Rhea Myers

Tag: Free Culture

  • CC-UK (EnW) Launch

    It’s the launch party for the first of the CC-UK licenses for England and Wales tonight:

    http://www.boingboing.net/2005/03/15/creative_commons_uk_.html

    Moblog of the event:

    http://moblog.co.uk/blogs.php?show=2506

  • Lawrence Liang Essays

    Guide To Open Content Licenses:

    http://pzwart.wdka.hro.nl/mdr/pubsfolder/opencontent/

    Copyright, Cultural Production and Open Content Licensing:

    http://pzwart.wdka.hro.nl/mdr/pubsfolder/liangessay/

    Shows why Lessig’s “asian pirate” as the other of the creative western remixer is problematic.

    Both highly recommended. Liang was a high-point of the excellent “Ways of Working 2”.

  • WoW2

    Ways of Working 2 was excellent.

    Favourite audience question of the day (paraphrased):

    “If you find a way for artists to legally copy other people’s work, won’t they just find something else transgressive to do?”

    Even better than the presentations was meeting people. I’ve never been asked “Are you the Rhea Myers…” before, so having the experience a couple of times on the same day was cool. 🙂

    Favourite comment from someone I met (paraphrased):

    “I thought you’d be a grumpy old professor […] like Brian Sewell.”

    Fortunately not. 🙂

    Cool links:

    http://twenteenthcentury.com/uo/index.php/HomePage
    http://www.copy-art.net/
    http://creativecommons.org/worldwide/uk/
    http://www.britishcouncil.org/
    http://www.artquest.org.uk/artlaw/

  • RR Launch

    A report with photos and stuff. No shots of the (my 🙂 ) art yet…

    Launch Event A Huge Success

  • Remix Reading Launch Party

    Be there or be square. Due to my current situation I’m going to have to be square. 🙁 But they’re showing some of my work, apparently. 🙂

    http://wiki.remixreading.org/index.php/LaunchEvent
    http://www.remixreading.org/node/300

  • CNUK Restore

    CNUK had a server crash.

    I’ve restored my page there.

    And I’ve added some comments on the CNUK social contract.

  • Ways of Working 2, Appropriation and Collaboration in Contemporary Practice

    A day symposium on appropriation and collaboration with the likes of CC-UK and Own-IT! in attendance:

    Ways Of Working 2.

    I’m going to be there.

  • Another UK CC Record Label

    Another UK CC record label. The license is CC-BY-NC (that’s noncommercial) this time, so that’s free circulation not free culture:

    Fading Ways

    NC licensing is still important for correcting the excesses of modern copyright.

  • Barbara Kruger & Creative Commons

    Renowned appropriation artist (and graphic design distiller) Barbara Kruger uses Lessig’s book (presumably Free Culture) on her grad course:

    Barbara Kruger And The Public Domain

    CC = no lawsuits over image appropriation. If only artists would start using the blimmin’ licenses…

  • Think Of The Creators!

    “Intellectual Property” is of course about rewarding the creative geniuses behind cultural works, not about paying the middle-men and hangers-on. This why the record industry in the UK are so upset that songs from 50 years ago, including the beginning of Elvis’s “catalogue” will enter the public domain this year. The record companies will no longer get their royalties. But, far more importantly, performers will no longer get their royalties. Think of the children!

    These songs will be able to be copied freely. People will share them. Some may even see a revival of interest and get played publicly, even used in the media.

    Which may be good news for the people who really were the creative geniuses behind the songs. You see, the copyright on the lyrics and the score of the song won’t expire until 70 years after the author’s death. And whilst it’s maddeningly difficult to get an answer from any of the UK’s many IP-exploitation organisations that isn’t just singing from the content industry hymn sheet, it looks like that copyright may be unaffected by the expiration of the separate recording copyright, meaning the composer/lyricist should still get their royalties.

    It’s just the session musicians and studio executives who won’t. And they are trying to stop the creative geniuses reaping the rewards of increased distribution and performance of their work.

    Never mind piracy. This is wrongful imprisonment.

    I could well be wrong. If anyone really knows how this works (rather than the self-serving tale of woe that the record companies are pushing) do please let me know. In either case it wouldn’t prevent non-public copying and listening.

    But wouldn’t it be funny if the record companies, in trying to keep old work buried, are doing exactly what they claim to be fighting against: preventing the creators of work form being rewarded for their efforts.