From pan at sensoryresearch.com Tue Nov 2 12:01:52 2004 From: pan at sensoryresearch.com (Pan) Date: Tue Nov 2 09:02:02 2004 Subject: [Rumori] Contributors wanted for Sensorium III: Sequential Progression Message-ID: "Sensorium III: Sequential Progression" is being held November 23, 2004. Location: http://www.ummu.umich.edu/facilities/videostudio/ Website: http://www.sensoryresearch.com/sequentialprogression/ (under construction) Theme: The overall concept is that of a A Dada/Jammer carnival of the future* * Influences: Douglas Englebart, Marshal McCluhan, The Residents, Negativland, Emergency Broadcast Network, Bucky Fuller, 2600, Jello Biafra, Noam Chomsky, Stan Grof, R.L. Gregory, Psychic T.V. Basically, it started as my graduation performance. However, it's grown to encompass pretty much all the technical and creative work I've done as "Sensory Research Network" over the past 10 years (sound, video, 3D animation, networking, perception). Much my involvement in the event will be performing (guitar, synth, laptop) and directing. The unique thing is that many elements of the performance will be controlled with a Virtual Reality glove connected to the internet. The movements of the glove are turned into Open Sound Control messages which are sent to various video and audio controllers elsewhere on the network. There is also a supporting band of musicians. We will be performing a few songs. The space is circular, with surround sound and three projectors. Most of my work focuses on the creative interaction between individuals. So, I'm inviting close friends and jammer confidants to get involved. There are a few ways people can participate... 1. Use ThoughtConduit to trigger audio/video/images . From the application or website, you can push buttons to trigger samples that are projected into the performance space. You can dump the files on the server ahead of time. The software supports most popular audio/video/image formats. 2. Send an MP3/Quicktime stream of your mix to one of the SRN servers (or provide us a link to another server). We'll call up the stream and add it to the theater mix. 3. Send me audio/video/images ahead of time and we'll add it to the mix during the performance. 4. If you have an OSC enabled application (many pro audio application are), you can send us information over the network to control aspects of the performance. 5. If you have any Common Music (LISP) code, that can be submitted also. The server reads and executes the code on the fly. What type of material are we looking for? Material that reinforces the ambiance of the piece. The performance part of the evening consists of 6 Songs... 1. "Dark Carnival Theme 1" (Pan): Dark and weird carnival music. We need sound/video/images of a carni atmosphere (games, laughing, rides, crowds, acrobats, freaks). In the performance space, we're going to have a clown, a juggler and a magician. The backdrop is a 3-D Animation of a electronic circus tent.. 2. "Dark Carnival Theme 2" (Pan): More of the same. 3. Untitled -- Live improv of myself with electronics and video triggered from my guitar and the VR glove. 4. "Son of Orange Country" (Zappa): We're doing a dada version (though I will play the original solo in its entirety). sound/video/images needed of Bush, Cheney, Blair, the war, security, protests, etc. 5. "Walking in Your Footsteps" (Police): A dada version. sound/video/images needed of ecological disasters, endangered animals, nuclear disasters, war, violence, etc. 6. Untitled Jam: This will be a jam of the band on stage with whatever else is coming in on the network. Themes may vary. What else do we need? * Performers for the Carnival section. If you can get to Ann Arbor on November 23, and have a freakish talent (juggling, magic, contortion, piercing, etc.), you can join us in the performance space. Though I can't pay anyone outright, gas money and dinner can be covered, and you'll get to be on the DVD. * Tech Crew: Folks who want to help with lights, cabling, etc. This also includes videographers. Same per-diem as above. * Support: If you want to donate money or gear towards the show, that would be awesome. This is a momentous project. When it's finished, it will definitely be unique and interesting. Please contact me if you'd like to submit material. Pan Sensory Research Network http://www.sensoryresearch.com From stalliongsta at yahoo.com Wed Nov 10 09:24:47 2004 From: stalliongsta at yahoo.com (stAllio! the original wanksta) Date: Wed Nov 10 09:24:52 2004 Subject: [Rumori] beasties win sampling suit Message-ID: <20041110172447.44393.qmail@web11202.mail.yahoo.com> this decision would appear to be the exact opposite of the nwa case from a few months ago, but i haven't yet found an article with a detailed enough analysis to be sure... http://www.smh.com.au/news/World/You-gotta-fight-for-your-right-to-sample/2004/11/10/1100021883656.html A US appeals court has handed a victory to pioneering punk-rap group the Beastie Boys in a dispute over the growing musical practice of sampling, in which recording artists incorporate snippets of other songs into their own work. The 9th US Circuit Court of Appeals declined today to reconsider its decision last year allowing the group to use a six-second segment of music from jazz flautist James Newton's 1978 composition Choir. A three-judge panel of the court held in 2003 that the band had abided by copyright protections by paying a licence fee for a sample of Newton's recording and therefore did not have to pay an additional fee to license the underlying composition. That finding upheld a lower-court dismissal of the case in favour of the Beastie Boys, and the 9th Circuit today refused to reconsider its ruling before a larger 11-judge panel. "We hold that Beastie Boys' use of a brief segment of that composition, consisting of three notes separated by a half-step over a background C note, is not sufficient to sustain a claim for infringement of Newton's copyright," Chief Judge Mary Schroeder wrote in her opinion. The Beastie Boys used the sample in their song Pass the Mic on their 1992 album Check Your Head. Representatives for Newton and the Beastie Boys were not immediately available for comment. The Beastie Boys helped spark the modern sampling trend in popular music with the 1989 album Paul's Boutique, which incorporated bits of music from sources as diverse as Johnny Cash, Bob Marley and the Beatles to create new music. Sampling has since become a staple of many artists, especially in the rap and hip-hop genres. The Beastie Boys have also emerged as leading advocates of a new approach to licensing known as the Creative Commons, in which artists record songs that listeners are invited to "rip, sample, mash and share" over file-sharing online networks like Kazaa or borrow to create their own compositions. ===== "how can we get the rapture if you don't vote for the antichrist?" http://www.animalswithinanimals.com http://badtastesucks.com __________________________________ Do you Yahoo!? Check out the new Yahoo! Front Page. www.yahoo.com From kembrew-mcleod at uiowa.edu Wed Nov 10 12:04:54 2004 From: kembrew-mcleod at uiowa.edu (kembrew mcleod) Date: Wed Nov 10 10:05:02 2004 Subject: [Rumori] beasties win sampling suit In-Reply-To: <20041110172447.44393.qmail@web11202.mail.yahoo.com> References: <20041110172447.44393.qmail@web11202.mail.yahoo.com> Message-ID: <1100109894.41925846e479b@webmail1.its.uiowa.edu> Unfortunately, it doesn't really contradict the NWA case, or at least not entirely. The thing that makes this case different is that the Beastie Boys, as I understand it, secured a mechanical license for the sound recording from the record company that released James Newton's record, but they didn't get a publishing license from Newton, the songwriter. The Beasties claimed that the part they took was so insubstantial that it didn't infringe on the heart of Newton's composition, and Newton and his lawyer, Alan Korn, disagreed, but lost. However, the Beasties most likely would have been nailed if they hadn't gotten that mechanical license for the sound recording, for sampling the actual record. I haven't looked into this case as much as I'd like to, so I'm sure someone else might have a better, more nuanced explanation. Still, it does seem to open a little space for appropriation, though not much. Best, Kembrew Quoting stAllio! the original wanksta : > this decision would appear to be the exact opposite of the nwa case > from a few months ago, but i haven't yet found an article with a > detailed enough analysis to be sure... > > http://www.smh.com.au/news/World/You-gotta-fight-for-your-right-to-sample/ 2004/11/10/1100021883656.html > > A US appeals court has handed a victory to pioneering punk-rap group > the Beastie Boys in a dispute over the growing musical practice of > sampling, in which recording artists incorporate snippets of other > songs into their own work. > > The 9th US Circuit Court of Appeals declined today to reconsider its > decision last year allowing the group to use a six-second segment of > music from jazz flautist James Newton's 1978 composition Choir. > > A three-judge panel of the court held in 2003 that the band had abided > by copyright protections by paying a licence fee for a sample of > Newton's recording and therefore did not have to pay an additional fee > to license the underlying composition. > > That finding upheld a lower-court dismissal of the case in favour of > the Beastie Boys, and the 9th Circuit today refused to reconsider its > ruling before a larger 11-judge panel. > > "We hold that Beastie Boys' use of a brief segment of that composition, > consisting of three notes separated by a half-step over a background C > note, is not sufficient to sustain a claim for infringement of Newton's > copyright," Chief Judge Mary Schroeder wrote in her opinion. > > The Beastie Boys used the sample in their song Pass the Mic on their > 1992 album Check Your Head. > > Representatives for Newton and the Beastie Boys were not immediately > available for comment. > > The Beastie Boys helped spark the modern sampling trend in popular > music with the 1989 album Paul's Boutique, which incorporated bits of > music from sources as diverse as Johnny Cash, Bob Marley and the > Beatles to create new music. Sampling has since become a staple of many > artists, especially in the rap and hip-hop genres. > > The Beastie Boys have also emerged as leading advocates of a new > approach to licensing known as the Creative Commons, in which artists > record songs that listeners are invited to "rip, sample, mash and > share" over file-sharing online networks like Kazaa or borrow to create > their own compositions. > > ===== > "how can we get the rapture if you don't vote for the antichrist?" > http://www.animalswithinanimals.com > http://badtastesucks.com > > > > __________________________________ > Do you Yahoo!? > Check out the new Yahoo! Front Page. > www.yahoo.com > > > > _______________________________________________ > Rumori mailing list > Rumori@detritus.net > http://detritus.net/mailman/listinfo/rumori > older archives: http://detritus.net/contact/rumori/ > -- ******************* kembrew mcleod assistant professor department of communication studies university of iowa contact info: 1037 e. washington st. iowa city, ia 52240 kembrew-mcleod@uiowa.edu 319-341-3583 Suffering Celebrity Quote of the Month: "I'm not capable of saying to someone words like 'I love you,' because I don't know what they mean anymore." --Ethan Hawke From discosammy at yahoo.com Wed Nov 10 13:10:52 2004 From: discosammy at yahoo.com (Samuel Carey) Date: Wed Nov 10 13:10:59 2004 Subject: [Rumori] beasties win sampling suit In-Reply-To: <1100109894.41925846e479b@webmail1.its.uiowa.edu> Message-ID: <20041110211052.24665.qmail@web11510.mail.yahoo.com> basically, the label gets paid but the artist doesn't? seems par for the course. kembrew mcleod wrote: Unfortunately, it doesn't really contradict the NWA case, or at least not entirely. The thing that makes this case different is that the Beastie Boys, as I understand it, secured a mechanical license for the sound recording from the record company that released James Newton's record, but they didn't get a publishing license from Newton, the songwriter. The Beasties claimed that the part they took was so insubstantial that it didn't infringe on the heart of Newton's composition, and Newton and his lawyer, Alan Korn, disagreed, but lost. However, the Beasties most likely would have been nailed if they hadn't gotten that mechanical license for the sound recording, for sampling the actual record. I haven't looked into this case as much as I'd like to, so I'm sure someone else might have a better, more nuanced explanation. Still, it does seem to open a little space for appropriation, though not much. Best, Kembrew Quoting stAllio! the original wanksta : > this decision would appear to be the exact opposite of the nwa case > from a few months ago, but i haven't yet found an article with a > detailed enough analysis to be sure... > > http://www.smh.com.au/news/World/You-gotta-fight-for-your-right-to-sample/ 2004/11/10/1100021883656.html > > A US appeals court has handed a victory to pioneering punk-rap group > the Beastie Boys in a dispute over the growing musical practice of > sampling, in which recording artists incorporate snippets of other > songs into their own work. > > The 9th US Circuit Court of Appeals declined today to reconsider its > decision last year allowing the group to use a six-second segment of > music from jazz flautist James Newton's 1978 composition Choir. > > A three-judge panel of the court held in 2003 that the band had abided > by copyright protections by paying a licence fee for a sample of > Newton's recording and therefore did not have to pay an additional fee > to license the underlying composition. > > That finding upheld a lower-court dismissal of the case in favour of > the Beastie Boys, and the 9th Circuit today refused to reconsider its > ruling before a larger 11-judge panel. > > "We hold that Beastie Boys' use of a brief segment of that composition, > consisting of three notes separated by a half-step over a background C > note, is not sufficient to sustain a claim for infringement of Newton's > copyright," Chief Judge Mary Schroeder wrote in her opinion. > > The Beastie Boys used the sample in their song Pass the Mic on their > 1992 album Check Your Head. > > Representatives for Newton and the Beastie Boys were not immediately > available for comment. > > The Beastie Boys helped spark the modern sampling trend in popular > music with the 1989 album Paul's Boutique, which incorporated bits of > music from sources as diverse as Johnny Cash, Bob Marley and the > Beatles to create new music. Sampling has since become a staple of many > artists, especially in the rap and hip-hop genres. > > The Beastie Boys have also emerged as leading advocates of a new > approach to licensing known as the Creative Commons, in which artists > record songs that listeners are invited to "rip, sample, mash and > share" over file-sharing online networks like Kazaa or borrow to create > their own compositions. > > ===== > "how can we get the rapture if you don't vote for the antichrist?" > http://www.animalswithinanimals.com > http://badtastesucks.com > > > > __________________________________ > Do you Yahoo!? > Check out the new Yahoo! Front Page. > www.yahoo.com > > > > _______________________________________________ > Rumori mailing list > Rumori@detritus.net > http://detritus.net/mailman/listinfo/rumori > older archives: http://detritus.net/contact/rumori/ > -- ******************* kembrew mcleod assistant professor department of communication studies university of iowa contact info: 1037 e. washington st. iowa city, ia 52240 kembrew-mcleod@uiowa.edu 319-341-3583 Suffering Celebrity Quote of the Month: "I'm not capable of saying to someone words like 'I love you,' because I don't know what they mean anymore." --Ethan Hawke _______________________________________________ Rumori mailing list Rumori@detritus.net http://detritus.net/mailman/listinfo/rumori older archives: http://detritus.net/contact/rumori/ --------------------------------- Do you Yahoo!? Check out the new Yahoo! Front Page. www.yahoo.com From mattdavignon at hotmail.com Wed Nov 10 16:09:19 2004 From: mattdavignon at hotmail.com (matt davignon) Date: Wed Nov 10 16:10:46 2004 Subject: [Rumori] beasties win sampling suit Message-ID: >From what I can read on a quick search/refresher: The NWA case regarded sampling a George Clinton recording without paying to use the recording. In the Beastie Boys case, the group secured the license to use the recording from the record label, but did not obtain a license for the composition itself. So... the findings are actually compatible with each other. The NWA thing is really alarming to me though. I thought I was in pretty safe water because most of the samples I use are unrecognizeable or heavily altered. Now I'm only in safe water because nobody gives a crap about my music. :-) Matt Davignon >From: stAllio! the original wanksta >Reply-To: "Detritus discussion list." >To: snuggles@sensoryresearch.com, rumori@detritus.net >Subject: [Rumori] beasties win sampling suit >Date: Wed, 10 Nov 2004 09:24:47 -0800 (PST) > >this decision would appear to be the exact opposite of the nwa case >from a few months ago, but i haven't yet found an article with a >detailed enough analysis to be sure... > >http://www.smh.com.au/news/World/You-gotta-fight-for-your-right-to-sample/2004/11/10/1100021883656.html > From kembrew-mcleod at uiowa.edu Wed Nov 10 18:13:54 2004 From: kembrew-mcleod at uiowa.edu (kembrew mcleod) Date: Wed Nov 10 16:14:00 2004 Subject: [Rumori] beasties win sampling suit In-Reply-To: <20041110211052.24665.qmail@web11510.mail.yahoo.com> References: <20041110211052.24665.qmail@web11510.mail.yahoo.com> Message-ID: <1100132034.4192aec2a01db@webmail2.its.uiowa.edu> Quoting Samuel Carey : > basically, the label gets paid but the artist doesn't? > > seems par for the course. yes. > > kembrew mcleod wrote: > Unfortunately, it doesn't really contradict the NWA case, or at least not > entirely. The thing that makes this case different is that the Beastie Boys, > as > I understand it, secured a mechanical license for the sound recording from > the > record company that released James Newton's record, but they didn't get a > publishing license from Newton, the songwriter. The Beasties claimed that the > > part they took was so insubstantial that it didn't infringe on the heart of > Newton's composition, and Newton and his lawyer, Alan Korn, disagreed, but > lost. > > However, the Beasties most likely would have been nailed if they hadn't > gotten > that mechanical license for the sound recording, for sampling the actual > record. I haven't looked into this case as much as I'd like to, so I'm sure > someone else might have a better, more nuanced explanation. Still, it does > seem > to open a little space for appropriation, though not much. > > Best, > > Kembrew > > Quoting stAllio! the original wanksta : > > > this decision would appear to be the exact opposite of the nwa case > > from a few months ago, but i haven't yet found an article with a > > detailed enough analysis to be sure... > > > > http://www.smh.com.au/news/World/You-gotta-fight-for-your-right-to-sample/ > 2004/11/10/1100021883656.html > > > > A US appeals court has handed a victory to pioneering punk-rap group > > the Beastie Boys in a dispute over the growing musical practice of > > sampling, in which recording artists incorporate snippets of other > > songs into their own work. > > > > The 9th US Circuit Court of Appeals declined today to reconsider its > > decision last year allowing the group to use a six-second segment of > > music from jazz flautist James Newton's 1978 composition Choir. > > > > A three-judge panel of the court held in 2003 that the band had abided > > by copyright protections by paying a licence fee for a sample of > > Newton's recording and therefore did not have to pay an additional fee > > to license the underlying composition. > > > > That finding upheld a lower-court dismissal of the case in favour of > > the Beastie Boys, and the 9th Circuit today refused to reconsider its > > ruling before a larger 11-judge panel. > > > > "We hold that Beastie Boys' use of a brief segment of that composition, > > consisting of three notes separated by a half-step over a background C > > note, is not sufficient to sustain a claim for infringement of Newton's > > copyright," Chief Judge Mary Schroeder wrote in her opinion. > > > > The Beastie Boys used the sample in their song Pass the Mic on their > > 1992 album Check Your Head. > > > > Representatives for Newton and the Beastie Boys were not immediately > > available for comment. > > > > The Beastie Boys helped spark the modern sampling trend in popular > > music with the 1989 album Paul's Boutique, which incorporated bits of > > music from sources as diverse as Johnny Cash, Bob Marley and the > > Beatles to create new music. Sampling has since become a staple of many > > artists, especially in the rap and hip-hop genres. > > > > The Beastie Boys have also emerged as leading advocates of a new > > approach to licensing known as the Creative Commons, in which artists > > record songs that listeners are invited to "rip, sample, mash and > > share" over file-sharing online networks like Kazaa or borrow to create > > their own compositions. > > > > ===== > > "how can we get the rapture if you don't vote for the antichrist?" > > http://www.animalswithinanimals.com > > http://badtastesucks.com > > > > > > > > __________________________________ > > Do you Yahoo!? > > Check out the new Yahoo! Front Page. > > www.yahoo.com > > > > > > > > _______________________________________________ > > Rumori mailing list > > Rumori@detritus.net > > http://detritus.net/mailman/listinfo/rumori > > older archives: http://detritus.net/contact/rumori/ > > > > > -- > ******************* > kembrew mcleod > assistant professor > department of communication studies > university of iowa > > contact info: > 1037 e. washington st. > iowa city, ia 52240 > kembrew-mcleod@uiowa.edu > 319-341-3583 > > Suffering Celebrity Quote of the Month: "I'm not capable of saying to someone > > words like 'I love you,' because I don't know what they mean anymore." > --Ethan > Hawke > > > _______________________________________________ > Rumori mailing list > Rumori@detritus.net > http://detritus.net/mailman/listinfo/rumori > older archives: http://detritus.net/contact/rumori/ > > > --------------------------------- > Do you Yahoo!? > Check out the new Yahoo! Front Page. www.yahoo.com > _______________________________________________ > Rumori mailing list > Rumori@detritus.net > http://detritus.net/mailman/listinfo/rumori > older archives: http://detritus.net/contact/rumori/ > -- ******************* kembrew mcleod assistant professor department of communication studies university of iowa contact info: 1037 e. washington st. iowa city, ia 52240 kembrew-mcleod@uiowa.edu 319-341-3583 Suffering Celebrity Quote of the Month: "I'm not capable of saying to someone words like 'I love you,' because I don't know what they mean anymore." --Ethan Hawke From steev at detritus.net Fri Nov 12 12:12:02 2004 From: steev at detritus.net (steev@detritus.net) Date: Fri Nov 12 12:12:11 2004 Subject: [Rumori] Detritus Update: Marvel Comics Sues Game Companies Over Superhereo Video Game Message-ID: Detritus Update: Marvel Comics Sues Game Companies Over Superhereo Video Game November 12, 2004 ------------------------------------------------------------------------ http://detritus.net/blog/archives/000203.html -- Powered by Movable Type Version 2.661 http://www.movabletype.org/ From julian.brooks at virgin.net Fri Nov 12 23:57:29 2004 From: julian.brooks at virgin.net (Jb) Date: Fri Nov 12 15:58:25 2004 Subject: [Rumori] beasties win sampling suit In-Reply-To: <1100132034.4192aec2a01db@webmail2.its.uiowa.edu> Message-ID: <000101c4c913$65bfd990$0100a8c0@JB> Hi peeps I have to disagree with this. It sounds like the guy must be getting paid from the mechanicals that are paid to whoever controls the recordings, being on a beastie's record is going to make those old masters a great deal of cash. I think there also should be some kind of recognition from the sampled artists, that the people who make music and see themselves as 'crate-diggers' do a fine job in making previously obscure recordings trade once more(if they ever did in the first place). I sometimes wonder why Fender don't try and claim a royalty every-time they hear Dave Gilmore on a recording, or maybe Ray Charles' Rhodes? Well I guess that's cos they bought the instrument. Well some-one bought the artist's record to sample it so, silly as it sounds, I kinda think that whoever buys it should be free to do as they wish with it. I don't believe that it is always 'men in suits' who are driving these issues, most recording artist I have come across act grievously wounded in these situations and are more than happy with their barristers requests to go for blood in any kind of negotiations. Although I do see the current music industry situation as redundant I think its questionable if the industry is in any kind of terminal decline (mores the pity) I still think we have a way to go and the next ripe bloated target is for me the publishers. It's a misconception to have the writing credits being some way fairer and more lucrative to an artist than the mechanicals, quite often in my experience it's just another layer in the fucked-over cake. Kind regards to y'all, JbZ -----Original Message----- From: rumori-bounces@detritus.net [mailto:rumori-bounces@detritus.net] On Behalf Of kembrew mcleod Sent: 11 November 2004 00:14 To: Detritus discussion list. Subject: Re: [Rumori] beasties win sampling suit Quoting Samuel Carey : > basically, the label gets paid but the artist doesn't? > > seems par for the course. yes. > > kembrew mcleod wrote: > Unfortunately, it doesn't really contradict the NWA case, or at least not > entirely. The thing that makes this case different is that the Beastie Boys, > as > I understand it, secured a mechanical license for the sound recording from > the > record company that released James Newton's record, but they didn't get a > publishing license from Newton, the songwriter. The Beasties claimed that the > > part they took was so insubstantial that it didn't infringe on the heart of > Newton's composition, and Newton and his lawyer, Alan Korn, disagreed, but > lost. > > However, the Beasties most likely would have been nailed if they hadn't > gotten > that mechanical license for the sound recording, for sampling the actual > record. I haven't looked into this case as much as I'd like to, so I'm sure > someone else might have a better, more nuanced explanation. Still, it does > seem > to open a little space for appropriation, though not much. > > Best, > > Kembrew > > Quoting stAllio! the original wanksta : > > > this decision would appear to be the exact opposite of the nwa case > > from a few months ago, but i haven't yet found an article with a > > detailed enough analysis to be sure... > > > > http://www.smh.com.au/news/World/You-gotta-fight-for-your-right-to-sampl e/ > 2004/11/10/1100021883656.html > > > > A US appeals court has handed a victory to pioneering punk-rap group > > the Beastie Boys in a dispute over the growing musical practice of > > sampling, in which recording artists incorporate snippets of other > > songs into their own work. > > > > The 9th US Circuit Court of Appeals declined today to reconsider its > > decision last year allowing the group to use a six-second segment of > > music from jazz flautist James Newton's 1978 composition Choir. > > > > A three-judge panel of the court held in 2003 that the band had abided > > by copyright protections by paying a licence fee for a sample of > > Newton's recording and therefore did not have to pay an additional fee > > to license the underlying composition. > > > > That finding upheld a lower-court dismissal of the case in favour of > > the Beastie Boys, and the 9th Circuit today refused to reconsider its > > ruling before a larger 11-judge panel. > > > > "We hold that Beastie Boys' use of a brief segment of that composition, > > consisting of three notes separated by a half-step over a background C > > note, is not sufficient to sustain a claim for infringement of Newton's > > copyright," Chief Judge Mary Schroeder wrote in her opinion. > > > > The Beastie Boys used the sample in their song Pass the Mic on their > > 1992 album Check Your Head. > > > > Representatives for Newton and the Beastie Boys were not immediately > > available for comment. > > > > The Beastie Boys helped spark the modern sampling trend in popular > > music with the 1989 album Paul's Boutique, which incorporated bits of > > music from sources as diverse as Johnny Cash, Bob Marley and the > > Beatles to create new music. Sampling has since become a staple of many > > artists, especially in the rap and hip-hop genres. > > > > The Beastie Boys have also emerged as leading advocates of a new > > approach to licensing known as the Creative Commons, in which artists > > record songs that listeners are invited to "rip, sample, mash and > > share" over file-sharing online networks like Kazaa or borrow to create > > their own compositions. > > > > ===== > > "how can we get the rapture if you don't vote for the antichrist?" > > http://www.animalswithinanimals.com > > http://badtastesucks.com > > > > > > > > __________________________________ > > Do you Yahoo!? > > Check out the new Yahoo! Front Page. > > www.yahoo.com > > > > > > > > _______________________________________________ > > Rumori mailing list > > Rumori@detritus.net > > http://detritus.net/mailman/listinfo/rumori > > older archives: http://detritus.net/contact/rumori/ > > > > > -- > ******************* > kembrew mcleod > assistant professor > department of communication studies > university of iowa > > contact info: > 1037 e. washington st. > iowa city, ia 52240 > kembrew-mcleod@uiowa.edu > 319-341-3583 > > Suffering Celebrity Quote of the Month: "I'm not capable of saying to someone > > words like 'I love you,' because I don't know what they mean anymore." > --Ethan > Hawke > > > _______________________________________________ > Rumori mailing list > Rumori@detritus.net > http://detritus.net/mailman/listinfo/rumori > older archives: http://detritus.net/contact/rumori/ > > > --------------------------------- > Do you Yahoo!? > Check out the new Yahoo! Front Page. www.yahoo.com > _______________________________________________ > Rumori mailing list > Rumori@detritus.net > http://detritus.net/mailman/listinfo/rumori > older archives: http://detritus.net/contact/rumori/ > -- ******************* kembrew mcleod assistant professor department of communication studies university of iowa contact info: 1037 e. washington st. iowa city, ia 52240 kembrew-mcleod@uiowa.edu 319-341-3583 Suffering Celebrity Quote of the Month: "I'm not capable of saying to someone words like 'I love you,' because I don't know what they mean anymore." --Ethan Hawke _______________________________________________ Rumori mailing list Rumori@detritus.net http://detritus.net/mailman/listinfo/rumori older archives: http://detritus.net/contact/rumori/ From bbrace at eskimo.com Sat Nov 13 09:36:54 2004 From: bbrace at eskimo.com ({ brad brace }) Date: Sat Nov 13 09:37:01 2004 Subject: [Rumori] 12hr update In-Reply-To: References: Message-ID: _ |__ __| | /_ |__ \| | | __| | | | (_) | | __/ (__| |_ __ | | | | | | __/ | |/ /_| | | | | _ | | | '_ \ / _ \ | | / /| '_ \| '__| The 12hr-ISBN-JPEG Project >>>> posted since 1994 <<<< "... easily the most venerable net-art project of all time." _ | | | '_ \ / _ \ | | / /| '_ \| '__| -_ | | | |__ ___ | | ) | |__ _ __ _ | __ \ (_) | | For this voice is everything you do not remember. Everything you should not be able to live without and yet, tragically do. | __| | | | (_) | | __/ (__| |_ _ | | | '_ \ / _ \ | | / /| '_ \| '__| _| |__) | __ ___ _ ___ ___| |_ |_ ___/ '__/ _ \| |/ _ \/ __| __| |_| _ |_| \___/| |\___|\___|\__| _ _/ | _ |__/ > > > > Synopsis: The 12hr-ISBN-JPEG Project began December 30, 1994. A `round-the-clock posting of sequenced hypermodern imagery from Brad Brace. The hypermodern minimizes the familiar, the known, the recognizable; it suspends identity, relations and history. This discourse, far from determining the locus in which it speaks, is avoiding the ground on which it could find support. It is trying to operate a decentering that leaves no privilege to any center. The 12-hour ISBN JPEG Project ----------------------------- began December 30, 1994 Pointless Hypermodern Imagery... posted/mailed every 12 hours... a spectral, trajective alignment for the 00`s! A continuum of minimalist masks in the face of catastrophe; conjuring up transformative metaphors for the everyday... A poetic reversibility of exclusive events... A post-rhetorical, continuous, apparently random sequence of imagery... genuine gritty, greyscale... corruptable, compact, collectable and compelling convergence. The voluptuousness of the grey imminence: the art of making the other disappear. Continual visual impact; an optical drumming, sculpted in duration, on the endless present of the Net. An extension of the printed ISBN-Book (0-9690745) series... critically unassimilable... imagery is gradually acquired, selected and re-sequenced over time... ineluctable, vertiginous connections. The 12hr dialtone... [ see http://www.eskimo.com/~bbrace/netcom/books.txt ] KEYWORDS: >> Disconnected, disjunctive, distended, de-centered, de-composed, ambiguous, augmented, ambilavent, homogeneous, reckless... >> Multi-faceted, oblique, obsessive, obscure, obdurate... >> Promulgated, personal, permeable, prolonged, polymorphous, provocative, poetic, plural, perverse, potent, prophetic, pathological, pointless... >> Emergent, evolving, eccentric, eclectic, egregious, exciting, entertaining, evasive, entropic, erotic, entrancing, enduring, expansive... Every 12 hours, another!... view them, re-post `em, save `em, trade `em, print `em, even publish them... Here`s how: ~ Set www-links to -> http://www.eskimo.com/~bbrace/12hr.html -> http://bbrace.laughingsquid.net/12hr.html -> http://bbrace.net/12hr.html -> http://noemata.net/12hr/ Look for the 12-hr-icon. Heavy traffic may require you to specify files more than once! Anarchie, Fetch, CuteFTP, TurboGopher... ~ Download from -> ftp.rdrop.com /pub/users/bbrace Download from -> ftp.eskimo.com /u/b/bbrace Download from -> hotline://artlyin.ftr.va.com.au Download from -> ftp://bjornmag:Sobject@kunst.no/12hr/12hr.jpeg * Remember to set tenex or binary. Get 12hr.jpeg ~ E-mail -> If you only have access to email, then you can use FTPmail to do essentially the same thing. Send a message with a body of 'help' to the server address nearest you: * ftpmail@ccc.uba.ar ftpmail@cs.uow.edu.au ftpmail@ftp.uni-stuttgart.de ftpmail@ftp.Dartmouth.edu ftpmail@ieunet.ie ftpmail@src.doc.ic.ac.uk ftpmail@archie.inesc.pt ftpmail@ftp.sun.ac.za ftpmail@ftp.sunet.se ftpmail@ftp.luth.se ftpmail@NCTUCCCA.edu.tw ftpmail@oak.oakland.edu ftpmail@sunsite.unc.edu ftpmail@decwrl.dec.com ftpmail@census.gov bitftp@plearn.bitnet bitftp@dearn.bitnet bitftp@vm.gmd.de bitftp@plearn.edu.pl bitftp@pucc.princeton.edu bitftp@pucc.bitnet * * ~ Mirror-sites requested! Archives too! The latest new jpeg will always be named, 12hr.jpeg Average size of images is only 45K. * Perl program to mirror ftp-sites/sub-directories: src.doc.ic.ac.uk:/packages/mirror * ~ Postings to usenet newsgroups: 12hr alt.12hr alt.binaries.pictures.12hr alt.binaries.pictures.misc alt.binaries.pictures.fine-art.misc * * Ask your system's news-administrator to carry these groups! (There are also usenet image browsers: TIFNY, PluckIt, Picture Agent, PictureView, Extractor97, NewsRover, Binary News Assistant, EasyNews) ~ This interminable, relentless (online) sequence of imagery began in earnest on December 30, 1994. The basic structure of the project has been over twenty-five years in the making. While the specific sequence of photographs has been presently orchestrated for many years` worth of 12-hour postings, I will undoubtedly be tempted to tweak the ongoing publication with additional new interjected imagery. Each 12-hour image is like the turning of a page; providing ample time for reflection, interruption, and assimilation. ~ The sites listed above also contain information on other cultural projects and sources. ~ A very low-volume, moderated mailing list for announcements and occasional commentary related to this project has been established at topica.com /subscribe 12hr-isbn-jpeg -- This project has not received government art-subsidies. Some opportunities still exist for financially assisting the publication of editions of large (33x46") prints; perhaps (Iris giclees) inkjet duotones or extended-black quadtones. Other supporters receive rare copies of the first three web-offset printed ISBN-Books. Contributions and requests for 12hr-email-subscriptions, can also be made at http://bbrace.laughingsquid.net/buy-into.html, or by mailed cheque/check: $5/mo $50/yr. Art-institutions must pay for any images retained longer than 12 hours. -- ISBN is International Standard Book Number. JPEG and GIF are types of image files. Get the text-file, 'pictures-faq' to learn how to view or translate these images. [http://www.eskimo.com/~bbrace/netcom/pictures -faq.html] -- (c) Credit appreciated. Copyleft 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 From teersteeg at yahoo.com Sun Nov 14 14:47:47 2004 From: teersteeg at yahoo.com (Anthony Mauve) Date: Sun Nov 14 14:48:26 2004 Subject: [Rumori] 12hr update In-Reply-To: Message-ID: <20041114224747.16446.qmail@web52004.mail.yahoo.com> RE: your jpeg project: unfortunately in a world where real things happen to real people (seen CNN lately?) pointless imagery is nothing more than visual masturbation and like its more physical counterpart is best performed in private. Unless of course it's the best you can do in which case I suppose you may as well carry on. bruno { brad brace } wrote: _ |__ __| | /_ |__ \| | | __| | | | (_) | | __/ (__| |_ __ | | | | | | __/ | |/ /_| | | | | _ | | | '_ \ / _ \ | | / /| '_ \| '__| The 12hr-ISBN-JPEG Project >>>> posted since 1994 <<<< "... easily the most venerable net-art project of all time." _ | | | '_ \ / _ \ | | / /| '_ \| '__| -_ | | | |__ ___ | | ) | |__ _ __ _ | __ \ (_) | | For this voice is everything you do not remember. Everything you should not be able to live without and yet, tragically do. | __| | | | (_) | | __/ (__| |_ _ | | | '_ \ / _ \ | | / /| '_ \| '__| _| |__) | __ ___ _ ___ ___| |_ |_ ___/ '__/ _ \| |/ _ \/ __| __| |_| _ |_| \___/| |\___|\___|\__| _ _/ | _ |__/ > > > > Synopsis: The 12hr-ISBN-JPEG Project began December 30, 1994. A `round-the-clock posting of sequenced hypermodern imagery from Brad Brace. The hypermodern minimizes the familiar, the known, the recognizable; it suspends identity, relations and history. This discourse, far from determining the locus in which it speaks, is avoiding the ground on which it could find support. It is trying to operate a decentering that leaves no privilege to any center. The 12-hour ISBN JPEG Project ----------------------------- began December 30, 1994 Pointless Hypermodern Imagery... posted/mailed every 12 hours... a spectral, trajective alignment for the 00`s! A continuum of minimalist masks in the face of catastrophe; conjuring up transformative metaphors for the everyday... A poetic reversibility of exclusive events... A post-rhetorical, continuous, apparently random sequence of imagery... genuine gritty, greyscale... corruptable, compact, collectable and compelling convergence. The voluptuousness of the grey imminence: the art of making the other disappear. Continual visual impact; an optical drumming, sculpted in duration, on the endless present of the Net. An extension of the printed ISBN-Book (0-9690745) series... critically unassimilable... imagery is gradually acquired, selected and re-sequenced over time... ineluctable, vertiginous connections. The 12hr dialtone... [ see http://www.eskimo.com/~bbrace/netcom/books.txt ] KEYWORDS: >> Disconnected, disjunctive, distended, de-centered, de-composed, ambiguous, augmented, ambilavent, homogeneous, reckless... >> Multi-faceted, oblique, obsessive, obscure, obdurate... >> Promulgated, personal, permeable, prolonged, polymorphous, provocative, poetic, plural, perverse, potent, prophetic, pathological, pointless... >> Emergent, evolving, eccentric, eclectic, egregious, exciting, entertaining, evasive, entropic, erotic, entrancing, enduring, expansive... Every 12 hours, another!... view them, re-post `em, save `em, trade `em, print `em, even publish them... Here`s how: ~ Set www-links to -> http://www.eskimo.com/~bbrace/12hr.html -> http://bbrace.laughingsquid.net/12hr.html -> http://bbrace.net/12hr.html -> http://noemata.net/12hr/ Look for the 12-hr-icon. Heavy traffic may require you to specify files more than once! Anarchie, Fetch, CuteFTP, TurboGopher... ~ Download from -> ftp.rdrop.com /pub/users/bbrace Download from -> ftp.eskimo.com /u/b/bbrace Download from -> hotline://artlyin.ftr.va.com.au Download from -> ftp://bjornmag:Sobject@kunst.no/12hr/12hr.jpeg * Remember to set tenex or binary. Get 12hr.jpeg ~ E-mail -> If you only have access to email, then you can use FTPmail to do essentially the same thing. Send a message with a body of 'help' to the server address nearest you: * ftpmail@ccc.uba.ar ftpmail@cs.uow.edu.au ftpmail@ftp.uni-stuttgart.de ftpmail@ftp.Dartmouth.edu ftpmail@ieunet.ie ftpmail@src.doc.ic.ac.uk ftpmail@archie.inesc.pt ftpmail@ftp.sun.ac.za ftpmail@ftp.sunet.se ftpmail@ftp.luth.se ftpmail@NCTUCCCA.edu.tw ftpmail@oak.oakland.edu ftpmail@sunsite.unc.edu ftpmail@decwrl.dec.com ftpmail@census.gov bitftp@plearn.bitnet bitftp@dearn.bitnet bitftp@vm.gmd.de bitftp@plearn.edu.pl bitftp@pucc.princeton.edu bitftp@pucc.bitnet * * ~ Mirror-sites requested! Archives too! The latest new jpeg will always be named, 12hr.jpeg Average size of images is only 45K. * Perl program to mirror ftp-sites/sub-directories: src.doc.ic.ac.uk:/packages/mirror * ~ Postings to usenet newsgroups: 12hr alt.12hr alt.binaries.pictures.12hr alt.binaries.pictures.misc alt.binaries.pictures.fine-art.misc * * Ask your system's news-administrator to carry these groups! (There are also usenet image browsers: TIFNY, PluckIt, Picture Agent, PictureView, Extractor97, NewsRover, Binary News Assistant, EasyNews) ~ This interminable, relentless (online) sequence of imagery began in earnest on December 30, 1994. The basic structure of the project has been over twenty-five years in the making. While the specific sequence of photographs has been presently orchestrated for many years` worth of 12-hour postings, I will undoubtedly be tempted to tweak the ongoing publication with additional new interjected imagery. Each 12-hour image is like the turning of a page; providing ample time for reflection, interruption, and assimilation. ~ The sites listed above also contain information on other cultural projects and sources. ~ A very low-volume, moderated mailing list for announcements and occasional commentary related to this project has been established at topica.com /subscribe 12hr-isbn-jpeg -- This project has not received government art-subsidies. Some opportunities still exist for financially assisting the publication of editions of large (33x46") prints; perhaps (Iris giclees) inkjet duotones or extended-black quadtones. Other supporters receive rare copies of the first three web-offset printed ISBN-Books. Contributions and requests for 12hr-email-subscriptions, can also be made at http://bbrace.laughingsquid.net/buy-into.html, or by mailed cheque/check: $5/mo $50/yr. Art-institutions must pay for any images retained longer than 12 hours. -- ISBN is International Standard Book Number. JPEG and GIF are types of image files. Get the text-file, 'pictures-faq' to learn how to view or translate these images. [http://www.eskimo.com/~bbrace/netcom/pictures -faq.html] -- (c) Credit appreciated. Copyleft 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 _______________________________________________ Rumori mailing list Rumori@detritus.net http://detritus.net/mailman/listinfo/rumori older archives: http://detritus.net/contact/rumori/ --------------------------------- Do you Yahoo!? Check out the new Yahoo! Front Page. www.yahoo.com From pan at sensoryresearch.com Sun Nov 14 19:10:51 2004 From: pan at sensoryresearch.com (Pan) Date: Sun Nov 14 16:10:59 2004 Subject: [Rumori] 12hr update In-Reply-To: <20041114224747.16446.qmail@web52004.mail.yahoo.com> References: <20041114224747.16446.qmail@web52004.mail.yahoo.com> Message-ID: ... and you've just demonstrated that real people in the real world can be real assholes. Pan On Nov 14, 2004, at 5:47 PM, Anthony Mauve wrote: > RE: your jpeg project: unfortunately in a world where real things > happen to real people (seen CNN lately?) pointless imagery is nothing > more than visual masturbation and like its more physical counterpart > is best performed in private. Unless of course it's the best you can > do in which case I suppose you may as well carry on. > > bruno From anthonyh at epic.co.uk Mon Nov 15 10:04:51 2004 From: anthonyh at epic.co.uk (Anthony Hall) Date: Mon Nov 15 02:05:38 2004 Subject: [Rumori] beasties win sampling suit In-Reply-To: <000101c4c913$65bfd990$0100a8c0@JB> References: <1100132034.4192aec2a01db@webmail2.its.uiowa.edu> Message-ID: <5.2.0.9.0.20041115095117.02d3bd88@post.epic.co.uk> Not too sure if I agree exactly with JB's take, but maybe more a combination of both opinions: there is a possibility that James Newton's existing deal with his label was so lousy that he didn't profit so much from the previous deal for the sample, and so was pressured into taking the BBs back to court again to get some mo' cash for himself - this would be the only available way of doing it. I guess we'll never know... However, I disagree with Kembrew that this opens any window at all for appropriation: Strip the "sampling" tags out of this case, and it seems to me that it becomes a simple plagiarism suit, a la "My Sweet Lord". In which case the only window that opens is that people can appropriate the odd cluster of notes, which has been going on for a long long time. my 2 shekels, Ant At 23:57 12/11/2004 +0000, you wrote: >Hi peeps >I have to disagree with this. It sounds like the guy must be getting >paid from the mechanicals that are paid to whoever controls the >recordings, being on a beastie's record is going to make those old >masters a great deal of cash. >I think there also should be some kind of recognition from the sampled >artists, that the people who make music and see themselves as >'crate-diggers' do a fine job in making previously obscure recordings >trade once more(if they ever did in the first place). I sometimes >wonder why Fender don't try and claim a royalty every-time they hear >Dave Gilmore on a recording, or maybe Ray Charles' Rhodes? Well I guess >that's cos they bought the instrument. Well some-one bought the >artist's record to sample it so, silly as it sounds, I kinda think that >whoever buys it should be free to do as they wish with it. > I don't believe that it is always 'men in suits' who are driving these >issues, most recording artist I have come across act grievously wounded >in these situations and are more than happy with their barristers >requests to go for blood in any kind of negotiations. Although I do see >the current music industry situation as redundant I think its >questionable if the industry is in any kind of terminal decline (mores >the pity) I still think we have a way to go and the next ripe bloated >target is for me the publishers. It's a misconception to have the >writing credits being some way fairer and more lucrative to an artist >than the mechanicals, quite often in my experience it's just another >layer in the fucked-over cake. >Kind regards to y'all, >JbZ >-----Original Message----- >From: rumori-bounces@detritus.net [mailto:rumori-bounces@detritus.net] >On Behalf Of kembrew mcleod >Sent: 11 November 2004 00:14 >To: Detritus discussion list. >Subject: Re: [Rumori] beasties win sampling suit > >Quoting Samuel Carey : > > > basically, the label gets paid but the artist doesn't? > > > > seems par for the course. > >yes. > > > > > kembrew mcleod wrote: > > Unfortunately, it doesn't really contradict the NWA case, or at least >not > > entirely. The thing that makes this case different is that the Beastie >Boys, > > as > > I understand it, secured a mechanical license for the sound recording >from > > the > > record company that released James Newton's record, but they didn't >get a > > publishing license from Newton, the songwriter. The Beasties claimed >that the > > > > part they took was so insubstantial that it didn't infringe on the >heart of > > Newton's composition, and Newton and his lawyer, Alan Korn, disagreed, >but > > lost. > > > > However, the Beasties most likely would have been nailed if they >hadn't > > gotten > > that mechanical license for the sound recording, for sampling the >actual > > record. I haven't looked into this case as much as I'd like to, so I'm >sure > > someone else might have a better, more nuanced explanation. Still, it >does > > seem > > to open a little space for appropriation, though not much. > > > > Best, > > > > Kembrew > > > > Quoting stAllio! the original wanksta : > > > > > this decision would appear to be the exact opposite of the nwa case > > > from a few months ago, but i haven't yet found an article with a > > > detailed enough analysis to be sure... > > > > > > >http://www.smh.com.au/news/World/You-gotta-fight-for-your-right-to-sampl >e/ > > 2004/11/10/1100021883656.html > > > > > > A US appeals court has handed a victory to pioneering punk-rap group > > > the Beastie Boys in a dispute over the growing musical practice of > > > sampling, in which recording artists incorporate snippets of other > > > songs into their own work. > > > > > > The 9th US Circuit Court of Appeals declined today to reconsider its > > > decision last year allowing the group to use a six-second segment of > > > music from jazz flautist James Newton's 1978 composition Choir. > > > > > > A three-judge panel of the court held in 2003 that the band had >abided > > > by copyright protections by paying a licence fee for a sample of > > > Newton's recording and therefore did not have to pay an additional >fee > > > to license the underlying composition. > > > > > > That finding upheld a lower-court dismissal of the case in favour of > > > the Beastie Boys, and the 9th Circuit today refused to reconsider >its > > > ruling before a larger 11-judge panel. > > > > > > "We hold that Beastie Boys' use of a brief segment of that >composition, > > > consisting of three notes separated by a half-step over a background >C > > > note, is not sufficient to sustain a claim for infringement of >Newton's > > > copyright," Chief Judge Mary Schroeder wrote in her opinion. > > > > > > The Beastie Boys used the sample in their song Pass the Mic on their > > > 1992 album Check Your Head. > > > > > > Representatives for Newton and the Beastie Boys were not immediately > > > available for comment. > > > > > > The Beastie Boys helped spark the modern sampling trend in popular > > > music with the 1989 album Paul's Boutique, which incorporated bits >of > > > music from sources as diverse as Johnny Cash, Bob Marley and the > > > Beatles to create new music. Sampling has since become a staple of >many > > > artists, especially in the rap and hip-hop genres. > > > > > > The Beastie Boys have also emerged as leading advocates of a new > > > approach to licensing known as the Creative Commons, in which >artists > > > record songs that listeners are invited to "rip, sample, mash and > > > share" over file-sharing online networks like Kazaa or borrow to >create > > > their own compositions. > > > > > > ===== > > > "how can we get the rapture if you don't vote for the antichrist?" > > > http://www.animalswithinanimals.com > > > http://badtastesucks.com > > > > > > > > > > > > __________________________________ > > > Do you Yahoo!? > > > Check out the new Yahoo! Front Page. > > > www.yahoo.com > > > > > > > > > > > > _______________________________________________ > > > Rumori mailing list > > > Rumori@detritus.net > > > http://detritus.net/mailman/listinfo/rumori > > > older archives: http://detritus.net/contact/rumori/ > > > > > > > > > -- > > ******************* > > kembrew mcleod > > assistant professor > > department of communication studies > > university of iowa > > > > contact info: > > 1037 e. washington st. > > iowa city, ia 52240 > > kembrew-mcleod@uiowa.edu > > 319-341-3583 > > > > Suffering Celebrity Quote of the Month: "I'm not capable of saying to >someone > > > > words like 'I love you,' because I don't know what they mean anymore." > > --Ethan > > Hawke > > > > > > _______________________________________________ > > Rumori mailing list > > Rumori@detritus.net > > http://detritus.net/mailman/listinfo/rumori > > older archives: http://detritus.net/contact/rumori/ > > > > > > --------------------------------- > > Do you Yahoo!? > > Check out the new Yahoo! Front Page. www.yahoo.com > > _______________________________________________ > > Rumori mailing list > > Rumori@detritus.net > > http://detritus.net/mailman/listinfo/rumori > > older archives: http://detritus.net/contact/rumori/ > > > > >-- >******************* >kembrew mcleod >assistant professor >department of communication studies >university of iowa > >contact info: >1037 e. washington st. >iowa city, ia 52240 >kembrew-mcleod@uiowa.edu >319-341-3583 > >Suffering Celebrity Quote of the Month: "I'm not capable of saying to >someone >words like 'I love you,' because I don't know what they mean anymore." >--Ethan >Hawke > > >_______________________________________________ >Rumori mailing list >Rumori@detritus.net >http://detritus.net/mailman/listinfo/rumori >older archives: http://detritus.net/contact/rumori/ > > >_______________________________________________ >Rumori mailing list >Rumori@detritus.net >http://detritus.net/mailman/listinfo/rumori >older archives: http://detritus.net/contact/rumori/ From kembrew at kembrew.com Mon Nov 15 08:19:56 2004 From: kembrew at kembrew.com (kembrew mcleod) Date: Mon Nov 15 06:21:26 2004 Subject: [Rumori] beasties win sampling suit In-Reply-To: <5.2.0.9.0.20041115095117.02d3bd88@post.epic.co.uk> References: <1100132034.4192aec2a01db@webmail2.its.uiowa.edu> <5.2.0.9.0.20041115095117.02d3bd88@post.epic.co.uk> Message-ID: <6D0BB1DC-3711-11D9-BE67-000D932EDAAE@kembrew.com> On Nov 15, 2004, at 4:04 AM, Anthony Hall wrote: > However, I disagree with Kembrew that this opens any window at all for > appropriation: Strip the "sampling" tags out of this case, and it > seems to me that it becomes a simple plagiarism suit, a la "My Sweet > Lord". In which case the only window that opens is that people can > appropriate the odd cluster of notes, which has been going on for a > long long time. The court ruled that the Beastie Boys? use of the sample was minimal, and that ?Newton is in a weak position to argue that the similarities between the works are substantial, or that an average audience would recognize the appropriation.? The Beasties didn't just appropriate an odd cluster of notes--which you're right in saying that musicians have been doing that for years--but they did it in the context of a sample, which is why I cautiously said it opened up a "little" space for sampling/appropriation. There are other recent cases that have helped pry this window open. In Williams v. Broadus, hip hop producer Marley Marl sued Snoop Dogg for sampling his 1988 song ?The Symphony.? In a very ironic defense strategy, Snoop?s lawyers argued the following: Because Marl?s song contained an unlicensed sample of an Otis Redding song, ?Hard to Handle,? Snoop?s borrowing wasn?t an infringement. The court dismissed Snoop?s lawyers? motion, stating that it was reasonable that a jury might think Marl?s sample wasn?t a violation of Redding?s copyright and should still be protected. In his summary judgment, District Judge Michael Mukasey stated, ?a work is not derivative simply because it borrows from a pre-existing work.? He also stated that ?a reasonable finder of fact could nonetheless conclude that the copied measures of ?Hard to Handle? ? two measures that appear only in the opening of that composition ? are not a substantial portion of the work.? In Tuff v. Profile, Tuff ?n? Rumble Management claimed that Run DMC sampled a drum break from the Honey Drippers? 1973 song ?Impeach the President.? District Judge Sidney Stein ruled against Tuff because the company couldn?t prove that it was the actual copyright owner, and it went on to assert that Run DMC?s sample probably wasn?t an infringement. The court said it would be difficult to demonstrate that the sample would rise to the level of ?substantial similarity? needed to prove that the new recording infringed on the Honey Drippers? copyright. Having assessed the two songs, Judge Stein ruled that the Run-DMC song is not ?substantially similar to ?Impeach the President.?? However, things got ever more confusing when that damn 6th Circuit Court of Appeals involving N.W.A., which completely contradicts the substance of these other rulings. > > my 2 shekels, > > Ant > > At 23:57 12/11/2004 +0000, you wrote: >> Hi peeps >> I have to disagree with this. It sounds like the guy must be getting >> paid from the mechanicals that are paid to whoever controls the >> recordings, being on a beastie's record is going to make those old >> masters a great deal of cash. >> I think there also should be some kind of recognition from the sampled >> artists, that the people who make music and see themselves as >> 'crate-diggers' do a fine job in making previously obscure recordings >> trade once more(if they ever did in the first place). I sometimes >> wonder why Fender don't try and claim a royalty every-time they hear >> Dave Gilmore on a recording, or maybe Ray Charles' Rhodes? Well I >> guess >> that's cos they bought the instrument. Well some-one bought the >> artist's record to sample it so, silly as it sounds, I kinda think >> that >> whoever buys it should be free to do as they wish with it. >> I don't believe that it is always 'men in suits' who are driving >> these >> issues, most recording artist I have come across act grievously >> wounded >> in these situations and are more than happy with their barristers >> requests to go for blood in any kind of negotiations. Although I do >> see >> the current music industry situation as redundant I think its >> questionable if the industry is in any kind of terminal decline (mores >> the pity) I still think we have a way to go and the next ripe bloated >> target is for me the publishers. It's a misconception to have the >> writing credits being some way fairer and more lucrative to an artist >> than the mechanicals, quite often in my experience it's just another >> layer in the fucked-over cake. >> Kind regards to y'all, >> JbZ >> -----Original Message----- >> From: rumori-bounces@detritus.net [mailto:rumori-bounces@detritus.net] >> On Behalf Of kembrew mcleod >> Sent: 11 November 2004 00:14 >> To: Detritus discussion list. >> Subject: Re: [Rumori] beasties win sampling suit >> >> Quoting Samuel Carey : >> >> > basically, the label gets paid but the artist doesn't? >> > >> > seems par for the course. >> >> yes. >> >> > >> > kembrew mcleod wrote: >> > Unfortunately, it doesn't really contradict the NWA case, or at >> least >> not >> > entirely. The thing that makes this case different is that the >> Beastie >> Boys, >> > as >> > I understand it, secured a mechanical license for the sound >> recording >> from >> > the >> > record company that released James Newton's record, but they didn't >> get a >> > publishing license from Newton, the songwriter. The Beasties claimed >> that the >> > >> > part they took was so insubstantial that it didn't infringe on the >> heart of >> > Newton's composition, and Newton and his lawyer, Alan Korn, >> disagreed, >> but >> > lost. >> > >> > However, the Beasties most likely would have been nailed if they >> hadn't >> > gotten >> > that mechanical license for the sound recording, for sampling the >> actual >> > record. I haven't looked into this case as much as I'd like to, so >> I'm >> sure >> > someone else might have a better, more nuanced explanation. Still, >> it >> does >> > seem >> > to open a little space for appropriation, though not much. >> > >> > Best, >> > >> > Kembrew >> > >> > Quoting stAllio! the original wanksta : >> > >> > > this decision would appear to be the exact opposite of the nwa >> case >> > > from a few months ago, but i haven't yet found an article with a >> > > detailed enough analysis to be sure... >> > > >> > > >> http://www.smh.com.au/news/World/You-gotta-fight-for-your-right-to- >> sampl >> e/ >> > 2004/11/10/1100021883656.html >> > > >> > > A US appeals court has handed a victory to pioneering punk-rap >> group >> > > the Beastie Boys in a dispute over the growing musical practice of >> > > sampling, in which recording artists incorporate snippets of other >> > > songs into their own work. >> > > >> > > The 9th US Circuit Court of Appeals declined today to reconsider >> its >> > > decision last year allowing the group to use a six-second segment >> of >> > > music from jazz flautist James Newton's 1978 composition Choir. >> > > >> > > A three-judge panel of the court held in 2003 that the band had >> abided >> > > by copyright protections by paying a licence fee for a sample of >> > > Newton's recording and therefore did not have to pay an additional >> fee >> > > to license the underlying composition. >> > > >> > > That finding upheld a lower-court dismissal of the case in favour >> of >> > > the Beastie Boys, and the 9th Circuit today refused to reconsider >> its >> > > ruling before a larger 11-judge panel. >> > > >> > > "We hold that Beastie Boys' use of a brief segment of that >> composition, >> > > consisting of three notes separated by a half-step over a >> background >> C >> > > note, is not sufficient to sustain a claim for infringement of >> Newton's >> > > copyright," Chief Judge Mary Schroeder wrote in her opinion. >> > > >> > > The Beastie Boys used the sample in their song Pass the Mic on >> their >> > > 1992 album Check Your Head. >> > > >> > > Representatives for Newton and the Beastie Boys were not >> immediately >> > > available for comment. >> > > >> > > The Beastie Boys helped spark the modern sampling trend in popular >> > > music with the 1989 album Paul's Boutique, which incorporated bits >> of >> > > music from sources as diverse as Johnny Cash, Bob Marley and the >> > > Beatles to create new music. Sampling has since become a staple of >> many >> > > artists, especially in the rap and hip-hop genres. >> > > >> > > The Beastie Boys have also emerged as leading advocates of a new >> > > approach to licensing known as the Creative Commons, in which >> artists >> > > record songs that listeners are invited to "rip, sample, mash and >> > > share" over file-sharing online networks like Kazaa or borrow to >> create >> > > their own compositions. >> > > >> > > ===== >> > > "how can we get the rapture if you don't vote for the antichrist?" >> > > http://www.animalswithinanimals.com >> > > http://badtastesucks.com >> > > >> > > >> > > >> > > __________________________________ >> > > Do you Yahoo!? >> > > Check out the new Yahoo! Front Page. >> > > www.yahoo.com >> > > >> > > >> > > >> > > _______________________________________________ >> > > Rumori mailing list >> > > Rumori@detritus.net >> > > http://detritus.net/mailman/listinfo/rumori >> > > older archives: http://detritus.net/contact/rumori/ >> > > >> > >> > >> > -- >> > ******************* >> > kembrew mcleod >> > assistant professor >> > department of communication studies >> > university of iowa >> > >> > contact info: >> > 1037 e. washington st. >> > iowa city, ia 52240 >> > kembrew-mcleod@uiowa.edu >> > 319-341-3583 >> > >> > Suffering Celebrity Quote of the Month: "I'm not capable of saying >> to >> someone >> > >> > words like 'I love you,' because I don't know what they mean >> anymore." >> > --Ethan >> > Hawke >> > >> > >> > _______________________________________________ >> > Rumori mailing list >> > Rumori@detritus.net >> > http://detritus.net/mailman/listinfo/rumori >> > older archives: http://detritus.net/contact/rumori/ >> > >> > >> > --------------------------------- >> > Do you Yahoo!? >> > Check out the new Yahoo! Front Page. www.yahoo.com >> > _______________________________________________ >> > Rumori mailing list >> > Rumori@detritus.net >> > http://detritus.net/mailman/listinfo/rumori >> > older archives: http://detritus.net/contact/rumori/ >> > >> >> >> -- >> ******************* >> kembrew mcleod >> assistant professor >> department of communication studies >> university of iowa >> >> contact info: >> 1037 e. washington st. >> iowa city, ia 52240 >> kembrew-mcleod@uiowa.edu >> 319-341-3583 >> >> Suffering Celebrity Quote of the Month: "I'm not capable of saying to >> someone >> words like 'I love you,' because I don't know what they mean anymore." >> --Ethan >> Hawke >> >> >> _______________________________________________ >> Rumori mailing list >> Rumori@detritus.net >> http://detritus.net/mailman/listinfo/rumori >> older archives: http://detritus.net/contact/rumori/ >> >> >> _______________________________________________ >> Rumori mailing list >> Rumori@detritus.net >> http://detritus.net/mailman/listinfo/rumori >> older archives: http://detritus.net/contact/rumori/ > > > > _______________________________________________ > Rumori mailing list > Rumori@detritus.net > http://detritus.net/mailman/listinfo/rumori > older archives: http://detritus.net/contact/rumori/ > > ******************* kembrew mcleod assistant professor department of communication studies university of iowa home contact info: 1037 e. washington st. iowa city, ia 52240 kembrew-mcleod@uiowa.edu 319-341-3583 "We are going to show a new side of him. The Hoff will surprise people with his rap skills." - Ice T, about David Hasselhoff's upcoming hip-hop album, which the rap veteran is producing. From bbrace at eskimo.com Mon Nov 15 09:45:50 2004 From: bbrace at eskimo.com ({ brad brace }) Date: Mon Nov 15 09:45:59 2004 Subject: [Rumori] 12hr vs CNN Message-ID: http://cnnlies.blogspot.com/ The 12hr-ISBN-JPEG Project >>>> posted since 1994 <<<< "... easily the most venerable net-art project of all time." + + + serial ftp://ftp.eskimo.com/u/b/bbrace + + + eccentric ftp:// (your-site-here!) + + + continuous hotline://artlyin.ftr.va.com.au + + + hypermodern ftp://ftp.rdrop.com/pub/users/bbrace + + + imagery ftp://bjornmag:Sobject@kunst.no/12hr/ News: alt.binaries.pictures.12hr alt.binaries.pictures.misc alt.binaries.pictures.fine-art.misc alt.12hr From edspecial at digitalrealm.net Mon Nov 15 18:39:04 2004 From: edspecial at digitalrealm.net (Ed Special) Date: Mon Nov 15 15:37:47 2004 Subject: [Rumori] Digital Future: Blogging Message-ID: <894469BF-375F-11D9-A166-00039368C928@digitalrealm.net> now 6:30 pm 1:25 (est.) ?LIVE Forum Digital Future: Blogging Library of Congress David Weinberger , Harvard Law School likely to be rebroadcast later this evening http://inside.c-spanarchives.org:8080/cspan/fullschedule.csp From pl1x at earthlink.net Mon Nov 15 20:22:44 2004 From: pl1x at earthlink.net (PeterALopez) Date: Mon Nov 15 17:22:52 2004 Subject: [Rumori] Digital Future: Blogging Message-ID: <4762048.1100568164191.JavaMail.root@thecount.psp.pas.earthlink.net> 6:30 pm 1:25 (est.) LIVE Forum Digital Future: Blogging Library of Congress David Weinberger , Harvard Law School likely to be rebroadcast later this evening http://inside.c-spanarchives.org:8080/cspan/fullschedule.csp This is part 1 of a larger series: here's that info: >>THE DIGITAL FUTURE > >>>> A Library of Congress Series >>>> Monday, Nov. 15th >>>> 6:30pm-8:00pm ET on C-SPAN (each program in the series will air during these >>>> hours) >>>> >>>> As a member of C-SPAN in the Classroom, you have shown interest in linking >>>> technology with teaching. Use the following series to learn more about the >>>> evolution of the digital age and its impact in education. >>>> >>>> Beginning this Monday, November 15th, and ending in March 2005, C-SPAN will >>>> broadcast live a series of discussions hosted by the Library of Congress. The >>>> series is called "Digital Future" and will examine how the digital age is >>>> changing the most basic ways information is organized and classified. Each >>>> event will feature a keynote speaker as well as a panel discussion. >>>> >>>> ***C-SPAN television viewers will be invited to e-mail questions to the >>>> experts at digital@loc.gov. *** >>>> >>>> "Digital Future" Series Schedule includes: >>>> >>>> Monday, November 15 - DAVID WEINBERGER, who served as a senior internet >>>> adviser to the 2004 Howard Dean presidential campaign. He will discuss how >>>> Web logs (or "blogs") work, and how they are valuable in children's education. >>>> >>>> Monday, December 13 - BREWSTER KAHLE, a digital librarian & director and >>>> co-founder of the Internet Archive. He will explain how and why capturing >>>> material on the Web is important, and discuss the challenges of selecting >>>> pertinent content. >>>> >>>> Monday, January 31 - BRIAN CANTWELL SMITH, dean of the Faculty of Information >>>> Studies at the University of Toronto. The title of his talk is "And Is All >>>> This Stuff Really Digital After All?" >>>> >>>> Monday, February 14 - DAVID LEVY, professor at the Information School of the >>>> University of Washington. He will discuss the shift of the experience of >>>> reading from the fixed page to digital, and the effect that has had on >>>> language. >>>> >>>> Thursday, March 3 - LAWRENCE LESSIG, professor at Stanford Law School & >>>> founder of the Stanford Center for Internet and Society. He will discuss >>>> digital copyright issues. >>>> >>>> Monday, March 14 - EDWARD AYERS, dean of the College and Graduate School of >>>> Arts & Sciences at the University of Virginia. He will address the >>>> implications of creating and distributing knowledge in today's digital >>>> environment. >>>> >>>> Monday, March 28 - NEIL GERSHENFELD, director for the Center of Bits and Atoms >>>> at the Massachusetts Institute of Technology. His talk is titled "From the >>>> Library of Information to the Library of Things." >>>> >>>> To find more details about the series, please visit >>>> C-SPAN: http://www.c-span.org/congress/libraryofcongress.asp. >>>> >>>> >>>> If you have any questions about the Library of Congress series, please call >>>> the C-SPAN Educators' Hotline at 1-800-523-7586 or email educate@c-span.org. >>>> ______________________________________________________________________________ >>>> _______ >>>> All C-SPAN-produced programs are copyright clear for educators to videotape >>>> and use in the classroom. >>>> >>>> E-mail educate@c-span.org with questions or comments about teaching with >>>> C-SPAN. FFWD via: FC-Disguss From steev at detritus.net Mon Nov 15 18:19:44 2004 From: steev at detritus.net (Steev Hise) Date: Mon Nov 15 18:19:49 2004 Subject: [Rumori] coil's john balance RIP In-Reply-To: <4762048.1100568164191.JavaMail.root@thecount.psp.pas.earthlink.net> Message-ID: John Balance of Coil died 2 days ago: http://www.thresholdhouse.com/index2.html smh Steev Hise . steev@detritus.net . http://detritus.net/steev blog: http://steev.hise.org ----------------------------------------------------------------- "Las Vegas is what the Nazis would be doing every night if they had won the war." -Hunter S. Thompson ----------------------------------------------------------------- From pan at sensoryresearch.com Tue Nov 16 12:59:02 2004 From: pan at sensoryresearch.com (Pan) Date: Tue Nov 16 09:59:08 2004 Subject: [Rumori] Invitation to Sequential Progression Message-ID: <33316769-37F9-11D9-869C-000A95EB7F7A@sensoryresearch.com> Sensorium III: Sequential Progression November 23, 2004 6:30PM Duderstadt Center University of Michigan North Campus 2281 Bonisteel Blvd., Ann Arbor On November 23, Ann Arbor will be the nexus for a world-wide interactive media event. This project has grown to encompass much of the technical and creative work done as "Sensory Research Network" over the past 10 years (sound, video, 3D, networking, perception). The unique thing about this event is that many aspects of it will be controlled by performers across the globe with the use of internet software and Virtual Reality technology. The internet will be used not just as a method of communication between the performers, but also as a conduit for the creation and distribution of the art itself. Audience members will also have a chance to participate in this creative process. Please join us in Ann Arbor for this stunning example of open, interactive creativity. For more information: http://sensoryresearch.com/sequentialprogression/ Pan Sensory Research Network From pan at sensoryresearch.com Tue Nov 16 12:58:11 2004 From: pan at sensoryresearch.com (Pan) Date: Thu Nov 18 18:39:31 2004 Subject: [Rumori] Invitation to Sequential Progression Message-ID: <147CA0DB-37F9-11D9-869C-000A95EB7F7A@sensoryresearch.com> Sensorium III: Sequential Progression November 23, 2004 6:30PM Duderstadt Center University of Michigan North Campus 2281 Bonisteel Blvd., Ann Arbor On November 23, Ann Arbor will be the nexus for a world-wide interactive media event. This project has grown to encompass much of the technical and creative work done as "Sensory Research Network" over the past 10 years (sound, video, 3D, networking, perception). The unique thing about this event is that many aspects of it will be controlled by performers across the globe with the use of internet software and Virtual Reality technology. The internet will be used not just as a method of communication between the performers, but also as a conduit for the creation and distribution of the art itself. Audience members will also have a chance to participate in this creative process. Please join us in Ann Arbor for this stunning example of open, interactive creativity. For more information: http://sensoryresearch.com/sequentialprogression/ Pan Sensory Research Network From bbrace at eskimo.com Mon Nov 22 08:42:21 2004 From: bbrace at eskimo.com ({ brad brace }) Date: Mon Nov 22 08:42:25 2004 Subject: [Rumori] Move to outlaw fastforwarding past ads (fwd) Message-ID: Is 'Fair Use' in Peril? The far-reaching Intellectual Property Protection Act would deny consumers many of the freedoms they take for granted. By Eric Hellweg November 19, 2004, technologyreview.com http://www.technologyreview.com/articles/04/11/wo_hellweg111904.asp?trk=nl Do you like fast-forwarding through commercials on a television program you've recorded? How much do you like it? Enough to go to jail if you're caught doing it? If a new copyright and intellectual property omnibus bill sitting on Congress's desk passes, that may be the choice you'll face. How can this be possible? Because language that makes fast- forwarding through commercials illegal-no doubt inserted at the behest of lobbyists for the advertising industry-was inserted into a bill that would allow people to fast forward past objectionable sections of a recorded movie (and I bet you already thought that was OK). And that's but one, albeit scary, scenario that may come to pass if the Intellectual Property Protection Act is enacted into law. Deliberations on this legislation will be one of the tasks for the lame-duck Congress that commenced this week. In a statement last month, Senator John McCain stated his opposition to this bill, and specifically cited the anti- commercial skipping feature: 'Americans have been recording TV shows and fast-forwarding through commercials for 30 years,' he said. 'Do we really expect to throw people in jail in 2004 for behavior they've been engaged in for more than a quarter century?' Included in the legislation are eight separate bills, five of which have already passed one branch of Congress, one of which was approved by the Senate Judiciary Committee, and two of which have merely been proposed. By lumping all the bills together and pushing the package through both houses of Congress, proponents hope to score an enormous victory for Hollywood and some content industries. Here's more of what's included: a provision that would make it a felony to record a movie in a theater for future distribution on a peer-to-peer network. IPPA would also criminalize the currently legal act of using the sharing capacity of iTunes, Apple's popular music software program; the legislation equates that act with the indiscriminate file sharing on popular peer-to-peer programs. Currently, with iTunes, users can opt to share a playlist with others on their network. IPPA doesn't differentiate this innocuous-and Apple sanctioned-act from the promiscuous sharing that happens when someone makes a music collection available to five million strangers on Kazaa or Grokster. Not surprisingly, the bill has become a focal point for very vocal parties. In favor of the legislation are groups such as the Recording Industry Association of America, the Motion Picture Association of America, and various songwriter, actor, and director organizations. 'We certainly support it,' says Jonathan Lamy, spokesperson for the RIAA. 'It includes a number of things to strengthen the hand of law enforcement to combat piracy. Intellectual property theft is a national security crime. It's appropriate that the fed dedicate resources to deter and prosecute IP theft.' Against the bill stand a number of technology lobbying groups and public-interest organizations. '[IPPA] is a cobbled- together package to which Congress has given inadequate attention. It is another step in Hollywood and the recording industry's campaign to exert more control over content,' says Gigi Sohn, president of Public Knowledge, a Washington, DC- based public interest group that aims to alert the public to fair use and consumer rights infringements, and fight those perceived infringements in Washington. Anyone attuned to the machinations of Congress the last two years likely has become numb to the often overblown rhetoric on this issue. Both sides use hyperbole-usually in the form of calling a piece of legislation the death of an industry or the death of individual rights. The 1982 statement to a congressional committee by Jack Valenti, then head of the MPAA, that the VCR is to Hollywood what the Boston Strangler was to a woman alone still stands as the ne plus ultra of exaggerated claims. And civil libertarians haven't met an affront that didn't equal a stake through the heart of individual rights. But IPPA demands attention not just from Hill watchers, but from regular individuals. In part because IPPA is such a broad, encompassing bill that could affect things as pedestrian as fast-forwarding a commercial, but also because with Senator Orrin Hatch-a very Hollywood-friendly pol-on his way out as the chair of the Senate Judiciary Committee, to be replaced possibly by Arlen Specter, many in the Hollywood community see this as an important, last chance to get their demands made into law. [Eric Hellweg is a technology writer based in Cambridge, MA.] Copyright 2004 Technology Review, Inc. All rights [For additional information about this legislation, see < http://www.publicknowledge.org/issues/hr2391> -- moderator] _______________________________________________________ --- bbs: brad brace sound --- --- http://63.170.215.11:8000 --- The 12hr-ISBN-JPEG Project >>>> posted since 1994 <<<< "... easily the most venerable net-art project of all time." + + + serial ftp://ftp.eskimo.com/u/b/bbrace + + + eccentric ftp:// (your-site-here!) + + + continuous hotline://artlyin.ftr.va.com.au + + + hypermodern ftp://ftp.rdrop.com/pub/users/bbrace + + + imagery ftp://bjornmag:Sobject@kunst.no/12hr/ News: alt.binaries.pictures.12hr alt.binaries.pictures.misc alt.binaries.pictures.fine-art.misc alt.12hr . 12hr email subscriptions => http://bbrace.laughingsquid.net/buy-into.html . Other | Mirror: http://www.eskimo.com/~bbrace/bbrace.html Projects | Reverse Solidus: http://bbrace.laughingsquid.net/ | http://bbrace.net * http://www.bloglines.com/blog/bbrace * http://bbrace.laughingsquid.net/wordpress/ { brad brace } <<<<< bbrace@eskimo.com >>>> ~finger for pgp From steev at detritus.net Mon Nov 22 18:36:14 2004 From: steev at detritus.net (steev@detritus.net) Date: Mon Nov 22 18:36:23 2004 Subject: [Rumori] Detritus Update: Property Games Message-ID: (((((((((((((((((((( Detritus Update: Property Games )))))))))))))))))))) November 23, 2004 ------------------------------------------------------------------------ A project called PropertyGames asks some interesting questions by making "visual mashups" from photos of street art, and then selling these on shirts, hats, and other products. A very interesting conversation about the conceptual backing is included on the site... ------------------------------------------------------------------------ http://detritus.net/blog/archives/000212.html -- Powered by Movable Type Version 2.661 http://www.movabletype.org/