So does Amazon, though I once clarified to them my disapproval of the last Dead Can Dance album and immediately started receiving recommendations for Bruce Springsteen records.
Putting an apostrophe in the possessive "its" is like putting an apostrophe in "his". Its and it's are totally different words and "it", being a pronoun, doesn't observe the normal rules governing conversion of nouns into adjectives to show possession.
Fwiw at least as many people seem to get it wrong the other way around.
And I misplaced that comma intentionally because the rule sucks.
IANAL/IIRC editing an existing movie in this way constitutes the creation a derivative work, and isn't meaningfully different from making your own version of the movie or making sculpture out of its posters. Claiming not to have created something new at all doesn't change anything. You're still physically responsible for the existence of something that's 95% someone else's material.
(An automobile is a sculpture, its design is copyrighted intellectual property, and the reason you can modify and resell yours is non-enforcement. Known in primitive times as common sense or customer good will.)
An editing list, or almost any sort of list, is obviously going to be fair use. One could argue that distributing the list enables other people to violate the law, but that would kind of be pushing it. The list itself is going to be fair use unless it becomes so extensive it turns into a treatment for the movie.
A scripting setup such as Saint Aardvark suggested would be interesting, and probably even legal so long as if the scripts were used privately. It might not be possible to sell them.
I don't understand why some of you people bother arguing against the "Think of the Children" anti-violence anti-sex anti-Joe-the-Camel types. They are inconsolable and evil.
The fact that as I write this 1587 people are playing this game speaks for itself.
That the game fails to live up to particular ideals is irrelevant. Those ideals have thus far failed to produce anything of similar notoriety within the genre. Could they? Well of course they could - but it's been tried with Subspace. Perhaps not seriously, perhaps not by the right people, but attempts were made to gather a posse for the sort of effort suggested by Keith Maniac and they simply failed to gather momentum.
Subspace nearly and fully kicked the bucket in late 1998. This combined with a balkanization of rules used by different servers (not unlike what we saw in Tribes) and a couple of threatening sequels produced by Sony have created a community that likes centralized power and a private development process. Support for those running the operation is so near to unanimous that they managed to move the entire community from the abandonware Subspace client to the merely copyright-violating Continuum clone with a minimum of protest. In fact for some time mine was among the loudest voices of opposition. That literally every such voice eventually crossed over and supported the effort may speak both good and bad of the Subspace community, but I think it serves to explain why that community endures. One could argue such consensus is Not For Export, as it were - but it's served us well.
Color me stupid - color all 1587 of us stupid, if you like - but back when I first became interested in XPilot I never managed to get it working. If I recall correctly, I was instructed to compile it, set up some kind of runtimes, and telnet to a directory listing which refused to answer. Maybe I'm getting this confused with Freenet, but the point is: XPilot is a game whose installation process at least one person managed to get mixed up with that of Freenet.
I accept as fact based on the good word of decent folk that XPilot is a lovely game, but I don't notice it stomping the other games of its generation by a similar margin or commanding such a high degree of loyalty and dedication from so many people. The game benefits from simpler design, tight presentation, a painless setup process, a specialized and well organized creative and administrative community, a centralized chat and statistics server which is inseparable from the game, an interface that for clarity and ease of use still hasn't been beat by any game (including its successors), and a tradition of classy ship replacements & tile art and sophisticated level design. That little baptism of fire back in '98 didn't hurt matters either.
After the war these people have waged on their fans - with the artists front and center despite popular mythology to the contrary (and that gleam in their eyes more often than not) - the question is WHY are 90% of file traders buying music?
AI was consistent throughout and wonderful in a lot of ways, and Kubrick intended it to be a Steven Spielberg movie for most of its development stage, as I recall. The trouble with that movie is that Speilberg, who has had a sappy side to him for a long, long time, for whatever reason felt he should invoke it.
I didn't so much like the result, but I'm not sure it didn't Work. In much the same was that people who revere Star Wars' OT balk at the prequels for offenses the OT also commits, people who were offended by the ending of AI were so because the first two hours crept in just under their Thomas Kinkade radar. This sort of stuff is a bit more irritating when we've already fallen for and invested emotionally in some of it, and the resulting overreaction wrongs movies which are basically good but flawed in terms of their conformity to the sensibilities of Today's Sophisticated Audiences.
I'm a fan of the prequel trilogy and don't think Lucas has anything to fear from Speilberg. Spielberg's a better filmmaker than Lucas is, but that means he has the sense and skill not to make a Star Wars that's awkwardly out of tune with the rest of the series. A Star Wars with the impact, sincerity, and emotional depth of an Amistad or Empire of the Sun would be as inappropriate and bad a Star Wars as you or I would make.
But the fact that the cycle is split into trilogies provides an opportunity to have closure and the canon thing at the same time as continuance and a fresh start. That Lucas doesn't recognize this is infuriating, and the fact that he hasn't offered Speilberg his own trilogy in a cycle Lucas intends not to continue himself astounds me. It is unvisionary and beneath him.
When it was easy to download music I never burned anything. I'd grab half a dozen albums, get hooked on one or two, run out and buy them, dump the rest. In those days many of us viewed with distaste the idea of having an mp3 collection *instead* of a record collection. I spent much more on entertainment than I should have because of Napster.
Today it is increasingly a royal pain in the ass to download music. I know who's responsible, I know who stood by and did nothing, I've heard and rejected the trite Fat Cats Versus Starving Artists arguments, and I am not alone.
I don't buy many records anymore, nor do I often bother trying to download music. What was once exciting has become ugly and boring and not worth it. Especially, the music being recorded lately - by corporate and independent artists alike - is less worth the trouble than it has been in my lifetime. I took an interest in Moby's album because it represented a rare exception to that trend, and because I didn't have to pull teeth to hear the damned thing first - but I only *purchased* it because the guy doesn't have a chip on his shoulder over piracy.
I will never pay the piracy crybabies for their work again and have finished entertaining arguments that I ought to. Again, I am not alone.
His Pearl Jam theory sucks, of course, but it's worth repeating that the Launch article was taken from informal, rambling blog musings for fan consumption.
I'm not so sure 10,000 is too low an estimate unless you lump in a bunch of music that doesn't really deserve the (stigma of the) association.
Mick Harris' Lull project has dipped into this realm, but as a rule Lull records are passionate and somewhat structured, or at least unstructured for drama's sake. Robert Rich and Crawl Unit have made effective and interesting songs I think qualify as music using room tone, feedback, and that sort of thing. Aube, has (almost?) exclusively released recordings put together from found sources.
I don't mean to invoke It's Been Done Before here for the millionth time. The relevant and irritating thing is it's been done effectively, as a component of entertainment.
Now, it may not matter if sound is music or if music is entertainment, but on that level it also doesn't matter if an object is food. The question is, do you want your work to be of use to someone? What this movement seems to be is an extraction of something which was already around and its purification into a form that is virtually useless to a listener who does not himself engage in its creation. These are more like etudes or technical papers. In this way it sort of does matter that the ideas are old. Rip off When Worlds Collide and you've got yourselves a nice asteroid movie, and Aerosmith get to play at the Oscars next year. Rip off Man with a Movie Camera and well, exactly what the hell are you trying to accomplish?
There's also a whiff of elitism here which reminds me of all the intentional (or simulated) bad recordings I saw coming from US indie people in the mid 1990s. Nice if you have a good stereo system, easy access to silence, and/or proximity to the usually weak stations that play experimental or otherwise interesting music.
If you want people to listen to your music at low volume the correct way of pursuing that goal is to ask them nicely. There is no escape from the world's limitations and eventually these works do or will have hiss to compete with. Perhaps hiss is music, and creating a situation where some must hear hiss accompanying your music while others do not may itself be art, but neither one creates or enhances entertainment. Perhaps for folks who spend a great deal of their time being amused this doesn't matter.
In fairness, at least some of these composers have more than paid their dues. I anguish daily at Taylor Deupree's apparent flight from the tradition of composing to brighten and color ordinary people's dull, cloudy lives. Recording as Human Mesh Dance, and with Savaas Ysatis (a.k.a. Omicron) as SETI, he released some of the most original and beautiful albums of the 1990s. Because of his involvement I choose to view all this (imho) nonsense as coming not from elitism but from, at worst, boredom and maybe frustration; at best, genuine adventurousness and experimentation. At a time when electronic artists seem unable to break away from tired IDM and downtempo conventions, who'll argue we couldn't use a little more of those things?
Or maybe Taylor Deupree just went completely fucking nuts, like everyone else did.
Thanks, Chardish, for the bluemars.org link. Both very nice stations there.
Manifold Records is a good source for ambient and noise music - both experimental and not, both electronic and otherwise.
It turns out strong encryption is a munition after all.
Now we all know what changed President Clinton's mind about this way back when. I hope God will forgive me for thumbing my nose at the man then, because today there are a lot of people who would not.
Popular movements can make unwise decisions just as governments do. I hope others will reconsider their apparently unconditional devotion to data privacy as a losing position that could generate disdain for related causes. The creation and defense of stumbling blocks for law enforcement is a circuitous, ineffective, and immoral way to combat unjust legislation.
Slashdot Mirror
...does a pretty damned good job of it.
So does Amazon, though I once clarified to them my disapproval of the last Dead Can Dance album and immediately started receiving recommendations for Bruce Springsteen records.
I love you.
Putting an apostrophe in the possessive "its" is like putting an apostrophe in "his". Its and it's are totally different words and "it", being a pronoun, doesn't observe the normal rules governing conversion of nouns into adjectives to show possession.
Fwiw at least as many people seem to get it wrong the other way around.
And I misplaced that comma intentionally because the rule sucks.
IANAL/IIRC editing an existing movie in this way constitutes the creation a derivative work, and isn't meaningfully different from making your own version of the movie or making sculpture out of its posters. Claiming not to have created something new at all doesn't change anything. You're still physically responsible for the existence of something that's 95% someone else's material.
(An automobile is a sculpture, its design is copyrighted intellectual property, and the reason you can modify and resell yours is non-enforcement. Known in primitive times as common sense or customer good will.)
An editing list, or almost any sort of list, is obviously going to be fair use. One could argue that distributing the list enables other people to violate the law, but that would kind of be pushing it. The list itself is going to be fair use unless it becomes so extensive it turns into a treatment for the movie.
A scripting setup such as Saint Aardvark suggested would be interesting, and probably even legal so long as if the scripts were used privately. It might not be possible to sell them.
I don't understand why some of you people bother arguing against the "Think of the Children" anti-violence anti-sex anti-Joe-the-Camel types. They are inconsolable and evil.
The fact that as I write this 1587 people are playing this game speaks for itself.
That the game fails to live up to particular ideals is irrelevant. Those ideals have thus far failed to produce anything of similar notoriety within the genre. Could they? Well of course they could - but it's been tried with Subspace. Perhaps not seriously, perhaps not by the right people, but attempts were made to gather a posse for the sort of effort suggested by Keith Maniac and they simply failed to gather momentum.
Subspace nearly and fully kicked the bucket in late 1998. This combined with a balkanization of rules used by different servers (not unlike what we saw in Tribes) and a couple of threatening sequels produced by Sony have created a community that likes centralized power and a private development process. Support for those running the operation is so near to unanimous that they managed to move the entire community from the abandonware Subspace client to the merely copyright-violating Continuum clone with a minimum of protest. In fact for some time mine was among the loudest voices of opposition. That literally every such voice eventually crossed over and supported the effort may speak both good and bad of the Subspace community, but I think it serves to explain why that community endures. One could argue such consensus is Not For Export, as it were - but it's served us well.
Color me stupid - color all 1587 of us stupid, if you like - but back when I first became interested in XPilot I never managed to get it working. If I recall correctly, I was instructed to compile it, set up some kind of runtimes, and telnet to a directory listing which refused to answer. Maybe I'm getting this confused with Freenet, but the point is: XPilot is a game whose installation process at least one person managed to get mixed up with that of Freenet.
I accept as fact based on the good word of decent folk that XPilot is a lovely game, but I don't notice it stomping the other games of its generation by a similar margin or commanding such a high degree of loyalty and dedication from so many people. The game benefits from simpler design, tight presentation, a painless setup process, a specialized and well organized creative and administrative community, a centralized chat and statistics server which is inseparable from the game, an interface that for clarity and ease of use still hasn't been beat by any game (including its successors), and a tradition of classy ship replacements & tile art and sophisticated level design. That little baptism of fire back in '98 didn't hurt matters either.
After the war these people have waged on their fans - with the artists front and center despite popular mythology to the contrary (and that gleam in their eyes more often than not) - the question is WHY are 90% of file traders buying music?
Stop.
AI was consistent throughout and wonderful in a lot of ways, and Kubrick intended it to be a Steven Spielberg movie for most of its development stage, as I recall. The trouble with that movie is that Speilberg, who has had a sappy side to him for a long, long time, for whatever reason felt he should invoke it.
I didn't so much like the result, but I'm not sure it didn't Work. In much the same was that people who revere Star Wars' OT balk at the prequels for offenses the OT also commits, people who were offended by the ending of AI were so because the first two hours crept in just under their Thomas Kinkade radar. This sort of stuff is a bit more irritating when we've already fallen for and invested emotionally in some of it, and the resulting overreaction wrongs movies which are basically good but flawed in terms of their conformity to the sensibilities of Today's Sophisticated Audiences.
I'm a fan of the prequel trilogy and don't think Lucas has anything to fear from Speilberg. Spielberg's a better filmmaker than Lucas is, but that means he has the sense and skill not to make a Star Wars that's awkwardly out of tune with the rest of the series. A Star Wars with the impact, sincerity, and emotional depth of an Amistad or Empire of the Sun would be as inappropriate and bad a Star Wars as you or I would make.
But the fact that the cycle is split into trilogies provides an opportunity to have closure and the canon thing at the same time as continuance and a fresh start. That Lucas doesn't recognize this is infuriating, and the fact that he hasn't offered Speilberg his own trilogy in a cycle Lucas intends not to continue himself astounds me. It is unvisionary and beneath him.
When it was easy to download music I never burned anything. I'd grab half a dozen albums, get hooked on one or two, run out and buy them, dump the rest. In those days many of us viewed with distaste the idea of having an mp3 collection *instead* of a record collection. I spent much more on entertainment than I should have because of Napster.
Today it is increasingly a royal pain in the ass to download music. I know who's responsible, I know who stood by and did nothing, I've heard and rejected the trite Fat Cats Versus Starving Artists arguments, and I am not alone.
I don't buy many records anymore, nor do I often bother trying to download music. What was once exciting has become ugly and boring and not worth it. Especially, the music being recorded lately - by corporate and independent artists alike - is less worth the trouble than it has been in my lifetime. I took an interest in Moby's album because it represented a rare exception to that trend, and because I didn't have to pull teeth to hear the damned thing first - but I only *purchased* it because the guy doesn't have a chip on his shoulder over piracy.
I will never pay the piracy crybabies for their work again and have finished entertaining arguments that I ought to. Again, I am not alone.
His Pearl Jam theory sucks, of course, but it's worth repeating that the Launch article was taken from informal, rambling blog musings for fan consumption.
I'm not so sure 10,000 is too low an estimate unless you lump in a bunch of music that doesn't really deserve the (stigma of the) association.
Mick Harris' Lull project has dipped into this realm, but as a rule Lull records are passionate and somewhat structured, or at least unstructured for drama's sake. Robert Rich and Crawl Unit have made effective and interesting songs I think qualify as music using room tone, feedback, and that sort of thing. Aube, has (almost?) exclusively released recordings put together from found sources.
I don't mean to invoke It's Been Done Before here for the millionth time. The relevant and irritating thing is it's been done effectively, as a component of entertainment.
Now, it may not matter if sound is music or if music is entertainment, but on that level it also doesn't matter if an object is food. The question is, do you want your work to be of use to someone? What this movement seems to be is an extraction of something which was already around and its purification into a form that is virtually useless to a listener who does not himself engage in its creation. These are more like etudes or technical papers. In this way it sort of does matter that the ideas are old. Rip off When Worlds Collide and you've got yourselves a nice asteroid movie, and Aerosmith get to play at the Oscars next year. Rip off Man with a Movie Camera and well, exactly what the hell are you trying to accomplish?
There's also a whiff of elitism here which reminds me of all the intentional (or simulated) bad recordings I saw coming from US indie people in the mid 1990s. Nice if you have a good stereo system, easy access to silence, and/or proximity to the usually weak stations that play experimental or otherwise interesting music.
If you want people to listen to your music at low volume the correct way of pursuing that goal is to ask them nicely. There is no escape from the world's limitations and eventually these works do or will have hiss to compete with. Perhaps hiss is music, and creating a situation where some must hear hiss accompanying your music while others do not may itself be art, but neither one creates or enhances entertainment. Perhaps for folks who spend a great deal of their time being amused this doesn't matter.
In fairness, at least some of these composers have more than paid their dues. I anguish daily at Taylor Deupree's apparent flight from the tradition of composing to brighten and color ordinary people's dull, cloudy lives. Recording as Human Mesh Dance, and with Savaas Ysatis (a.k.a. Omicron) as SETI, he released some of the most original and beautiful albums of the 1990s. Because of his involvement I choose to view all this (imho) nonsense as coming not from elitism but from, at worst, boredom and maybe frustration; at best, genuine adventurousness and experimentation. At a time when electronic artists seem unable to break away from tired IDM and downtempo conventions, who'll argue we couldn't use a little more of those things?
Or maybe Taylor Deupree just went completely fucking nuts, like everyone else did.
Thanks, Chardish, for the bluemars.org link. Both very nice stations there.
Manifold Records is a good source for ambient and noise music - both experimental and not, both electronic and otherwise.
It turns out strong encryption is a munition after all.
Now we all know what changed President Clinton's mind about this way back when. I hope God will forgive me for thumbing my nose at the man then, because today there are a lot of people who would not.
Popular movements can make unwise decisions just as governments do. I hope others will reconsider their apparently unconditional devotion to data privacy as a losing position that could generate disdain for related causes. The creation and defense of stumbling blocks for law enforcement is a circuitous, ineffective, and immoral way to combat unjust legislation.