Kopimi, greyzones, and the terror of the shuffle button
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Escaping the terror of the shuffle Why we must think beyond copyright Rasmus Fleischer [email protected] Studio K, Amsterdam, 2008-10-02
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Presentation for Kenntnisland, Amsterdam 2008
Transcript of Kopimi, greyzones, and the terror of the shuffle button
Escaping the terrorof the shuffle
Why we must think beyond copyright
Rasmus [email protected]
Studio K, Amsterdam, 2008-10-02
History of copyright
•from 1800: texts
•from 1900: works
•from 2000: tools
History of copyright
•from 1800: texts
•from 1900: works
•from 2000: tools
History of copyright
•from 1800: texts
•from 1900: works
•from 2000: tools
History of copyright
•from 1800: texts
•from 1900: works
•from 2000: tools
recordsradio ≠
downloadingstreaming≈
Downloading massive amounts of music,without given permission,
is practically accepted.
Making massive music archives meaningful is not accepted.
Tools for indexing are under attack.
but
Making massive music archives meaningful is not accepted.
Tools for indexing are under attack.
The war on file-sharing undermines free licensing.
Creative Commons operates on the level of individual works, not on the level of tools.
Digital piracy is largerthan just online P2P networks!
Darknets, sneakernet...
1998: 8 GB1999: 15 GB2000: 30 GB2001: 55 GB2002: 100 GB2003: 175 GB2004: 250 GB2005: 450 GB2006: 600 GB2007: 900 GB2008: 1,5 TB2009: 2,5 TB2010: 4,5 TB2011: 7 TB2012: 12 TB2013: 20 TB2014: 35 TB2015: 60 TB2016: 100 TB2017: 175 TB2018: 320 TB
1998: 8 GB1999: 15 GB2000: 30 GB2001: 55 GB2002: 100 GB2003: 175 GB2004: 250 GB2005: 450 GB2006: 600 GB2007: 900 GB2008: 1,5 TB2009: 2,5 TB2010: 4,5 TB2011: 7 TB2012: 12 TB2013: 20 TB2014: 35 TB2015: 60 TB2016: 100 TB2017: 175 TB2018: 320 TB
In 10-15 years:All recorded music that has ever been released
will fit in a pocket, ready for copying.
...but will it have any value for us?
When all music can be listened towherever, whenever...
...we start to desire musical experiencesspecific to a time and a place.
When all music can be listened towherever, whenever...
...we start to desire musical experiencesspecific to a time and a place.
When stuff that can be copied become superabundant...
...stuff that can not be copied becomes more relevant.
Creating meaning out of superabundance:selecting, indexing, interconnecting,
contextualizing, actualizing...
Provisional communities:between public and private,
between commercial and non-commercial
Copyright law distinguishes between
1) Private use, privat copying;2) Public distribution, public performance.
The first is left free,the second thoroughly licensed.
Nothing is recognized in between.
public | private
Copyright must draw a straight line between1) Private use, privat copying;
2) Public distribution, public performance.
Nothing is recognized in between.
public | private
commercial | non-commercial
Result:Cultural activities must either be for-profit-only
or strictly “non-commercial”.
Copyright materializes in the city,as well as in computer networks.
“Creative industries”:content without context
There are no digital products.
KOPIMIcopy me
How to integrate the infinite abundance of informationinto our finite lives?
the end
