Re: <nettime> Copyright Is Over - If You Want I

[Magnus Boman <mabmab@gmail.com>]

Forgive me, but it seems to me "the work" did not steal anything from you.
It was rather your own behaviour in the face of authority that caused your
frustration. Why did you let a sign and a security guard stop you?

Again (like in last month's discussion), to me what is required to enjoy a
bootleg or a remix like Marclay's is punk attitude. A quote by Lenny Kaye
(for Clinton Heylin's book "Bootleg") comes to mind: "I think that bootlegs
keep the flame of the music alive by keeping it out of not only the
industry's conception of the artist, but also the artist's conception of
the artist". (Ironically, Heylin put on the dust cover this quote which was
a rehash of something Kaye had said to Hot Wacks, an underground magazine
on music bootlegs, years earlier.) Licenses to protect the artist (sic) are
in fact protecting the producer's choices, which may be a noble thing, but
not necessarily what produces high art. Conversely too, an artist can screw
a producer with the licenses on her/his side, like some of Miles's
musicians did when they licensed the unabridged tapes that Teo Macero
painstakingly had cut into, well, high art.

I regularly listen to Dead tapes off the Internet Archive and the
newsletters about the archive are great, but it is a very different place
from Ubuweb, and I don't think it's the licenses that make the difference.

[MP: belated thanks for your correction to my use of the word jurisprudence
last month.]
M.


On 19 July 2014 15:13, "?zg?r k." <ozgur.k@httpdot.net> wrote:

> the wall text in the entrance of a very recent marclay "the clock"
> exhibition warned me that taking photos or shooting video is not
> allowed. i was even warned for the second time by the security at the
> entrance of the exhibition space again!
 <...>


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