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29 January - 23 March 2005
As we shift from electromagnetic tape to digital codec as a low cost method of underground and independent distribution and exchange what implications
evolve regarding the form, practice and politics of sound?
Follow the links below to external resources and writings that address themes relevant to the d_culture debate. Please Note: Tate is not responsible for the content of external websites.
Links + Interviews, Papers and Articles
"... The noun sample is, in our commodified culture, often prefixed by the adjective free; but perhaps some thinking aloud on what is not allowable auditory appropriation is in order." Quote from the above linked article by John Oswald, From: The Cassette Mythos, Autonomedia 1990.
John Oswald has regularly challenged notions of creativity and copyright. Review these links for further detail on pfony and plunderphonics.
| Putting the Net Over Networking -
www.halcyon.com/robinja/mythos/NeilStrauss.html |
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An overview of early audio cassette networking, by Neil Strauss. From: The Cassette Mythos, Autonomedia 1990.
"OUR APPROPRIATIONS are multiple, transformative, and fragmentary in nature; they do not include whole works. OUR WORK is an authentic and
original "whole" being as much more than the sum of it's samples. This is not a form of "bootlegging", "piracy" or "counterfeiting" intending to profit from
the commercial potential of the subjects appropriated. The law must come to terms with distinguishing the difference between economic intent and artistic intent."
Quote from 'Negativland's Tenets of Free Appropriation'
Of note also to the discussion is this article
'Changing Copyright'.
Article by Kim Cascone for the
Computer Music Journal, available in PDF format... On the
broad topic of 'post-digital' tools for music creation Cascone touches
on a range of issues relevant to the debate, referencing histories
and technologies from the perspective of practice and composition.
Quote: "One can visualize techno as a large postmodern appropriation
machine, as-simulating cultural references, tweaking them, and re-representing
them as tongue-in-cheek jokes."
Episode 27 of Down with the Chairman by Mark McLaren: Interviews Kelli Dipple, Tate Online Events Curator, discussing copyright and copy left with regard to the practice of artists and curators. Followed by Stephen Vitiello and Scanner in conversation with Mark Mclaren, presenting their views and experiences on the SoundSurface project, along side other examples of their work.
An article by Gary Hall for The
Culture Machine Issue 5. After an introduction outlining the
high profile 'Napster Case', this article applies associated issues
of distribution and copyright into an academic context.
Creative Commons is a relatively recent development
that provides a set of licensing options which serve a half way
point between typical copyright and open source models. See the
link above for detailed information. See also Creative
Commons UK
Panel Discussion featuring Prof. Lawrence Lessig of Stanford University and Creative Commons, with Moderator Jonah Peretti and Respondants Joline Blais, Carrie McLaren, Jon Ippolito. Linked here is a transcript of this panel discussion in conjunction hosted by Eyebeam.
A glossary of various categories of software that are often mentioned in discussions of free software. It explains which categories overlap or are part of other categories.
The Creative Commons initiative, referenced above finds its roots in the free software movement and public domain licensing.
The Electronic Frontier Foundation is a group lawyers, technologists, volunteers, and visionaries working in the trenches, battling to protect the rights of web surfers everywhere. The EFF challenge legislation that threatens to put a price on what is invaluable; to control what must remain boundless.
"Electronic Frontier Foundation: Because being able to share ideas and information is the reason the Web was created in the first place!"
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