Eşti producator şi vrei ca piesele tale să ajungă liber la ascultător sau la DJii care le remixează. Ia-ţi o licenţă Creative Commons pentru a-i enerva legal pe corporatiştii industriei muzicale mari iubitori de înhăţat bani şi de pe urma muncii tale. Sa vedem cum şi de ce.
Creative Commons (CC) se adresează direct artiştilor. CC e o organizaţie nonprofit, creată în SUA, răspândita în destule ţări din lume, care încearcă să pună la dispoziţia creatorilor din toate domeniile licenţe prin care aceştia pot să gestioneze cât mai precis drepturile pe care le fac publice şi cele pe care vor să le ţină pentru sufleţelul lor. Toate traducerile licenţelor au fost făcute de grupuri de iniţiativă locale. Localizarea presupune traducerea şi adaptarea licenţelor CC la legea locală. „Licenţa trebuie să fie cât mai asemănătoare cu cea originală, în limba engleză, pentru a avea o compatibilitate între ele – de exemplu cea din Franţa cu cea din China –, dar, în acelaşi timp, să nu fie nici o dispoziţie care să încale legea locală“, spune Bogdan.
Bun. Deci eşti un muzician şi ai o piesă, să zicem. Ce naiba faci cu ea? „Dacă vrei să-ţi păstrezi toate drepturile, nu ai nevoie de Crative Commons. CC a pornit de la principiul că între «toate drepturile rezervate» şi «nici un drept rezervat» trebuie să existe o cale de mijloc“, zice Bogdan. Dacă nu-i pui nicio licenţă şi-i dai drumul pe net, ei bine, te anunţ că legea nu specifică nicăieri că tu trebuie să scrii (C) în coada fişierului. Piesa are copyright din secunda în care i-ai dat save, iar UCMR dansează pe cadavrele radiourilor care o difuzează fiindcă le-ai dat tu un mail şi le ia banii. (De fapt, o sa aflăm mai încolo, UCMR le ia banii oricum). Totuşi, poţi să-i scapi de probleme pe ceilalţi artişti, care se hotărăsc să-ţi remixeze piesa, pe DJ-ii care o pun într-un mix pe care-l urcă pe un site sau pe fanii care îţi sharuiesc muzica pe The Pirate Bay, alegând una dintre licenţele CC.
The Boat That Rocked is a fictionalized account of those young men and women who decided to take to the seas off the coast of England and broadcast newer, more modern pop songs from pirate-radio ships. […] The original DJs, partly because of the (black) American tunes they played, but also because of the improvised, freeform patter they used between songs, exuded very different sonic identities from their more earnest peers at the BBC who were only able to broadcast a few hours of pop music each week. They were performers rather than cultural custodians, entertainers rather than gatekeepers.
Posted in film on August 28th, 2009 by fresh good minimal |
6 Comments
“Yes, I do listen to critics. Of course, it’s easier to criticize than to do it. And it depends on who the critic is; a lot of critics write without much awareness of the kind of work hat the person they’re criticizing is doing. I’ve had some things written that just astounded me, that they could make these statements about past works that were so false. I guess they get confused with other people. So it’s as fallible as the person doing it. But I think a musician can listen to the critic. Critics can be teachers. You shouldn’t feel that because you’ve done this work you know everything about it. You are just one viewpoint on it. And it’s just something that came through you, it’s not something you own. The less ego you have towards that work, the better it is, from my view point. All you are responsible for is protecting it until you get it into a form where it’s being performed. Then it’s out there like everything else is. If you have ego towards it, that’s only going to create pain for you. That doesn’t mean that I’m beyond that. But I do recognize that the less attached I am to it once it’s out, the freer I’ll be to do my next work.” [Talking Music, William Duckworth, 1999]
Posted in academia on August 28th, 2009 by fresh good minimal |
9 Comments
Pe o scena mica, in care ne ascultam intre noi prea des, DJsetul poate parea impersonal pentru niste producatori, iar live-ul ar deveni repetitiv. Asa a aparut un nou tip de performance; sa-i zicem “live editig” pana se gaseste alt termen mai potrivit, un fel de live/djset numai cu edituri proprii. Din cate stiu eu, primul care a facut un astfel de performance a fost Bogdan la Chestionabil joint 2, iar acum Rezistenta Materialelor continua ideea. Sound-ul live-ului RM este mult mai matur si mai serios decat m-as fi asteptat de la cei care au fost acuzati ca sunt numai un produs al hipstarelii si al hype-ului de moment. Am scapat de frica ca RM vor esua intr-un etern minorat al caterincii, atat de romanesc de altfel, si au inceput sa se ia mai in serios. Noi am ascultat un live excelent la Baraka, dar oferim spre share pe cel de la Gradina Capitol. Cine vrea mai mult, interviu + concert by veioza arte si miron ghiu.
“I think the function of drugs is to remove certain filters that we have in our brain to make our lives more ordinary. These filters filter out the extra perceptions of angels and all the other things that would make our lives a little bit wild. If we could see everything around us that really exists, we might not be able to take it. That’s why people crack up when they take LSD. The person that takes a drug shouldn’t be dependent on it, but should take it once and see that there’s another reality, and work towards that. You can’t take a drug again and again and improve yourself towards that reality, I feel. Once you’ve done it, once that reality is in your mind, then I think the drug has served his purpose. Our problem with drugs now, in our society is people become dependent on them because this reality is too brutal for them. They can’t accept it, so the drug takes them to another place. But since they are not ready for it physically or spiritually, that another place is too fragile and their physical body can’t take it. There is a balance between all your psychic needs, your spiritual needs and this corporal body that has to be maintained while you are alive. And even though you’ve got this spiritual body inside you, you’ve got to take care of the psychical one too. Great mystics, you know, can’t even eat because they are so much into the spiritual selves. They don’t take care of their needs, and their disciples or their friends have to do it. But if you are a drug addict, you might not have any friends to take care of you. So you end up on the street and you die. A person has to recognize that he has a responsibility as a human being. And if he’s been awakened, then it’s just work. It’s just trying to remember, and to have patience, and to know that, eventually, through many, many births, you will probably arrive at the state that that drug brought you to.” [Taking Music, William Duckworth, 1999]
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