o-blog an i.p. blog
No time to blog today, since I was working on putting up the new
Minneapolis Summit site. Have a look!
Kingdom of Piracy is an online art project that takes as its theme what it considers to be
a fundamental part of the internet — the
sharing of content, often nowadays referred
to as ‘piracy’.
If you’re into human-computer interface design (I know, a dry topic for some, but tonic
for others) this may interest you. Interesting content navigation concepts mocked up in a
nifty flash presentation. flash.req
“Uploadphonix, the uploading of bootlegs and cutups,” reads the article in 21c magazine,
“is the first musical movement born post peer to peer sharing technology and in large part, because of it.”
It’s an article about the mashup phenom.
Ubuweb, subtitled “visual - concrete - sound”, is a
sizeable repository for images from
the art-historical to the just plain strange. It also contains numerous downloadable sound files by the likes
of Duchamp, Cage, and Cocteau.
Bellona Times has an interesting rant about copyright, and how copyright ‘protection’
can serve to make works unavailable, possibly relegating them to being
lost forever. A new battle cry:
copyright robs the future.
A scientific experiment begun in 1927 is still going on. About every twelve years, something happens,
but no one has ever seen it actually take place. Now it is about to happen again. And
you can watch
for it to happen on the internet via web-cam.
Spoof piece neatly lays bare some of the
some of us suffer at the lips of arguments in favor of intellectual property.
Myke Weiskopf collects audio the same way other people collect snapshots. Now thanks to the
internet, you can listen
in as he goes through some old shoeboxes under his bed.
A couple of news articles relevant to the IP debate appeared on c|net today. One is
about the royalty-free
codec and its bid to unseat Thompson’s proprietary (but oh-so popular) mp3 compression technology. The
second is about Duke University’s law school getting
a $1 million gift to fund advocacy curtailing
expansions in copyright law.
Everyone loves this one. A Virtual Gramophone demonstrates that it is possible to scan a
phonograph record, and using the resulting image file, extract the audio information. Apparently, the
resulting sound file is noisy, but nonetheless, amazingly, the music from the record
can be heard.
Conceptually related to the above is this artwork by Paul DeMarinis: “A gelatin dichromate hologram
of a 78 rpm record of the ‘Beer Barrel
Polka’ is rotated on a transparent turntable and played by a green laser. … Here, sans needle,
sans groove, the band plays on”.
Not to mention VinylVideo.
A few days ago, (sorry, doing a bit of catching up) the Washington Post ran an article about
a case where the record co.’s and the telcos are crossing swords over
piracy, as well as privacy.
And C|net reports on a key senator, Sen. George Allen (R-VA),
pulling his support out from under
a key anti-piracy bill now before Congress.
National Journal has a thorough and lengthy overview of the copyright debate, framed as
a pitched battle between Hollywood and Silicon Valley. Starts out with
a nice summary of
the legislative back story.
Put that music to work. Scientists show that converting computer code to music can help them
track down software bugs,
claiming the ear is sometimes better than the eye for such tasks.
Hertz Lion’s list of Current Actions, detailing goings-on in the field of electronic
and related musics, has been updated.
They’re also helping organize Turnament,
a festival of turntablism to take place in November.
< next items >
Tape-beatles track Appears on
“Illegal Art” Compilation
Copyright Issues in Music and Art Examined
An exhibition that examines intellectual property will open next November 13 in New York, and then move
to Chicago in February, 2003. Mounted by the
publishers of Stay Free! magazine, the series of events includes a film and video fest, a visual
arts exhibit, and a companion compilation CD, which will be given away free at the Illegal Art
events. The Tape-beatles have contributed a track from their 1999 CD Good Times entitled “Reality
“The irony here couldn't be more stark.” reads the announcement at their web page.
“Rooted in the U.S. Constitution, copyright was originally
intended to facilitate the exchange of ideas but is now being used to stifle it. … Loaded
with gray areas, intellectual property law inevitably has a silencing effect, discouraging
the creation of new works.”
Also included on the compilation are works by such artists as Negativland, Culturcide,
The Evolution Control Committee, Beastie Boys, John Oswald, Public Enemy, and many
other creators from the worlds of pop and unclassifiable music.
• visit the Illegal Art site.
• read an article about it from Wired News.
“Microfilm” Magazine Reviews
‘Good Times’ Performance
New Show Review Posted
In idly thumbing through a magazine we received months ago, I was surprised to find a review of one of
last fall’s performances of ‘Good Times’, specifically the one we presented at the
Center for the Visual Arts at Illinois State University in Normal, last October the 25th.
The zine in question is Microfilm: The Magazine
of Personal Cinema in Action, and a fine specimen it is, indeed. We say this even though the person who
reviewed the show (who happens to be the publication’s editor) found it a somewhat tepid experience.
Nonetheless, we have dutifully added it to our growing collection of informing opinings.
• read the ‘Good Times’ performance review.
• we wrote some news at the time about the show.
New Disk Documents Five-way Collaboration
Group Improvisation in Minneapolis
The murky snapshots above tell only part of the story of what went on in an undisclosed
location last October 1 in Minneapolis. Artmaking. With sounds. A “summit meeting” of
sorts, like those of the old jazz masters, finally performing together after already-long careers
of individual brilliance behind them.
Something like that, anyway. Suffice to say, there now exists a recording documenting the improvised
conflux of five audio-art personalities: Escape Mechanism, Steev Hise, the two
members of The Tape-beatles and Wobbly, and it is available now for your listening
Released on the Amsterdam-based Staalplaat label, the disc consists of a 21-minute edit
of the longest of three takes made during the recording session.
The initial edits were undertaken by Hise and Wobbly in November, who then trustingly passed it
on to the Tape-beatles to complete the job. In all cases, the edits were limited to a small number
of cuts and crossfades, with no chronological re-arrangement or overdubbing.
This release takes the unusual form of an 80mm miniCD. If you are unfamiliar with this format,
not to worry: though somewhat rarely used, this format is an industry standard, and all CD players
can handle these disks (consult your drive documentation if you are using a slot-load device).
Because it is itty-bitty, it sells for the modest sum of six U.S. dollars.
As if that weren’t enough, a mini-VideoCD of footage collected at the event is
in preparation, and will be made available for a similar modest sum in the coming months. You may wish
to keep an eye on the web site (see below) dedicated to this project for details as they are disclosed.
• order your copy online.
• visit the project site.