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Free Culture

How Musicians Make Their Money

Profits from recording vs. other revenue:

http://www.firstmonday.org/issues/issue10_1/kretschmer/

http://www.prospect-magazine.co.uk/article_details.php?id=9735

http://www.newyorker.com/archive/2005/05/16/050516ta_talk_surowiecki

http://www.sdcitybeat.com/article.php?id=959

Impact of filesharing on musicians:

http://arstechnica.com/news.ars/post/20070212-8813.html

http://torrentfreak.com/why-most-artists-profit-from-piracy/
http://www.janisian.com/article-internet_debacle.html

Useful data and a proposal for a way of *increasing* recording revenue IMHO:

http://www.sup.org/book.cgi?book_id=5013

(From a post to cc-community. janisian.com article from Laura Creighton on cc-community.)

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Generative Art

Dynamic Artistic Practice Systems

To produce “dynamic artistic practice” AARON would have to create AARONs. It would have to do what Harold Cohen does; set immediate and long term goals, create systems, evaluate results, reflect on its achievements and work this meta-knowledge into its goals and systems.

This sounds like the sort of goalpost-moving that has always plagued AI. If a computer can play chess then chess playing must not be a sign of intelligence… But “dynamic artistic practice” would be relatively simple to achieve given a system of axiomatic graphical microdomains and a Lisp-style function composition system.

The microdomain approach is the one that Douglas Hofstadter and FARG took: find a simple task that is representative of an aspect of creative behaviour and then analyze it in depth.

AARON, like any painter, just pushes pigments around in 2D. It's a historically sufficient aesthetic domain in which to create and evaluate constraints or axioms.

It may even generate historically novel techical practice, Margaret Boden's “h-creativity” from The Creative Mind. But this wouldn't be necessary to satisfy the requirements of “dynamic artistic production”, as Damien Hirst's appropriations show.

So I'm not making a ridiculous demand of an AARON-like system. This behaviour could be shown by a fairly simple system (like Copycat), although to be aesthetically as well as conceptually satisfying it would need to be more complex.

(From an answer to a comment by Yaxu below.)

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Categories
Aesthetics

Transcendence And Depth

The whole point is that there is no depth, and depth is just another name – treasured by the hermeneuts – for transcendence.

Where does a truth come from then, if its process is strictly immanent and it is not given as the secret depth or intimate essence of the situation? […] it has its origins in a disappearance.

– Alain Badiou, Theoretical Writings, p122

Badiou is fascinating for his genuinely atheistic philosophy built on the infinities of set theory. He’s a Lacanian but we won’t mention that.

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Free Culture

John Clare On The First Enclosure Movement

Inclosure, thou’rt a curse upon the land
And tasteless was the wretch who thy existence
plann’d

– John Clare.

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links

links for 2007-08-22

Categories
Generative Art Projects

draw-something fun

One of the motivations for draw-something was my memory of my younger self’s desire to make a program that was better at art than they were. This was an ambition born of cyberpunk literature and media and of the utter incomprehensibility of perspective instruction books to me at that time.

draw-something is not better at art than I am. Art Computing courses should teach their students on day one the difference between static technical competence and dynamic artistic practice. AARON is part of a dynamic artistic practice but is not a producer of dynamic artistic practice, Harold Cohen is. As a child I had a book featuring an illustration of AARON at work. It made a lasting impression.

draw-something is not better at drawing than I am. draw-something does imitate my drawing style at the micro level very well, it captures my “hand”. Or I have captured my hand in it. I have tried to do so in a way that models the physical failings of my drawing style rather than just wobbling lines after they have been generated.

What draw-something is much better than me at is just have fun with shape and colour. Opponents of Artificial Intelligence will You don’t have to be an opponent of Artificial Intelligence to will point out that draw-something isn’t actually having fun. But performatively speaking something is. The fun is there. Possibly it’s me, sublimating this into draw-something. But then I wouldn’t have that precise kind of fun otherwise, and I’m not having it as draw-something is not-having it.

Both proponents and opponents of AI, and most right-thinking artists and critics, will cringe at the mention of something as nebulous as “fun”. Which makes me think I might be on to something. 😉

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links

links for 2007-08-21

Categories
Free Culture Projects

CC Ironies

The series of ironised CC license images is now available for viewing and downloading as a set at:

http://OFFLINEZIP.wpsho/art/cc_ironies

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Free Culture Reviews

OurSpace

“OurSpace” by Christine Harold.http://www.upress.umn.edu/Books/H/harold_ourspace.htmlIn “OurSpace” Christine Harold has produced a deep, subtle and thought-provoking history and critique of the strategies that activists have used to try to resist corporate enclosure of public social space over the last fifty years. Harold places strategies such as parody, appropriation, piracy, and amplification within their historical and social context to draw out their strengths and limitations for contemporary circumstances. And then, crucially, she explains how these strategies can be taken further.OurSpace presents a well-argued analysis of the hubris and unintentional complicity of Naomi Klein, Adbusters and of contemporary academic and activist soi-disant Situationists. It is also presents well-argued analysis of existing critiques of them. There are no sacred cows in OurSpace but nor are there any scapegoats. Adbusters may be attacking the wrong target with their talk of an “image machine”, argues Harold, but the strategy of intensification that they deploy with their Black Spot sneakers shows a way forward. This is a well-balanced and constructive critique.Some critics and opponents of Free Culture seem to regard it as an attempt to apply Free Software ideology to culture in general for no good reason. OurSpace describes one good reason by describing a genuine threat to the openness of society and positioning Free Culture activism, including the use of Creative Commons licences, as a possible contemporary answer to that threat.Harold explores the relation of commerce to culture and counterculture in depth, identifying the positive social effects of social media and mass media in their historical contexts. It goes on, as with the Black Spot example, to identify strategies of reform and exemplification that could perform Naomi Klein’s elusive “Judo Throw” on the forms of capital rather than just its discarded images. This is a good read for those building brands as well as for those trying to deconstruct them.I cannot recommend OurSpace highly enough to anyone with an interest in Free Culture or media/brand/corporate politics. I found that it challenged some of my long-held positions while providing me with a better foundation for others. And the author has set up a wiki for the book, so if there’s anything you really don’t agree with you can comment there.

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links

links for 2007-08-20