EXCITING FREE BONUS GIFTS

The issue you're holding is twenty pages longer than the original version, which appeared in 1997. Eight pages were added for the second edition in 2004, and 12 more added here. Of the brand new 12, there are two pages of eyes, two of hearts, and eight of hands.

The pages added to the second edition were 12, 13, 25, 26, 59, 64, 69, 76. The twelve new pages added to this issue were 14, 15, 46, 47, 49, 62, 63, 65, 67, 68, 70, 7l.

All ads were taken out, the intro updated, and a few graphics swapped on one of the random image pages. Besides that, when it comes to pictures, nothing was taken out. It's all here, special friend.

eyes next to the eye chart's" 1" came from West Armstrong. I found the Pearl District logo, the mask in the center, the hands forming the eyes, and the figure forming an eye with his arms. All the glasses came from scrapbooks I keep. That's it. The ratio of contributed to personally collected material varies, but when it's all added up, without contributors, this or any issue of Crap Hound would be about a quarter of the size.

Thanks again to everyone who helped, in all three editions. Enjoy the issue!

1) e c. 1- 1.-0/0

,

CRAP HOUND NO·5 THIRD EDITION SEAN TEJARATCHI, EDITOR

PUBLISHED JULY 2010 BY SHOW & TELL PRESS

CRAPHOUNDZINE@GMAIL.COM

ONE PAGE To give you an idea of

what goes into a typical issue, here's a breakdown of page 6, selected more or less at random. Ready? The eye chart came from Chloe Eudaly. The pics of blindfolded men in the corners came from both Art Chantry and Dan Howland. The needle and thread came from Mr. Chantry as well. The genetic dominance chart was sent by Lou Kregel in Nebraska. Betty Boop's eyes, several of the sketched and "artistic" eyes, and the 7-eyed face at top are from Mr. Phil Milstein. The small, double-lidded eye next to the upper-leftmost glasses is from Kathy Molloy. The man removing debris from his eye came courtesy of James Sturm. The eye in the square at top, the eye to the right of the eye chart's "E", the bold eye above the mask, and the eye to the upper left of "Save your vision" (which came from Tom Nayder in Florida) are all from Robert Collison in S.F. The right eye/left eye diagram in the lower right corner came from Mia Lor Houlberg in Davis, CA. Amy Sacks loaned me an old cookbook with the potato eyes, and the tearful cartoon eyes next to the eye chart's "6" are from Mitch O'Connell's envelope. Most of the small eyes with mascara came from a beauty school textbook from Marci Macfarlane. The schematic eye with the axis lines (under the potatoes) is from Art Chantry. The stylized eye with the serrated lashes, at the upper right corner of the bottom eye diagram, came from Scott Gregory. The angry cartoon

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A W 0 R D 0 F WA R N I N G MANY IMAGES IN CRAP HOllND ARE COPYRIGHTED BY LAWSUIT·FRIENDLY ENTITIES. REMEMBER THAT CRAP HOllND IS A MIXTURE OF SOCIAL COMMENTARY AND SOMEWHAT OVER-INDULGENT GRAPHIC DESIGN. IT IS NOT A MEANS TO TRAMPLE THE FRAGILE RIGHTS OF HUGE CORPORATIONS. REMEMBER: THERE'S NO "I" IN COPYROGHT UNFRANGEMENT. CRAP HOllND OFFICIALLY URGES YOU TO OBEY ALL LAWS, ALL THE TIME.

Printed in Canada

NELSON

ENTERPRISES,

COLUMBUS,

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ENORMOUS VIBRATING EYE

You can almost hide yourself behind one of these enor,!lOUS V I bra tIn g Eyes. The In sId e or the eye Is attached to a spring, which causes the ey.e to vibrate wl.lh every movement of the tace.

IN, Generou:!o Ambition.

A.~ounl"lJupit.r E.Love of Display ...

A. Oe~rad,n9 proclivities.

H. M' of Satur-n I N~~:;foSsPOell·rtouUdse·. )( I N. Love of Fine Arts.

C. Mfof the Sun E..Notorietv at any pr-ice.

A. EventiessLlfe. A ~alerial ~)(islence.

Eric Gill (1882-1940)

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HOVl10 ~EAO the Lines of the Han(t .'.

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I N. Long l happy Life.

J. Line 0\ Life I SMOAt- Short Life. ~

OOU8L[(JJ'J Success In War"~ ,..,..._

I N.Sound Judgment.Firm will. ~ N.Good Heart. LO\l.stronljJl: happy,

I.Line af the Head fREQUUHl\'lnr[RFlUP1[o-l,f,slcklyJ.shart. H Lineof the Heart \rAlQU[MTlY lNTtRRUp,~o-lnc~nstancv.

I",LINKs.lackflf Stfadinessof mir'ld. • A.Bad faith. Depravity, Malice.

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I human heart JS I lenched.

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SIZE OF DIE

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THINK- how much Our lord ~j must have loved me to suffer .,. those bleeding wounds.

those nal s, .

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I • •

LESSON 1 - The Purpose'of Man's EXistence

Matey Dolorolla

34

By Order Of The N. C. Department of Environment,

MARQUE QeJ

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'\A MANO PODEIOSA 01 &A VIRGEN DE FATlMAu

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SAFETY FIRST

EYE PROTECTION REOUlRE·ta

WHEN

OPERATING . ~ THIS MACHINE

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EYES ... ONLY 2 ~ TO A CUSTOMER

PROTECT THEM! -

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WHAT ARE TIBETAN EYE CHARTS?

• Amazing Discovery

For

WEAK or TIRED EYES

StrenQthens vision by exercise. Eesy instrujttlons. Help ellrnin!!..tlI gla_ natural. Iy. $2.00 ea. Plus FRee with order 32 pege catalog of unusual health ltams. $1.00 for catalolLonly.

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"IF CREATIVITY IS A FIELD, THEN COPYRIGHT IS THE FENCE."

-JOHN OSWALD

"IF COPYRIGHT IS A FENCE, THEN FAIR USE IS THE GATE."

- NEGATIVLAND

.l13 :WJ .1'1;1 : i 01 J.] I I've got my own peculiar little ideas about the rights, wrongs, and practical absurdities of copyright infringe-

- - - -- ment, but I thought it would be helpful to clarify the idea of fair use, copyright law's built-in access to

FA I R U S E copyrighted works. Fair use allows you, if certain conditions are met, to use copyrighted material without seeking or receiving permission. Technically, a claim of fair use asserts not that a particular copyright infringement should be allowed, but that the use is not an infringement at all. U.S. copyright laws state that the purpose of copyright is to promote the progress of science and "useful arts." It's great in theory, but in practice copyright law is often used as a weapon against those who view so-called intellectual property as anything less than sacred. I'm not a lawyer, and I should say that while the ideas I'm talking about here are sound, they are neither the questions nor the answers to every situation, and few things should ever be used in place of thought. Reproduced below in italics is the wording from Title 17 of the U.S. Code, regarding fair use. (I've switched the order of points 2 and 3 to match up with the back cover.)

§107. Limitations on exclusive rights: Fair use

Notwithstanding the provisions 0/ sections 106 and §106A, the fair use of a copyrighted work including such use by reproduction in copies or pbonorecords or by any other means specified by that section.for purposes such as criticism, comment, news reporting, teaching (including multiple copies for classroom use), scholarship, or research, is not an infringement of copyright. In determining whether the use made of a work in any particular case is a fair use, the factors to be considered shall include-

(1) the purpose and character 0/ the use, including whether such use is 0/ a commerical nature or is for non pro/it educational purposes;

I. HOW ARE YOU USING THE COPYRIGHTED MATERIAL? (OR: WHAT IS THE NATURE OF YOUR COPYING?) It is fair use to use copyrighted works for criticism (including parody), comment, news reporting, teaching, education, or research. If you are not making money from your use, this weighs in favor of a claim of fair use. If your use is "transformative," i.e. creating something new rather than simply reproducing the work, fair use is also much more likely to cover it.

(2) the amount and substantiality 0/ the portion used in relation to the copyrighted work as a whole; and

2. HOW MUCH OF THE COPYRIGHTED WORK ARE YOU USING? Fair use does not cover "skimming the cream and getting away scot free." Unless you are creating a parody of the copyrighted creative work, you should not use its essence. However, just what constitutes the essential part is open to continuous debate. Contrary to popular belief and rumor, there are no hard and fast rules regarding just how much material you can safely use. It is a matter of quality, not exact quantity.

(3) the nature of tbe copyrighted work; 3. WHAT IS THE NATURE OF THE COPYRIGHTED WORK? No one can own the truth, and facts cannot be protected by copyright. Only creative works are eligible for copyright protection. A fiction piece is protected, the facts in a non-fiction article are not. In a news piece, for example, what is being reported remains unprotected, but how it is presented (the creative part) is protected by copyright. Reformat the simple facts, and you enter fair use. Copyright on creative works is seventy years after the death of the creator. This limitation does not apply to trademarked images used in business, which are protected automatically as long as they are in use .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

(4) the effect 0/ the use upon the potential market for or value 0/ the copyrighted work. The foct that a work is unpublished shall not itself bar a finding 0/ foir use if such a finding is made upon consideration 0/ all the above factors.

4. HOW WILL YOUR USE AFFECT THE VALUE OF THE ORIGINAL? Your use should not diminish the market for the original work. However, the idea of diminishing the market does not apply to harm done to the market as the result of a parody. To paraphrase a Supreme Court ruling, there is a crucial difference between a parody which merely supresses demand and an infringement which usurps it.

"IF YOU'RE GOING TO SIN, SIN BOLDLY. GOD CAN ONLY FORGIVE A LUSTY SINNER." -MARTIN LUTHER

"T HE RIGHT OF FAIR USE is a valuable one to scholarship and it should not be allowed to decay through the failure of scholars to employ it boldly ... excessive caution [in obtaining permission from the holders of copyrighted material] can be dangerous if the copyright owner proves uncooperative. Far from establishing good faith and protecting the author from suit or unreasonable demands, a permission request may have just the opposite effect. The act of seeking permission establishes that the author feels permission is needed, and the tacit admission may be damaging to the author's cause." -The Chicago Manual of Style, as quoted by David Stowe in Lingua Franca.

RECOMMENDED BOOKS, RESOURCES, AND IP ACTIVIST WEBSITES:

* COPYRIGHTS AND COPYWRONGS: The Rise of Intellectual Property and How It Threatens Creativity By Siva Vaidhyanathan, 2003, NYU Press, NY * THE FUTURE OF IDEAS: The Fate of the Commons in a Connected World By Lawrence Lessig, 2002, Vantage, NY

* NO BUSINESS By Negativland, 2005, Seeland; Includes music and the in-depth essay "Two Relationships to a Cultural Public Domain"

* www.bannedmusic.org * www.creativecommons.org * www.detritus.net * www.downhillbattle.org * www.eff.org * www.illegal-art.org * www.negativland.com * www.poclad.org * www.publicknowledge.org * www.thecorporation.com

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