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Musical Et Poétique / Suzor de. - St. Petersbourg : Bellizard [u.a.], [ca. 1848]
No full textMUSICAL ET POÉTIQUE / SUZOR DE. - ST. PETERSBOURG : BELLIZARD [U.A.], [CA. 1848]
Musical Et Poétique / Suzor de. - St. Petersbourg : Bellizard [u.a.], [ca. 1848]
Un Seul Regard / H. Vieuxtemps (Année 1) (1
Lettre de M.-A. Suzor-Coté à M. LeMesurier sur un chèque en paiement de son tableau Mauve & Gold
No full text2 pages, originalLettre de [M.-A.] Suzor-Coté à M. LeMesurier sur : un chèque en paiement de son tableau Mauve & Gold et des photographies qu'il désire avoir de deux toiles qu'il a vendues à l'exposition du C[anadian] A[rt] C[lub]. Avec une note de LeMesurier à [Edmund] Morris lui demandant de satisfaire au désir de Suzor-Côté
Programme AIMES : rencontre avec Annick Suzor-Weiner
No full textRencontre avec Annick Suzor-Weiner, Professeur émérite à l'Université Paris-Saclay (France) et chargée de mission auprès de l’AUF. Mme Suzor-Weiner coordonne le Programme AIMES "Accueil et intégration des migrants dans l’enseignement supérieur" lancé en 2016 par l’AUF avec plusieurs partenaires publics et privés. Ce programme soutient les établissements francophones pour l'accueil d’étudiants en exil (réfugiés, sous protection ou demandeurs d’asile). L’objectif est de favoriser l’intégration ..
CCi Submission to ALRC Copyright Inquiry
No full textThe attached report was prepared by Professor Terry Flew, Dr. Nicolas Suzor and Dr. Bonnie Liu of the Queensland University of Technology. \ud
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It was developed in consultation with Professor Stuart Cunningham, Professor Anne Fitzgerald, Associate Professor Axel Bruns, Associate Professor Jean Burgess (QUT), Professor Julian Thomas (Swinburne University of Technology), Professor Christoph Antons (Deakin University), and film producer Ms. Cathy Henkel (Virgo Productions and Adjunct Professor, QUT)
Google Books wins ‘fair use’ but Australian copyright lags
No full textAustralia wants to foster innovation in a digital economy, but our copyright laws discourage businesses from investing in new technologies and make it harder for individuals to access the knowledge upon which innovation is based. Yesterday’s US decision in the Google Books case shows why US copyright law is much more supportive of innovation than ours.The long, drawn out litigation between the Authors Guild and Google has reached a conclusion: Google’s ambitious mass-digitisation project, to scan the world’s books and make them discoverable online, is “fair use”. Normally, scanning books counts as an infringement of copyright – the law prohibits people from making copies of books without permission. “Fair use” is the safety valve in this system: it enables people to do things with copyright works that are in the public interest. Without fair use, many socially valuable reuses of copyright material would require the explicit permission of the copyright owner in advance. Seeking permission is a real problem; often, it is impossible to track the owner down, because copyright is automatic and lasts for 70-plus years after the author’s death. Even when the owners can be found, sometimes they refuse to give a licence, or charge a price that is unaffordable. Fair use enables a balance of sorts: it allows people to reuse copyright material in ways that are valuable to society and not too harmful to the copyright owner. This Google Books decision means a massive digitisation project, with huge social benefits for access to knowledge, is legal under US law. Unfortunately, this would never be possible in Australia. Australia doesn’t have “fair use”; instead, we have a set of “fair dealing” defences, which allow people to make a very limited range of uses. These include research and study, criticism and review, parody and satire, and news reporting. We also have a few very technology specific exceptions – it’s permissible to make a digital copy of a VHS tape but not a book. You’re allowed to copy the music on a CD to a MP3 player but not a movie from a DVD to a tablet. Google couldn’t digitise books in Australia; without fair use, it’s not possible to fit innovative new technologies into old, inflexible categories. Google probably couldn’t even make a search engine in Australia: without fair use, there’s no exception for indexing and searching web pages. YouTube certainly couldn’t have started in Australia: in the US, there are “safe harbours” that protect organisations from copyright infringement claims when their users infringe copyright, as long as there is a notice and take down scheme in place. Australia’s equivalent is drafted so narrowly that it excludes almost everyone who would want to rely on it. Sergey Sus Enhancing the market Ten years ago, Google had an ambitious plan to bring the world’s paper books into the digital age. Many books are only available in libraries. Others are obscure and difficult to track down. Google wanted to do for books what it had already done for the web: make the unruly mess of existing information searchable, available at our fingertips. It set out to digitise more than 20 million books, at a fairly heavy cost which it was prepared to bear. Google knew that it could never get permission in advance from every author and publisher, so it used the same logic that applies to its search engine: making a digital copy of a book, just like a web page, that serves mainly to help readers and potential customers to find the books they are looking for, must be fair use. The Court found Google’s use was not likely to hurt copyright owners. While Google’s use is commercial, it doesn’t sell the books. It doesn’t allow people to view more than a snippet of the book (unless the publisher explicitly allows it), so it doesn’t provide a way for consumers to avoid paying for books. It doesn’t run ads on the webpages that include snippets of the book. Google If anything, the Court found, it might enhance the market by providing authors with an opportunity to have older books noticed and searchable, rather than languishing on bookstore and library shelves. On top of helping discovery, Google helps channel money to publishers and authors by providing links to online retailers where each book can be purchased. The decision is an important win for Google. But it’s also important for society because it helps people get access to the world’s knowledge and culture. In an information economy, such access is crucial for learning, personal growth, creative play and innovation. The project also has other valuable uses: it allows new forms of research into our culture through data mining, and it allows unprecedented access to blind people, who for many years have been facing a book famine, where only 1-5% of books have been available in any accessible form. Digitising heritage Viewminder Given the great social benefits of the project, we might wish that our public institutions had played a greater role in digitising our shared heritage, but governments have been slow to invest in these types of projects. It took a giant company like Google to take a risk and see whether it could create a project that would be both profitable for itself and good for society. The decision means progress and social access cannot be halted by the fears of publishers and authors who are not willing to invest to make their works available online but are also not willing to allow others to do it. It is worth noting many publishers see Google Books as a good deal – it helps drive sales, after all. But the structure of copyright law means Google needed permission from each copyright owner, regardless of whether it could actually find them or not. This decision means that, where Google is performing a socially valuable function, it’s not harming authors and publishers. The decision will likely be appealed, of course, but it is an important win for our access to our shared cultural heritage. Australia is currently going through a copyright reform process. It seems probable that the Australian Law Reform Commission will recommend that Australia introduce fair use, in order to increase public access and opportunities for innovation. If the government is serious about encouraging private innovation, this reform is crucially important. Otherwise, Australia will continue to watch as innovation happens elsewhere, in countries that have more sensible and balanced laws. Nicolas Suzor does not work for, consult to, own shares in or receive funding from any company or organisation that would benefit from this article, and has no relevant affiliations.This article was originally published at The Conversation. Read the original article.Author: Nicolas Suzor, Senior Lecturer, Faculty Of Law At Queensland University Of TechnologyImage: lightglobe idea, Pixelbliss / Shutterstock 
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Lawless ::the secret rules that govern our digital lives /
No full textRampant abuse, hate speech, censorship, bias, and disinformation - our Internet has problems. It is governed by technology companies - search engines, social media platforms, and infrastructure providers - whose hidden rules influence what we are allowed to see and say. In Lawless, Nicolas P. Suzor presents gripping examples of exactly how tech companies govern our digital environment and how they bend to pressure from governments and other powerful actors to censor and control the flow of information online. We are at a constitutional moment - an opportunity to rethink the basic rules of how the Internet is governed. Suzor offers a vision of a vibrant, diverse, and flourishing internet that can protect our fundamental rights from the lawless rule of tech. The culmination of more than ten years of original research, this groundbreaking work should be read by anyone who cares about the internet and the future of our shared social spaces
De l’illustration à la sculpture : Maria Chapdelaine, source d’inspiration de Suzor-Coté
No full textC’est à l’initiative de Louvigny de Montigny (1876-1955) que le roman de Louis Hémon, Maria Chapdelaine, est publié pour la première fois à Montréal en 1916. Le texte passe alors de la forme feuilleton à celle de livre. L’édition est confiée à J.-A. Lefebvre qui mandate le soin de l’illustrer à Suzor-Coté (1867-1939). Les vingt-cinq dessins au fusain reproduits maladroitement par les presses de la firme Godin & Ménard sont d’un intérêt inégal. L’artiste reprend et adapte certaines de ses compositions auxquelles il ajoute quelques scènes caractéristiques du roman, traitées de manière sommaire.La parution en 1921 à Paris du roman lance la carrière internationale du livre qui connaît la célébrité. Fort de sa connaissance de cette oeuvre, Suzor-Coté réalise alors un ensemble de sculptures inspirées de personnages dépeints et de situations décrites. C’est ainsi que les époux Chapdelaine, Maria elle-même, le remmancheur, le médecin de campagne, mais également des scènes montrant le défricheur, l’essoucheur, le portageur et le fumeur prennent forme et seront diffusés dans leur version en bronze.La veine rurale de l’artiste qui était jusqu’alors centrée sur la région d’Arthabaska et certains de ses habitants connaît un renouveau. Le roman permet à Suzor-Coté de combiner sa propre fiction de la vie à la campagne à celle de Hémon. Certaines de ces sculptures, L’essoucheur et Le portageur, par exemple, sont parmi ses meilleures réussites dans ce domaine et contribuent à maintenir sa réputation comme artiste polyvalent sensible à la représentation de la réalité canadienne. À leur tour, les dessins originaux, glorifiés par le succès du roman et débarrassés du traitement que leur avait fait subir l’imprimeur, connaissent une nouvelle vie, une fois acquis par le Musée de la province en 1934. Suzor-Coté peut alors s’appuyer sur l’impact du livre pour faire oublier l’échec de 1916 et ajouter sa contribution à la représentation des personnages de Hémon dans l’imaginaire collectif.It was at the initiative of Louvigny de Montigny (1876-1955) that Louis Hémon’s novel, Maria Chapdelaine, was first published in Montreal in 1916. The text then changed from serial drama to book form. The publication was entrusted to J.-A. Lefebvre who hired Suzor-Coté (1867-1939) to do the illustrations. The twenty-five charcoal drawings clumsily reproduced by the presses of the firm Godin & Menard are of varying quality. The artist started over and adapted some of his compositions and even added some typical scenes from the novel in a summary fashionThe novel’s publication in Paris in 1921 triggered its international career as it became widely known. Based on his knowledge of the book, Suzor-Coté created a series of sculptures inspired by the novel’s characters and the scenes within. This is how the Chapdelaine spouses, Maria herself, the bone setter, the country doctor, the smoker as well as scenes showing the clearing of the forest and the removal of tree stumps take shape and begin their life in bronze. The artist’s rural source of inspiration which had been the Arthabaska region and some of its inhabitants now took on new life. The novel allowed Suzor-Côté to combine his own view of life in the countryside with that of Hémon. Some of his sculptures like L’essoucheur and Le portageur, for example, are among the best in their field and helped him maintain his reputation as a versatile artist sensitive to the depiction of Canadian reality. When the Museum of the province acquired the book in 1934, the original drawings were in turn given new life through the success of the novel and the removal of the defects caused by the printer. Suzor-Côté could now rely on the success of the book to help forget the failure of 1916 and thus add his contribution to the portrayal of Hémon’s characters in the collective imagination
Un Seul Regard / H. Vieuxtemps
No full textUN SEUL REGARD / H. VIEUXTEMPS
Musical Et Poétique / Suzor de. - St. Petersbourg : Bellizard [u.a.], [ca. 1848] (-)
Un Seul Regard / H. Vieuxtemps (Année 1) (1)
Cover (1)
Widmung (2)
Titelseiten (3)
Inhaltsverzeichnis (5)
Widmung (6)
Un Seul Regard (7)
Sirenen-Quadrille (13)
L'Assaut : Marche (22)
Douchinka : Romance (25)
Mon Plaisier : Quadrille (30)
Le Styriennes : Ländler (35)
Polonaise Brillante (39)
L'Etudiant Allemand : Chansonnette (44)
Le Chateau de Fleurs : Mazurka (48)
De Mystéres de l'Opéra : Quadrille (52)
Vauxhall-Polka (57)
Finale Favori d'Ernani de Verdi (60
La "Collection Suzor-Côté" au Musée de l'Amérique française : image de l'artiste et de son atelier et leur rôle dans l'atteinte de la renommée artistique
No full textLa présente recherche s'intéresse aux stratégies de succès mises en place par l'artiste québécois Marc-Aurèle de Foy Suzor-Coté (1869-1937) basées sur les rôles de son image publique de et de son atelier, à partir de la « Collection Suzor-Coté » du Musée de l'Amérique française. En s'intéressant au personnage public que fut Suzor-Coté, le texte identifie les derniers efforts de l'artiste afin de faire survivre sa réputation, retrace l'histoire de la « Collection Suzor-Coté », projet à sa mémoire et témoin de sa vie, constituée à partir de son fonds d'atelier. Un retour dans le temps, mettra en relief les moyens entrepris par l'artiste afin d'établir sa réputation de grand artiste : la création d'une image professionnelle affirmée et diffusée par la photographie, le rôle de l'atelier en tant qu'outil promotionnel et le mariage entre la promotion des aptitudes artistiques et la presse écrite dans l'élargissement de la renommée acquise
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