Clearly the fault in London's 1985 riots lay squarely with the telephone and the postal system. They had best also confiscate any Aldis lamps and semaphore flags they find on these hoodlums.
Since I know as a programmer how easy it is to have access to the camera, I have got into the habit of keeping the camera lens covered when my laptops are plugged in at home.
On a rental machine, I would certainly tape over it. The only reason I don't tape over my own is that I run Prey on them.
Every picture, every expression, every thought is naturally born into the public domain.
Copyright (similarly to patents) is an artifice introduced by humans to alter the natural course of free and open knowledge transfer. In order to accord benefit to the product's creator, they are provided with a legal construct which allows them to restrict other humans' use of their product and demand compensation.
Nobody *owns* the right to copy. They temporarily hold the right to restrict other humans' behaviour with respect to their product.
Copyright is an oddly fitting glove for a foot such as this. There seems to be some conflation between copyright and ownership and the waters are very murky.
I'm struggling to grok how if I as a code monkey click the shutter button on your camera, I have extended control over the resulting image that's on your memory card. If you never choose to do anything with that image or to send it to me, would I have a right to demand it from you? If you copy that image from your memory card to your computer and print it out or post it, do I have some magical dominion over your ongoing behaviour? If it were a film camera where you actually paid for the film that my click caused to be exposed, and you had to pay to process the film, would things be any different?
I'm inclined to say that it's his camera, he owns the pics on it. The person who took the pic should get credit for taking it and perhaps share in ownership somehow, but I have a feeling that somehow it crosses some line to give that person full ownership and control.
Finally! Apple, EMC, Microsoft, RIM, Ericsson & Sony have been languishing too long without any impetus to innovate. These patents will at last enable them once and for all to promote the heck out of the progress of Science and useful Arts. Huzzah!
As Congress is demonstrably no longer a necessary element to enter into wars, is it unreasonable to think that "Congress shall make no law..." might possibly someday become irrelevant if an administration, present or future, decided to assert unitary lawmaking authority?
If NYT and their dog Muttley would stop sawing through axles and switching road signs and instead turn their considerable efforts to updating their jalopy, they might just catch up and have a chance of winning this race.
Somebody does bad things.
Somebody makes decisions on how to react, chooses expensive solution.
Lots of money is transferred from the state to somebody who is the chosen solution provider.
The solution is not only ineffective but accelerates the situation.
Who is each of the somebodies?
How to each of them benefit?
Follow the money.
Unless it's a rural setting, 20 miles is a bit far to be claiming that a pizza place is in direct competition. In even the smallest of cities there would be at minimum 10 or 15 other pizza joints much closer than that.
I don't see why the press doesn't just stop reporting on these teams altogether, and see what the fans and team decide to do about it. The press would have to express to their audience that the teams precipitated this action and entreat upon them to complain to the team if they wanted to see them back in the press, but that they would respect the team's wishes to not be reported on in any meaningful way. After the shitstorm died down, I think some sense would reign.
Sorry, don't mean to include everyone in my rant there. There has been some illuminating discussion, notably I found Eugene and Scott's interaction to be optimistic about seeking better understanding and finding balance.
"As with many anti-sampling people, you assume that this is all that happens."
Hello, MacFly?!?! Are you even reading the same thread?
I'm not anti-sampling. I've iterated and reiterated that I fully recognize the innovation in making something creative from samples, despite the many extant examples of sampling done with marginal transformation or added value.
What I've been trying to do is expand the conversation to fill the chasm of reality that seems lost in such discussions and lies between the diametrically opposed entrenched positions of "sampling-good" and "sampling-bad".
Copyright is in a ridiculous state. The complete 1950's rock and roll and doo-wop eras can be reduced to a handful of riffs. The entire 12-bar Blues world would come to an end (or perhaps never have begun) if copyright were to be taken to the extremes advocated by some.
The haute-couture fashion industry survives quite well in the dog-eat-dog mix-and-copy market economy despite the counterfeiting and edge cases. They take the hit and move on, knowing that freshness and authority is their currency. We could learn something from it if we cared to open our minds.
The conversations necessary to solve it aren't happening though, because any time a cogent thought is expressed, it's drowned out by dismissive polemic.
Yes, I know I'm being subjective. No, I do not need it pointed out that my opinion is not likely 100% correct, I work on the assumption that I'm very likely somewhere between 13% and 87% correct and that I'm open to have my position shifted within that vast apparently unoccupied space between 100% in one direction and 100% in the other direction.
No, I'm not saying thru-you requires no innovation. It requires tons of innovation. I had hoped I was being clear that the composition of things is innovation. My personal opinion as to the relative merit of different art forms, while expressed in my original reply, is not my central point.
What I am trying to explore is that the creators of the original works that are remixed into this work, having had their performance included in it, might be said to be performers in the context of the new work in a way that is not true where a new work is created from entirely newly performed material.
There is an ownership of the original work which includes the performer, the composer, the producer and others. One of the established outcomes of this is that somewhere between one and all of those participants are entitled to credit and possibly compensation when their work is reused.
Any new mixed work contains innovation by the original participants, and innovation by the new participants. The remixer, whose role may include any or all of composition, production and artistic performance, is now one of a number of players involved.
Back to the Jazz representation of an existing work, when a musician reinterprets the music, whether or not he/she makes it sound exactly the same, the contribution by the previous performer and producer are not directly included in the new work. I agree that there is moral value in positing that George Martin's production or Ravi Shankar's accompaniment on a recording materially influences subsequent interpretations, but their involvement is no longer in the DNA of the output, and any legal interpretations will take note of that.
Sure, I'm being pedantic, but I'm hoping a dispassionate dissection of the issues can lead to some clarity.
Perhaps the notion of a traceable genealogical thread from one work to another could be an analogy that helps to separate out what credit people get from derivative works, sampled or unsampled.
It's not patently false. Taking an exact copy of something requires no innovation. I pointed out in the next sentence that the lack of innovation in taking an exact copy of something is orthogonal to the innovation which I recognize is required to then mix that copy with something else. I agree that the mixing takes innovation but it doesn't detract from the fact that the mix contains someone else's copied original content. By orthogonal I mean that the one fact has no impact on the veracity of the other fact.
Based on your misunderstanding of my statement, your subsequent paragraph is moot in that we don't disagree on the point that creating a new work from original and/or copied sources requires innovation.
I'm not arguing the current legality of it, I'm pointing out the difference between innovation and copying. I'm fully aware of fair use, I'm just trying to show how the comparison of the Jazz culture of reusing music to the sampling culture is inexact enough that it cannot be a useful analogy to support legal arguments.
Sampling is direct copying and requires no innovation. The innovation in mixing it with other sounds is orthogonal to the undisputed source of the copied sample.
Playing your own interpretation of someone else's music is innovation. Even playing it in exactly the same style takes some talent and personal effort and is closer to a hand-drawn facsimile than a direct copy.
Referencing another's music in Jazz usually results in a finely tailored pastiche worthy of its own accord, whereas in my experience a preponderance of the current sample-based popular fare is a cut-and-paste hodgepodge, resembling a ransom note more than a patchwork quilt.
"All of these applications are free -- and available to children."
That is, available to children whose parents bought them an iphone with a voice and data plan, or at least an expensive iPod Touch, and supplied them with an app store password.
With the leaked ACTA negotiations, it's becoming increasingly apparent that consequences like these can't easily be labeled unintended. I'm just not sure what the goal is beyond control and subordination.
Surely before you open it, the tape can only possibly be described as simultaneously tampered with and not tampered with. Thus by installing such tape, Apple is guaranteed to have the option to honour the warranty or not as they see fit.
On the post: British MP Calls On RIM To Shut Down Messenger Services To Stop Riots; Because Pissing Off Rioters Calms Them Down?
Just a bunch of tools
On the post: Court Refuses To Issue Injunction Stopping Secret Web Spycams From Running On Rental Laptops
cover the camera
On a rental machine, I would certainly tape over it. The only reason I don't tape over my own is that I run Prey on them.
On the post: Photographer David Slater Claims That Because He Thought Monkeys Might Take Pictures, Copyright Is His
Copyright (similarly to patents) is an artifice introduced by humans to alter the natural course of free and open knowledge transfer. In order to accord benefit to the product's creator, they are provided with a legal construct which allows them to restrict other humans' use of their product and demand compensation.
Nobody *owns* the right to copy. They temporarily hold the right to restrict other humans' behaviour with respect to their product.
At last that's how it _should_ work.
On the post: Photographer David Slater Claims That Because He Thought Monkeys Might Take Pictures, Copyright Is His
ownership vs copyright
I'm struggling to grok how if I as a code monkey click the shutter button on your camera, I have extended control over the resulting image that's on your memory card. If you never choose to do anything with that image or to send it to me, would I have a right to demand it from you? If you copy that image from your memory card to your computer and print it out or post it, do I have some magical dominion over your ongoing behaviour? If it were a film camera where you actually paid for the film that my click caused to be exposed, and you had to pay to process the film, would things be any different?
I'm inclined to say that it's his camera, he owns the pics on it. The person who took the pic should get credit for taking it and perhaps share in ownership somehow, but I have a feeling that somehow it crosses some line to give that person full ownership and control.
On the post: Nortel Patents Sold For $4.5 Billion To Apple, EMC, Microsoft, RIM, Ericsson & Sony
On the post: Why Is The Federal Government Running Ads Secretly Created & Owned By NBC Universal?
Follow the money
Hard to see how that's a problem since the Treasury Department is a wholly-owned subsidiary of Goldman Sachs.
On the post: The First Amendment Doesn't Care If Wikileaks Is A Media Organization
Re: Re: Congress shall make no law...
My point was that neither was warmaking, but it didn't seem to matter when it came down to it.
On the post: The First Amendment Doesn't Care If Wikileaks Is A Media Organization
Congress shall make no law...
On the post: NYT: You Can Access Our Site For Free From Twitter, But Don't Tell Anyone That
Dastardly
On the post: How The US Response Turns 'Failed' Terrorist Attacks Into Successes
Follow The Money
Somebody makes decisions on how to react, chooses expensive solution.
Lots of money is transferred from the state to somebody who is the chosen solution provider.
The solution is not only ineffective but accelerates the situation.
Who is each of the somebodies?
How to each of them benefit?
Follow the money.
On the post: Pizza Shop Sues Former Employee For 'Stealing' Recipe
competing from 20 miles away?
On the post: Newspaper Gets Around Photography Ban At Football Event With Cartoon Illustrations
Market forces
On the post: Snoop Dogg Sued By Famed Jazz Artist For Sampling
paying attention.
On the post: Snoop Dogg Sued By Famed Jazz Artist For Sampling
paying attention.
Hello, MacFly?!?! Are you even reading the same thread?
I'm not anti-sampling. I've iterated and reiterated that I fully recognize the innovation in making something creative from samples, despite the many extant examples of sampling done with marginal transformation or added value.
What I've been trying to do is expand the conversation to fill the chasm of reality that seems lost in such discussions and lies between the diametrically opposed entrenched positions of "sampling-good" and "sampling-bad".
Copyright is in a ridiculous state. The complete 1950's rock and roll and doo-wop eras can be reduced to a handful of riffs. The entire 12-bar Blues world would come to an end (or perhaps never have begun) if copyright were to be taken to the extremes advocated by some.
The haute-couture fashion industry survives quite well in the dog-eat-dog mix-and-copy market economy despite the counterfeiting and edge cases. They take the hit and move on, knowing that freshness and authority is their currency. We could learn something from it if we cared to open our minds.
The conversations necessary to solve it aren't happening though, because any time a cogent thought is expressed, it's drowned out by dismissive polemic.
Yes, I know I'm being subjective. No, I do not need it pointed out that my opinion is not likely 100% correct, I work on the assumption that I'm very likely somewhere between 13% and 87% correct and that I'm open to have my position shifted within that vast apparently unoccupied space between 100% in one direction and 100% in the other direction.
On the post: Snoop Dogg Sued By Famed Jazz Artist For Sampling
Re:
No, I'm not saying thru-you requires no innovation. It requires tons of innovation. I had hoped I was being clear that the composition of things is innovation. My personal opinion as to the relative merit of different art forms, while expressed in my original reply, is not my central point.
What I am trying to explore is that the creators of the original works that are remixed into this work, having had their performance included in it, might be said to be performers in the context of the new work in a way that is not true where a new work is created from entirely newly performed material.
There is an ownership of the original work which includes the performer, the composer, the producer and others. One of the established outcomes of this is that somewhere between one and all of those participants are entitled to credit and possibly compensation when their work is reused.
Any new mixed work contains innovation by the original participants, and innovation by the new participants. The remixer, whose role may include any or all of composition, production and artistic performance, is now one of a number of players involved.
Back to the Jazz representation of an existing work, when a musician reinterprets the music, whether or not he/she makes it sound exactly the same, the contribution by the previous performer and producer are not directly included in the new work. I agree that there is moral value in positing that George Martin's production or Ravi Shankar's accompaniment on a recording materially influences subsequent interpretations, but their involvement is no longer in the DNA of the output, and any legal interpretations will take note of that.
Sure, I'm being pedantic, but I'm hoping a dispassionate dissection of the issues can lead to some clarity.
Perhaps the notion of a traceable genealogical thread from one work to another could be an analogy that helps to separate out what credit people get from derivative works, sampled or unsampled.
On the post: Snoop Dogg Sued By Famed Jazz Artist For Sampling
Based on your misunderstanding of my statement, your subsequent paragraph is moot in that we don't disagree on the point that creating a new work from original and/or copied sources requires innovation.
I'm not arguing the current legality of it, I'm pointing out the difference between innovation and copying. I'm fully aware of fair use, I'm just trying to show how the comparison of the Jazz culture of reusing music to the sampling culture is inexact enough that it cannot be a useful analogy to support legal arguments.
On the post: Snoop Dogg Sued By Famed Jazz Artist For Sampling
Playing your own interpretation of someone else's music is innovation. Even playing it in exactly the same style takes some talent and personal effort and is closer to a hand-drawn facsimile than a direct copy.
Referencing another's music in Jazz usually results in a finely tailored pastiche worthy of its own accord, whereas in my experience a preponderance of the current sample-based popular fare is a cut-and-paste hodgepodge, resembling a ransom note more than a patchwork quilt.
On the post: Apple Needs To Offer More, Less Porn, Depending Who You Ask
Enablers
That is, available to children whose parents bought them an iphone with a voice and data plan, or at least an expensive iPod Touch, and supplied them with an app store password.
On the post: Bogus Copyright Claim Silences Yet Another Larry Lessig YouTube Presentation
Intended consequences
On the post: Apple Trying To Patent Anti-Tamper Tape
Schrodinger's tape?
A cunning plan, worthy of Baldrick himself.
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