Quoting David Berry <[EMAIL PROTECTED]>:
14+14 is not an abolitionist position. Is it? That sounds awfully
like copyright reform to me.
Sorry, I don't understand you here. :-)
What's managerialist about seeking to form alliances with musicians
and artists rather than simply attack their source of independent
income.
I'm talking about not just deciding what's best for the public then taking a
fait accompli to them. Education and awarenes rather than more
solutions from a
mirror-image "IP" think tank. The means being important as well as the ends.
This seems to agree with your point about getting musicians onside.
I know many musicians who live through their PRS payments (mainly
from the BBC) which are threatened if copyright were to be changed
either through 14+14 or abolition.
I know many people who do not get paid on the basis of work they did twenty
years ago, for example as software engineers or builders. I would be
interested
in the justification for PRS-style schemes. Don't get me wrong, I like
music and
wouldn't like to harm musicians. But if we are going to look at this from the
ground up we need to look at this as well. And I am not keen on attempts to
generalize copy payments, for example the artist's resale right or ACSes.
that are not substantiated by careful consideration of the pros
and cons - afterall SOMEHOW the artists and musicians *will* need
to be compensated else why would they accept change.
I'm more concerned with being able to sing in the shower (see Australia's
current proposed copyright law)
I somehow don't see how The Man will monitor you in your shower. So a
bit of a straw (the) Man.
Dude, I have my shower head wrapped in tinfoil. Otherwise, you know.
than Cliff Richard getting another pension (see
the interview in which SirCliff admits he ignored his financial
advisor's advice
to get one in the 1950s). Which isn't to say I haven't worked on how to
"compensate" artists and musicians for their suffering and do not
continue to
do so.
We are not talking about Sound Recording Copyright here.
We are however talking about the justifications used by the recording industry
and the background to them. And the (valid) concerns of artists that *are*
being tackled by people. Just not well enough or publicly enough.
Again, my point is to make an argument that appeals to artists and
musicians not the huge industries around it (CC's mistake).
OK I see what you're saying here. Yes that is a very good point. The
problem for
me is that those industries are still dictating terms to artists and
musicians,
and to government. Popular support and a people's uprising of the creative
class really won't mean very much in that environment. I'd love to be wrong
about this though. Possibly if we can tie it to votes. ;-)
CC's current build-your-reputation-with-NC-then-sell-it-to-the-major-labels
drive simply makes their mistake more seductive. :-(
And a definition of free culture, the limits and hey, how can it
survive without the very copyright that it needs to exist?
Public Domain NOT= Free Culture
Well, PD != copyleft or some values of "economic freedom". It's negative
freedom.
Reviewed via Lessig is not the best way to read books IMHO.
I was thinking more of the way he borrowed the ACS argument to pad out "Free
Culture". :-)
Fisher is a very careful empirical look at the real numbers - and how
funds can (at least for the short term) be reconfigured to support a
new form of funding for the arts. Its interesting, quite convincing
and very very carefully researched. Try out the numbers in your next
argument with a record company -- blows them away.
OK so I do have to read it. Fortunately today is payday. :-)
I am not saying that that is the only answer. Merely FC has a nasty
habit of shouting slogans, rather than thinking.
As a visual artist I prefer stickers.
What is copyright? What do we as a group want from it, and if it no
longer fits the requirements what will replace it?
So how do we make people aware of these issues? We could remind them of where
cipyright comes from for example... ;-)
- Rob.
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