From a New York Times article about the International Music Score Library:
“In many cases these publishers are basically getting the revenue off of composers who are dead for a very long time,” Mr. Guo said. “The Internet has become the dominant form of communication. Copyright law needs to change with it. We want people to have access to this material to foster creativity. Personally I don’t feel pity for these publishers.”
This comment by Mr. Guo has personal resonance:
“Composing is very good until you have to pay your bills,” he said.
As does this one, however much at odds it is with the last one:
“As a musician I have a duty to promote music. That’s the basic philosophy behind it.”
I went to a lecture by Kenneth Goldsmith last night about UbuWeb, and it was a great reminder of the riches available there. I scribbled a few fragmentary notes.
(All quotes are 99% accurate, though I have re-ordered them a little bit.)
- UbuWeb can be construed as the “Robin Hood” of the Avant Garde. Only a handful of artists have given explicit consent to be featured.
- “If we had to ask permission, UbuWeb wouldn’t exist.”
- “We don’t really fuck with economies — because there’s no economy for this stuff.” (This stuff meaning, the music of Marcel Duchamp or Jean Dubuffet, for example.)
- “We respect legitimate economies.”
- UbuWeb features five terabytes of work from 5,000+ artists.
- When he was working on his collection of Warhol interviews, Goldsmith went to the offices of the Warhol foundation to get permission, and they “laughed him out of the office.” In their view, Warhol’s words are valueless.
- “Download everything you possibly can from UbuWeb — it won’t last forever.”
- “The outsider stuff is becoming the inside.”
- “There’s so much stuff on UbuWeb that I don’t know what’s there.” (Editors help him by managing different sections.)
- UbuWeb is not a democracy: The collection is “highly curated, highly selective.” Most submissions don’t make it on the site.
- UbuWeb has a Facebook page, created by his students, but Kenneth Goldsmith was unequivocal: “I hate Facebook.”
- “I have problems with the idea of quality in Web 2.0.” And donation buttons make him sick.
- From time to time, he gets offers — up to US$50,000 — for the domain ubu.com, from companies who want to sell products that “help you be you!” etc. And he takes great pleasure in replying: “Fuck you: This is reserved for poetry.” (I instantly pictured an orange traffic cone with this response, embossed on a metal plate, sticking out of the top. And the entrepreneurial part of my brain thinks it would make a great embroidered fishing hat…or maybe stickers that could be placed wherever logos lurk?)
- UbuWeb may look institutional, but “it’s made of toothpicks and tissue paper.”
- “I’m not an art historian…there are holes…it’s a horribly-flawed fanzine…the taxonomy is atrocious…it’s an art historian’s nightmare!”
- “We’re in the Summer of Love for the web right now, and it’s not going to last…We’re in the midst of a revolution that’s so large we don’t even recognize it.”
- “Old hippies are the worst in the world” in terms of copyright, control, permissions and sharing. “It’s generational.”
A few gleanings from a look around the site this morning:
- A film about Poême électronique, the collaboration between Edgard Varêse and Le Corbusier at the 1958 World’s Fair
- John Cale — Loop (1966) (links directly to mp3)
- Canntaireachd — “Dating back to the sixteenth century or earlier, canntaireachd developed as the art of “chanting” pibroch (piobaireachd), the classical form of Gaelic bagpipe music.”
- They have a podcast, in collaboration with the Poetry Foundation.
Clay Shirky, on the future of newspapers:
“In craigslist’s gradual shift from ‘interesting if minor’ to ‘essential and transformative’, there is one possible answer to the question “If the old model is broken, what will work in its place?” The answer is: Nothing will work, but everything might. Now is the time for experiments, lots and lots of experiments, each of which will seem as minor at launch as craigslist did, as Wikipedia did, as octavo volumes did.”
“For the next few decades, journalism will be made up of overlapping special cases. Many of these models will rely on amateurs as researchers and writers. Many of these models will rely on sponsorship or grants or endowments instead of revenues. Many of these models will rely on excitable 14 year olds distributing the results. Many of these models will fail. No one experiment is going to replace what we are now losing with the demise of news on paper, but over time, the collection of new experiments that do work might give us the reporting we need.”
And for journalism, I think we can also substitute music, film, and just about every form of digital art.