Re: [rumori] denormalizing IP

From: Steev Hise (
Date: Sun Dec 31 2000 - 16:43:50 PST

Sun, 31 Dec 2000 found Jim Carrico writing:

>right - that was my point about the free software movement. Part of the
>discussion we've been having has been with the developers of the
>Musicbrainz metadata initiative, which is developing a comprehensive
>alternative to CDDB based on the Open Content licence (analogous to the Gnu
>Public Licence, but for the actual content) - this is obviously a specific
>legal construct based on existing copyright law. The big advantage of this
>strategy, proven in the software world, is that by creating a pool of "IP"
>that nothing can be removed from, but only added to, the pool keeps getting
>bigger and bigger - it's a positive feedback loop. this pool is surrounded
>by a sort of a wall constructed of intellectual property law, but within
>the pool the rules are very different.

well put. yes!

>good point. but i'm perfectly willing to admit that I will never play the
>bass like Charlie Haden - and I sure as hell would hate to see him have to
>do anything else.

Why not? Maybe his work would benefit. He actually does do
other things - he's on the faculty at CalArts, for one
thing. I'm sure he gets paid well for each class or lesson
he teaches ( though he's in reality hardly ever on campus)

But to get this back on-topic (the topic of art and IP), it
must be explained - Haden gets payed also for each gig he
plays and each recording session he's in. He probably gets
paid well enough that he doesn't need royalties from his
records. This is the fundamental thing to get across:
artists don't need and shouldn't be paid for every
(0-marginal cost) reproduction or every playback of a work.
There are other ways for them to make a living if they
choose to try to be "professional artists". This is
another lesson to be learned from the Open Source movement -
open source-based companies, like Red Hat, for instance,
give away software but sell other things, like: service
contracts, documentation, customer support, apparel (Red Hat
hats!), consulting, customization, etc. In a similar way,
artists need to learn to leverage their value, so to speak.

Haden is the better bass player, but he's probably not as
good a computer programmer as me. I get compensated very
well for the time I spend writing code for clients. But I
don't receive royalties every time someone uses or copies
the software. I also don't pay my plumber every time I make
use of his handiwork in my kitchen. So why should
artists/publishers expect more? Because that's the way it's

>I met a welfare-mom-with-a-CD-burner the other day, she had a stack of
>albums that she'd downloaded and burned herself. I asked her if she could
>flip 50 cents or a buck *straight to the artist* would she do it, and she
>immediately and emphatically said she would. (maybe she lied?)

I'm unclear what "if she could" means - If she was
financially able to, or if the technological ability was

People have been talking about micropayments for many years.
When are they going to get here so we can see if stuff like
this works?

>this is great stuff - we may have an opening in our propaganda ministry...

heh. thanx.


Steev Hise, Infoserf
"so much noise in the world, so much sex. so many amazing things,
 and nothing happens that doesn't contradict itself in the happening.
 i think I will dance now."
                -Craig Flanagin (of god is my co-pilot)

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