Working with the two professors and with Jennifer Urban at University of California-Berkeley, the HMPI supplemented the already extensive information gathering done for the new media report with an additional information-gathering meeting in Boston in November of 2009. As the group was finishing the new media report, the HMPI contacted Peter Jaszi and Patricia Aufderheide at American University, who (through the Center for Social Media and the Program on Intellectual Property and Information Justice) have assisted various groups in developing fair use best practices documents for their specific communities. Soon after its first meeting, the group began discussing the possibility of developing “best practices” for poets and publishers.Īs the Harriet Monroe working group became aware of the uncertainties and tensions around fair use at play in the poetry community, its members realized that the poetry community urgently needed to clarify for itself what “best practices” might be for fair use in poetry. Some of these clearance issues develop from the business structures underlying poetry publishing, but a significant number, the group discovered, relate to institutional practices that might be reconsidered, including both poets’ and publishers’ approaches to quoting and other types of possible fair use. Almost immediately, the group’s conversation focused on barriers to poetic innovation and distribution caused by clearance issues. The group’s work culminated in a wide-ranging report, “Poetry in New Media: A Users’ Guide” ( ).Įmbracing the overarching value of access to poetry as its theme, the group saw that business, technological, and societal shifts had profound implications for poets publishing both in new and in traditional media, and also that poets have an opportunity to take a central role in expanding access to a broad range of poetry in coming months and years. During 2009, a group of poets, editors, publishers, and experts in copyright law and new media came together under the auspices of the Poetry Foundation’s Harriet Monroe Poetry Institute with the goal of identifying obstacles preventing poetry from coming fully into new media and, where possible, imagining how to remove or mitigate these obstacles. If you have questions, corrections, or things that I’ve overlooked, please tell me in the comments below.The impetus for developing this code of best practices arose from a broader conversation around poetry’s place in new media. Be sure to bookmark this page so you can find it fast. Since the animals can only be sheared once every three years, it’s rare and outlandishly expensive.”įollow these examples, and you will soon format dialogue like a pro. Vicuña wool is softer, lighter and warmer than any other wool in the world. “The wool in Allurotique is harvested from vicuñas, a South American animal related to llamas. It’s has a number of other nifty features: it’s more durable than other silks, it’s almost impossible to stain and it gets shinier with wear. It absorbs water better than other silks, making it more comfortable to wear. “The silk in Allurotique is muga silk, which has a natural shimmering gold color. And it’s made from the most expensive silk and a exotic wool spun into a fabric with extraordinary qualities. Pashmina silk is made by weaving wool from pashmina goats with a silk produced by worms that eat only mulberry leaves. Some people compare it to the most expensive commercially available silk, Pashmina Silk but that comparison is off base. “The thread is a remarkable silk-wool blend, a new fabric named Allurotique.
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