Linked by Eugenia Loli on Tue 7th Sep 2010 10:25 UTC
Multimedia, AV Every so often we publish here at OSNews articles about copyright, about the war of the "old media" establishment against everyone else. Many, myself included, have argued that the way to get out of this mess -- short of changing the law -- is to have more artists release their work under a Creative Commons license. However, after a few years it became obvious to me that CC would never be able to change the industry all by itself. Offering a Free license, and having 30,000 albums released under it, was still not enough. Until the Summer of 2009, that is. Update: Added audio samples.
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Spot on, and I'll raise you 10
by earksiinni on Tue 7th Sep 2010 14:13 UTC
earksiinni
Member since:
2009-03-27

Eugenia, I hope you have the fortitude to ignore the narrow criticisms being posted here. To the person above who criticized her knowledge of electronic genres without "meaning to be rude"--who cares? To the person who pointed out the demerits of CC--not the point.

Eugenia is talking about a new vision for music in general, and the underlying assumption, which I believe is true, is that it's madness to try and enforce copyright on bits of +5V charges. This is regardless of copyright laws' morality or ethical grounds (personally, I am very pro-copyright), but simply in terms of logistics it's just not a tenable position. What we think of as music today is inextricably bound up with old legal systems. To the person who implied that this discussion is irrelevant because she only listens to classical music, do you think that Handel and Mozart would exist without regal and ducal patronage? It's not just about the composer's daily bread, either: would Saint-Saens be Saint-Saens without bourgeois aesthetic tastes?

Eugenia, I would take what you're saying and run with it. In fact, we shouldn't just be thinking in terms of genres, but rather computers have opened the way for an entirely new kind of art, the way that the printed codex led to silent reading which led to the novel. "Content" and "format", or rather the art and all the conditions surrounding the art (technical, legal, placement/arrangement) feed into each other. They exist symbiotically, and the day will come when we stop foisting orchestras onto oscilloscopes and create an entirely new kind of art that draws on all the unique capabilities of the computer. Then the computer will no longer be merely a tool and we will have truly computeral art.

As Eugenia has shown, there isn't a revolution waiting to happen, but rather we are in the middle of an evolution toward computeral art. I tried to bring this up before on this site with my article on craftsmanship, but it seemed then like people had forgotten how to read two pages (indeed, past the title). I want to let you know, Eugenia, that you're not alone and that others here are thinking along the same lines: artists, scholars, and engineers.

You should also check out the "neen" art movement if you haven't already: http://www.superneen.com/. They are working toward a kind of computeral art, as well. A "piracy" manifesto by their leader, Miltos Manetas, that's particularly prescient (though a bit get-on-your-soapbox political): http://www.youtube.com/watch?v=KCThTeLZy3I

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