Craig Baldwin presents his newest experimental documentary film, Sonic Outlaws (1995, c. 60 mins, Color, 16mm), an energized discourse on contemporary controversies around issues of copyright-infringement, "fair use," and culture-jamming. Stemming from an investigation into the infamous Negativland-U2 suit, this dense montage of interview, music, and stock footage spirals out into the similarly inspired activities of John Oswald, the Tape-beatles, the Emergency Broadcast Network, the Barbie Liberation Organization, the Situationists, and a multitude of others now working with "found" sound. Practices of phone-pranking, billboard alteration, media-hoaxing, and the digitalization of intellectual property, seen in the light of the Law in a period of rapid artistic and technological change, foreground emerging tensions between imagination, authorship, autonomy, and the marketplace. Throughout its argument, Baldwin's project morphs from a compilation doc into a veritable collage itself, likewise problematizing relations between "cover versions," homage, pastiche, parody, and criticism, all the while suggesting methods of creative resistance-and perhaps the hope of an "electronic folk culture"-in the midst of an all-consuming electronic environment under increasing corporate control.