ming in Sollfrank & Kleiner 2012
ind
of bursting out of its original military and NGO roots, and really hitting the
general public. At the same time free software is something that is becoming
better known, and inspiring more people – so the ideas of questioning
copyright are becoming more prominent. [25:16] So Creative Commons seizes on
this kind of principles approach that anti-copyright and copyleft take. And
again, one of the single most important things about anti-copyright and
copyleft is that in both cases the freedom that
e same time allowing the commons producers to make a
living as they normally would within the regular cultural industry. [32:25]
Some good examples where you can see something like this – might be clear –
are some of the famous novelists like Wu Ming or Cory Doctorow, people that
have done very well by publishing their works under Creative Commons non-
commercial licenses. [32:42] Wu Ming's books, which are published, I believe,
by Random House or some big publisher, are available under a Creative Commons
non-commercial license. So if you want to download them for personal use, you
can. But if you are Random House, and you want to publish them and put them on
bookstores, and manufacture them in huge supply, you have to negotiate non-
free terms with Wu Ming. And this allows Wu Ming to make a living by licensing
their work to Random House. [33:10] But while it does do that, what it doesn't
do is allow that book to be manufactured any other way. So that means that
this capitalist form of production becomes the only form that you
and exhibiting the most are deadSwap,
Thimbl and R15N, and these all attempt to explore some of the ideas.
[35:01]
deadSwap
[35:06]
deadSwap is a file sharing system. It's playing on the kind of
circumventionist technologies that are coming out of the file sharing
community, and this idea that technology can make us be able to evade the
legal and economic structures. So deadSwap wants to question this by creating
a very extreme parody of what it would actually mean to really be private.
ming in Barok 2014
ences, Arts, and Crafts_ (1751) [unwinds] from judgement ( _entendement_ ),
branches into memory as history, reason as philosophy, and imagination as
poetry. The logic of containers was employed as an aid not only to deal with
the enormous task of naming and not omiting anything from what is known, but
also for the management of labour of hundreds of writers and researchers, to
create a mechanism for delegating work and the distribution of
responsibilities. Flesh was also more present, in the field r
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