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Re: [microsound] Intellectual Property



From: Michal <mis@xxxxxxxxxxxx>

Have you ever seen a "magic" show? How much would you appreciate it if you
knew all the tricks the illusionist is doing? You know that he's tricking you
but you're not always sure how. I think that a composer/performer is that kind
of a magician. Creativity is one thing but the secret of your craft is
another. On another hand, not all experimental music is written/performed for
musicians only.

When one goes to a restaurant, the chef doesn't necessarily want to give all his secrets away either. Not even the chef on TV. On the other hand, have you listened to painters talking? They're always discussing the minutiae of their craft and manner of execution. Painters steal ideas from each other all the time (as do writers), but such theft is rarely fatal to the originator. On the other hand, something seems different with digital equipment--a new kind of ethics is in play, and it suggests a different situation with regard to the ownership of the media and the sharing of ideas.


<<I find it disturbing that people still pimp
knowledge that comes from nature's sentences,
information should not only be harnessed by an
elite group of the world's population.>>

<>I'm aware that this Napsteresque critique of
intellectual property is all the vogue, but I
happen to think it's quite naive.  First, everything
comes from "nature's sentences," that doesn't mean
we should toss out the notions of private property or
intellectual property.  Your "elite group" is the
artists themselves.  We should respect the wishes of
the artist.  If the artist makes his or her processes
public, that's their option.  But if they don't,
chances are they feel the artwork is self-complete.
In fact, a popular school of thought in the middle of
this century felt that the artist's intentions and
methods are completely irrelevant to the evaluation
of an artwork (promulgated in 1948's "The Intentional
Fallacy" by Wimsatt and Beardsley).  The art, like the
cheese, stands alone.  Must we all whine whenever an
artist doesn't reveal his or her bedroom secrets to
us?  Can't we just be happy we have their art?<>

You're overstating the case. Beardsley and Wimsatt argued against a kind of psychological interpretation that depended wholly on the artist's intentions for deriving the meaning of a literary work. This was to pave the way for formalism, which bracket everything out that wasn't inscribed directly in the text. The point was that the artist doesn't always even know her own intentions, so why should such intentions be the final arbiter of interpretation, and moreover, intentions were often indeterminant anyway. A nonsequitur as applied here. A friend of mine who doesn't like electronic music often argues that it too often aligns with conservative values and runs in contrast to more politically charged movements like punk, reggae, and even some forms of rock. When we get too carried away at looking for leverage from intellectual property protection (an oxymoron if there ever was one), I'm almost tempted to agree with him, no matter how often we trot out Deleuzian platitudes. But this whole question really gets away from Kim's original question which was...

working in an IP (intellectual property) rich environment I have come to
understand why a software developer/artist/etc does not want their
"process" exposed...although I am more than willing to share some ideas on
an abstract level I tend to be rather guarded when it comes to the
details...I like knowing the general concept of an artists work and
guessing as to how it was implemented...


to which Xavier writes:
From: "Xavier Madrid" <madridxavier@xxxxxxxxxxx>
For a society and/or culture to grow and progress, we must not cling to
and/or protect knowledge of a craft from others, but rather share, teach and
communicate with others, thus enabling a network of information, moving
toward advancement a culture and/or society's future. There are people all
over the world whose musical genius cannot be expressed for so much of an
insignificant reason as not knowing how to harness a certain tool properly
or improperly.

I agree with your point, but I don't think that Kim disagrees. His question was addressed to something else. It wasn't that he was necessarily endorsing intellectual property as such (in my deep reading of him) but that the climate of "intellectual property" as such has made people paranoid about disclosing. In the best of all worlds, your idea is true. Unfortunately, in this not very best of worlds one is likely to find culprits who steal your generosity, patent it, and sell it back to you--much like how the biotech industries have operated in India and elsewhere with such products as neem and genetically modified food foisted on third world farmers. And in the process of selling it back to you will insure that you don't use it without paying the royalty on a product or technique that you invented. Moreover, I think all artists keep secrets, be they your guitar teacher or your graduate printmaking instructor. If they don't, the copies sometimes end up becoming better than the original, and the society rewards in kind. The real world of artists is a slimy, competitive one (present company excluded).




B. Ashline

"Intellectual alienation is a creation of middle class society. What I call middle-class society is any society that becomes rigidified in predetermined forms, forbidding all evolution, all gains, all progress, all discovery. I call middle class a closed society in which life has no taste, in which the air is tainted, in which ideas and men are corrupt....I am not a prisoner of history. I should not seek there for the meaning of my destiny. I should constantly remind myself that the real "leap" consists of introducing invention into existence. In the world through which I travel, I am endlessly creating myself."--Frantz Fanon


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