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The Self of the Scientist, Material for the Artist

Emergent Distinctionsin an Interdisciplinary Collaboration

James Leach

This article analyzes ethnographic material from several art and science research collaborations that were funded under a single funding scheme in the UK between 2003 and 2006. The material illustrates the way that distinctions between aesthetic value and utility value emerged during the interactions of the participants. It outlines how conceptual positions about the contrasting value of art and of science shaped their collaborative practice. I relate key distinctions that emerged in their statements to the parallel division in intellectual property law between copyright and patent. The intention is to show how seemingly natural and given differences that inform both law and disciplinary practice are generated and regenerated in a manner that divides persons, things, and disciplines in the very practices that these categories reciprocally inform and shape.

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Stefan Nygård, Matti La Mela, and Frank Nullmeier

commonplace. This tension is already introduced in chapter 2 since some eighteenth-century laws protecting artistic work, such as the British Engravers’ Act of 1735, had aspects “that pointed towards modern copyright law” (42). This act granted protection

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Chloe Krystyna Garcia and Ayesha Vemuri

copyright laws, they may put video producers in vulnerable positions since these videos may be discussed without the producers’ permission or knowledge. Similarly, Dorothy Kim and Eunsong Kim (2014) note that “the emotional and intellectual labor of women

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Heidi Morrison, James S. Finley, Daniel Owen Spence, Aaron Hatley, Rachael Squire, Michael Ra-shon Hall, Stéphanie Vincent-Geslin, Sibo Chen, Tawny Andersen, and Stéphanie Ponsavady

issues of mobility, such as migrant rights (chapter 10), the cultural autonomy of indigenous people (chapter 11), international copyright laws (chapter 12), and discourses on international interventions (chapter 16). In chapters 13–15, which may be the

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Benoît Crucifix

more transformative and distant from the original. The kind of ‘poaching’ experiment that Josso Hamel explores thus meets severe obstacles when confronted with copyright laws. While comics images are often ‘stripped from the conditions of their own