration & # 39; of tattooed works cannot be intentionally present. Its carrier could have requested this.
These factors are transformed into a capability for tattooing techniques that deal directly with individual customers, in order to be sufficiently liberal in the statements of completed work as well as, by extension, tattoo experience or expertise.
In a practical way, the motivation or driving force for the registration of copyright holdings of tattooing works to a greater extent to the tattoo art and sometimes only as a form of registration of finished ports to technicians. While attainable memory or punishment measures against copyright holders are far from universally predictable, the focus on digital time stamping is both tattoo artwork and ports by saying blockchain verification the first step towards authenticity. However, the user now has an unchanging, proprietary source code.
As with technology's decentralized capabilities, the distribution of trust on individual sources, as opposed to hubs, can & # 39; corresponds to the possibility of launching a new standard for verification of tasks. This is extremely important for the client in the process choice. For tattoo artists, the effects and advantages of copyright ownership through blockchain are also significant.
The above article: May 28, 2018, Amber-Leigh Wolf on things