On Fri, Feb 15, 2013 at 11:19 PM, drew Roberts <zotz@xxxxxxxxxxx> wrote:
I release my stuff BY-SA and GPL. I don't want you to ask about that stuff.On Thursday 14 February 2013 19:25:22 michael noble wrote:
> On Fri, Feb 15, 2013 at 6:44 AM, Louigi Verona
<louigi.verona@xxxxxxxxx>wrote:
> > This is where we differ, at least on the surface of it. I think that it
> > is unethical
> > to make people ask you permission after you publicly released something.
> > When I release a tune or a story or an invention, I do not aim to become
> > a tyrant, who, by virtue of his work now has the world grant him a
> > positive obligation.
> >
> > The common decency you speak about is not common to me. To me making
> > people asking permission is being a jerk.
>
> You are reading in language which was never used to argue against a case
> that was not made. He didn't claim that it was right to "make" people ask,
> he just said that asking was the decent thing to do, something with which I
> fully agree. The same technologies that make copying infinitely more easy
> also make communication infinitely more easy, so I don't see why its an
> invasion of liberty to seek permission for appropriation whenever possible.
Send me a link to what you have done if you like. I do like being surprised
at how different things people do can be to what I had originally conceived.
Plus, permssion does not scale. It is monopoly firendly, not Freedom friendly
in a netwroked world.
all the best,
drew
If I had anything released in that sense you'd be welcome to it. Most of what I do is live. The few recordings I have on soundcloud are just rough live recordings from jams or improv shows. You are welcome to my puredata patches I use for sequencing if that interests you.
I occasionally have an impulse to produce a recorded product for general consumption but it doesn't interest me that much. I do enjoy the studio as an instrument, as Eno puts it, but stereo recordings as artistic objects lend themselves readily to misappropriation, and exposure to a potentially unwilling public via portable stereo systems, as many have pointed out in this discussion. The stereo system has become ubiquitous and to a certain extent, I find it an unimaginative engagement with technology and sound. An obvious exception for me might be something like generative apps which process live inputs, like rjdj. In an age where stereo recordings can be so easily reproduced, I think as creative artists we can do so much better that producing stereo recordings. We want to talk about freedom, then why not try unshackling ourselves from this system of distribution that is so closely tied to the history of copyright and will be so for many many years to come. Why not release everything in Ambisonic B-format, for example, a patent-unencumbered surround format? But who knows, maybe next week I'll change my mind and release a stereo recording. After all, I suppose that is my right and my freedom.
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