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My Interview on Artists & Hackers – Disquiet, stress-free music – Lyric Say

A brand new interview with me in regards to the Disquiet Junto, experimental music, and on-line collaboration is up as a part of the superb Artists & Hackers podcast (mine’s the twenty first within the sequence), courtesy of host Lee Tusman. The overarching matter is the Inventive Commons, and appropriately the podcast and related components are licensed by way of a Inventive Commons license, CC BY 4.0, permitting me to breed the supplies right here, which is what I’ve performed. These embrace a full transcript. Additionally appropriately, the podcast employs music from previous Junto initiatives, with tracks by wasabicube, analoc, he_nu_ri, caustic_gates, and NolanVerde.

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Ep. 21 – Creating in a Commons: Conversations with Inventive Commons and Disquiet Junto
Kat Walsh from Inventive Commons joins us to speak in regards to the historical past of Inventive Commons as a ‘hack on copyright.’ Marc Weidenbaum speaks on the historical past of the Disquiet Junto, a long-running on-line distributed neighborhood creating new music in response to a weekly on-line composition problem.

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On this season of the podcast we’re working in collaboration with the Engelberg Heart on Innovation Regulation and Coverage at NYU Regulation. Along with our normal crop of artists and programmers we’re including in authorized students to assist us unpack a number of the thorny points for these working in artwork and code as they unleash their work into the world.

On this episode we dive into the world of Inventive Commons, which is now over 20 years outdated. It’s each a corporation in addition to a set of copyright licenses utilized by artists, musicians, writers, administrators and creators worldwide to speak to the world how they need their work shared and probably for use as a supply to construct upon.

We additionally communicate to Marc Weidenbaum, founder and steward of the Disquiet Junto, a web based “community of practice.” Every week Marc sends out an e-mail publication with a inventive immediate, consisting of a title, and directions. These directions could learn like a Fluxus occasion rating, a recipe in sound, an idea or technical description. Those that select to take part create a single piece of music, then put up it on-line, to be shared, listened to and probably mentioned by the net neighborhood. Marc has been main Disquiet Junto since 2012, and from the start has inspired members to share their work with Inventive Commons licenses. In reality the inventive re-use of Inventive Commons licensed sound and music has typically been an integral a part of Disquiet Junto inventive prompts.

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Visitors

Kat Walsh is the Basic Counsel at Inventive Commons. She has an almost 20-year historical past within the free and open tradition actions, together with a few years on the boards of the Wikimedia Basis and the Free Software program Basis, and has beforehand labored in library coverage, expertise startups, and on-line neighborhood administration. As Basic Counsel, she oversees the authorized help for all elements of CC’s actions, supplies strategic enter, leads the stewardship of CC’s authorized instruments, and advises the group on new programmatic initiatives.

Marc Weidenbaum based the web site Disquiet.com in 1996 on the intersection of sound, artwork, and expertise, and since 2012 has moderated the Disquiet Junto, an energetic on-line neighborhood of weekly music/sonic initiatives that discover constraints as a springboard for creativity and productiveness.

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Hyperlinks

Creative Commons Licenses and Tools

Creative Commons talks with Marc Weidenbaum

Email announcement list for the Disquiet Junto

Marc’s website Disquiet, on the intersection of sound, artwork and expertise

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Credit

Our audio manufacturing is by Max Ludlow. Design by Caleb Stone.

Our music on immediately’s episode is all taken from Inventive Commons licensed music created as a part of the Disquiet Junto.

all at fives, sixes and sevens by wasabicube, CC BY NC SA. three euclidean rhythms, CC BY NC SA, by Lee Evans/Hippies Carrying Muzzles, each from disquiet0567 Three Meters.

Ways, CC BY NC SA, by the artist analoc for disquiet0482 Precisely That Hole.

Little Green Aura, CC BY NC SA, by he_nu_ri and lako by Ohm Analysis, for disquiet0566 Outside Furnishings Music.

four voice folly by caustic_gates, CC BY NC SA, a part of disquiet0565 Musical Folly.

much too young to…, CC BY, by NolanVerde for disquiet0066 Communing with Nofi, a posthumous collaboration with the artist Jeffrey Melton, aka Nofi, who handed in 2013.

This episode is licensed below CC BY-NC-SA 4.0

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Creating in a Commons: Conversations with Inventive Commons and Disquiet Junto

Lee Tusman
You’re listening to Artists and Hackers, A Podcast On Artwork, Code and Group and the brand new digital instruments of creation. We speak to programmers, artists, poets, musicians, botmakers, educators, college students and designers in an effort to critically take a look at on-line art-making and the historical past of expertise and the web. We’re excited by the place we’ve been and speculative concepts on the long run. I’m your host Lee Tusman.

On this season of the podcast we’re working with the Engelberg Heart on Innovation Regulation and Coverage at NYU Regulation to unpack the thorny and essential points on the earth of artwork and code. On this episode we dive into the world of Inventive Commons, which is each a corporation in addition to a set of copyright licenses now utilized by artists worldwide. Inventive Commons is now over 20 years outdated, and its licenses are utilized by artists, musicians, writers, administrators and creators worldwide to share their work, to encourage others to reuse and generally to switch it. It’s one thing I exploit virtually on daily basis, from how I select to share music I create and placed on Bandcamp, to images I see on Wikipedia articles, to audio snippets and tracks we choose to accompany this podcast. However I didn’t know a lot in regards to the forming of the group nor the evolution of inventive commons itself. So I spoke with Kat Walsh of Inventive Commons and requested her to speak in regards to the founding of the group.

Kat Walsh
Inventive Commons is a nonprofit group that’s principally based to allow openness and sharing on-line principally by way of a collection of licenses that enable for sharing of works. However we additionally produce other initiatives to advertise openness corresponding to open training working with galleries or working with galleries, libraries, archives and museums and different issues the place individuals are sharing creativity and information.

Lee
I need to ask somewhat bit about the place Inventive Commons got here from each as a corporation and type of the preliminary impetus for the concept so far as I learn about twenty years in the past?

Kat Walsh
So Inventive Commons happened principally in response to the copyright time period extension act. So copyright is for a hard and fast period of time. That’s the way it’s set out within the structure. The US structure says that these copyrights ought to final for a restricted time to strike a steadiness between the pursuits of creators with the ability to produce extra works and often that’s by giving them an incentive to supply them as a result of they’ll be rewarded economically as a result of they’re the one ones who can promote them and share them, and the general public curiosity which is in having information info accessible. And that steadiness is already fairly biased for those who ask lots of people. Copyright phrases are fairly lengthy. It’s a very long time earlier than works can enter into the general public area and the legislature was going to make that even even longer. Ah so there’s a group of students, lecturers, and legal professionals who determined that possibly there was one thing somewhat unsuitable with this. There was truly a courtroom case filed over the copyright time period extension act from some people who find themselves utilizing works that had been coming into the general public area that had been now not going to be within the public area as a result of this legislative extension they usually misplaced that case. Copyright was prolonged for an additional 20 years. The legislature was in all probability not going to do something to place extra works into the general public area, make extra works accessible to the general public. However what if they might do one thing that will work to not change the copyright system itself, to be type of a hack to work on prime of it? So what for those who may write a license that will hold a number of the rights that copyright prolonged to creators however would give a few of them away? What for those who may get credit score to your work however the whole lot else anybody else may do something with it? What for those who may hold the industrial rights however share the whole lot else, enable folks to commerce on file sharing companies, issues like that? So Inventive Commons was created to do what the legislature couldn’t legislature was not going to do, create options for folks the place the copyright system was not placing the best steadiness.

Lee
I believe from my perspective being an artist that usually works with programming or makes digital varieties of labor and even music that I need to share, I typically consider copyright not as one thing on my aspect however one thing that may hold me from being inventive, sharing and with the ability to be a part of this remix tradition and zine and DIY tradition that I grew up inside. And so once I first realized about Inventive Commons this concept that there was a authorized framework, which initially appeared somewhat bit humorous to me, as an artist with out that type of background, however it was one thing that appeared to help my means to search out different folks that needed to share their supplies and make it in order that I may remix their music, remix a video, take different stuff that I discovered that they needed to share and permit me to make use of it and I believe from that perspective I discovered Inventive Commons to be actually liberating. And to me one thing that’s actually excited me through the years, and it’s why I’ve regarded for and and shared work within the Inventive Commons for therefore lengthy.

Kat
I believe that’s true of lots of people and my background additionally. I’m a musician. I’m a composer. My first expertise with copyright was making an attempt to get a bunch of recordings of up to date music and scores of up to date music in order that I may research it and the individuals who had it couldn’t share it with me as a result of they didn’t have the copyright and that simply appeared somewhat bit damaged as a result of the best way that everyone learns is thru learning and sharing and remixing what has come earlier than. So I believe that’s a reasonably widespread story.

Lee
I needed to ask somewhat bit about licenses as authorized paperwork, which they’re, but in addition as alerts and statements. And what I imply by that’s whenever you’re placing a Inventive Commons license to some extent you’re additionally sharing sure values. It may not be the widest quantity of values. However you’re a minimum of stating not only a willingness however you realize in all probability an indicator that you just need to share your work and be a part of a cultural commons in a sure approach. I’m additionally questioning the place a few of this has rubbed up towards authorized circumstances too? And what half does Inventive Commons play by way of defending artists and different inventive practitioners that use Inventive Commons licenses in varied methods?

Kat
So I believe that’s completely proper that the CC licenses should not simply authorized instruments however are alerts that the one who made this work needs it to be shared, needs it to be reused, needs different folks to profit from it, they usually’re solely asking a number of easy issues in return. Often credit score. Typically they need different issues corresponding to to your work to be shared alike however it’s a sign that the creator has considered this stuff they usually determined that they they need numerous the reuses and that solves the the overwhelming majority of the issues earlier than they even get to the purpose of enforcement. Most disputes over CC licenses are resolved by simply speaking with the creator. Or for those who discover any individual violating a time period, speaking with these folks and getting the getting the problems to be resolved. There have been some courtroom circumstances about CC licenses generally about folks not giving right credit score, or about what sort of makes use of are industrial or not. CC shouldn’t be a celebration to these circumstances. We’re indirectly collaborating within the courtroom circumstances however generally we’ll launch clarifying statements about how we intend the licenses for use or steerage for creators and reusers about what precisely the licenses imply in hopes that extra of those disputes could be settled with out going to courtroom. One of many foremost issues that we hope the CC licenses accomplish is to cut back friction so that everyone doesn’t want to rent their very own lawyer to create and reuse tradition, that folks know what the licenses imply, they’re straightforward to adjust to, they don’t want the expense and friction of legal professionals. So we attempt to assist folks keep away from that nevertheless we are able to.

Lee
I believe one query I’ve proper now could be, so Inventive Commons from my perspective looks like a reasonably profitable or very profitable motion. I really feel like I take part in it by placing work that’s CC licensed up on-line. The music for this podcast typically comes from Inventive Commons licensed music and we give credit to the artists that compose that music on the finish of the episode and in addition to on our web site and and there’s simply an enormous variety of folks utilizing and collaborating in Inventive Commons in some ways. I’m curious twenty years later from its founding what are a number of the areas that Inventive Commons is engaged on and and issues that you just’re fascinated about for the long run?

Kat
Within the early days the person artists and creators had been the most important a part of creating the Inventive Commons motion. However increasingly over the many years we’ve seen adoption from establishments. We’ve seen governments undertake CC licenses to require that for instance, issues funded by authorities grants be licensed and accessible to the general public. We’ve seen public establishments make their scholarship accessible. We’ve seen galleries, archives, issues like that make their scholarship and their digitized collections accessible utilizing CC licenses and CC instruments. So the institutional adoptions are possibly much less cool and have much less cool events than the artists and musicians however they’ve had possibly an outsized influence. We’ve additionally seen adoption by platforms actually assist get numerous creators into Inventive Commons. Flickr for instance, was one of many earliest adopters of CC licenses approach again in 2004 and folks noticed like oh wow I may put this license on my work after which folks would be capable of discover it and share it and numerous the issues for instance which have ended up on Wikipedia got here from these Flickr customers who simply determined to place a CC license on their work and lots of people have seen it each getting larger publicity for his or her work and simply that it feels fairly good to see their work reused when in any other case it may need lived ignored on their web site someplace.

Lee
Except for internet hosting this podcast, I’m an artist and musician, and I’ve been making experimental music for about 20 years. At first I used to be principally jamming in particular person with associates, and performing stay. As I moved to totally different cities and out of faculty, I used to be recording and placing extra of my music on-line. I had no thought the way to discover an viewers however I’d put up on these boards for different experimental musicians, folks working in jazz and digital music. Over time on Soundcloud I saved seeing tracks that had been Inventive Commons licensed that I may remix or use in my very own work, and I discovered a bunch of folks that had been making tracks every week, at all times primarily based on a immediate, like a theme. They had been tagged Disquiet Junto, and I had no thought what that meant, however after some looking out it introduced me to a bunch, a unfastened collective on-line of individuals making music and posting it each week, and generally remixing one another’s work from week to week. That finally introduced me to the weblog and e-mail listing of Disquiet Junto, the place I started to create and submit my very own music. Immediately I’m speaking to Disquiet Junto’s founder and ringleader Marc Weidenbaum. I requested him to explain the junto, the way it happened, and what’s the large thought?

Marc Weidenbaum
There’s a number of methods to explain what the Disquiet Junto is. The perfect description I’ve heard is one thing another person stated, that the Disquiet Junto is that I write file critiques of music that doesn’t exist after which web strangers proceed to file it. Each Thursday I ship out a immediate after which folks have till Monday at midnight to file music that’s a response to that immediate. And this week’s immediate is one among an occasional sequence. We do a sequence we do that appears on the entire thought of style. What does a style even imply anyhow? Is it a self-contained idea? Is there numerous motion between genres? Do they modify over time? Do they imply issues somewhere else otherwise? On this case we’re trying on the idea of a style we’ve made up referred to as Digital Magical Realism. We all know what magical realism is particularly in fiction. However what would digital magical realism be if it was a style of music? So all I did was I despatched out that idea to about 1800 subscribers of the mailing listing and you realize my guess is between twenty and forty will between now and Monday add their tackle what it’s.

Lee
And also you’ve been doing this every week for over a decade proper?

Marc
Yeah, it’s loopy. Yeah January of 2012 I used to be sitting in a restaurant with a good friend of mine. The cafe sadly is now not round and I had this concept and I needed to present it a go. I didn’t know if anybody would take part. In order that first week I didn’t know there’d be a second one, not to mention what’s now the 5 hundred and sixty third, however there was a type of neighborhood going, a bunch of individuals speaking about this form of factor on Twitter which grew from a earlier undertaking and I felt the encouragement so I simply despatched it out to these following, to a bunch of individuals. I stated ‘record the sound of ice in a glass and make something with it’ and that was the very first Disquiet Junto undertaking, that one line, and now yearly since we’ve performed that every first week of January of every 12 months subsequently.

Lee
One of many issues that stood out to me from the start was that most individuals make their music Inventive Commons licensed and I do know that you just encourage that every week. It even says that in your e-mail. I’m curious what inventive commons means to you and and the way you bought concerned and have become excited by that?

Marc
So I must dig again to determine how I first got here to pay attention to Inventive Commons. My guess is it was by way of the Web Archive. That may be my guess. I used to be simply actually intrigued and type of relieved by the truth that some group of individuals had taken the time to not solely acknowledge a serious hole within the legislation in the case of copyright however to really give folks instruments, actually easy instruments, to deal with it. One of many methods to consider it’s that when somebody needs to let folks do one thing with their sounds, needs to work communally, that form of motion was far more simply anticipated and monitored and inspired after we all lived in the identical place. In case you all went to the identical cafe otherwise you all went to the identical college, otherwise you had been all members of the identical scene, because it had been. It was straightforward to grasp that somebody lined your music, or they performed with a riff of yours, or they borrowed a recording and did one thing with it.

Nevertheless it’s very totally different when it’s the web and it’s lots of people who don’t know or essentially belief one another making an attempt to determine how they’ll say it’s okay to remodel this however below the next guidelines. And I simply discovered that so relieving. I’m of an age the place I lived by way of the authorized foment round hip hop. Sampling existed lengthy earlier than hip hop. However hiphop actually introduced it to the fore, particularly in a authorized sense for varied causes. And there was a time period the place superb data got here out the place the principles weren’t set down. And there’s a pleasant alternative in Inventive Commons to have the ability to create a zone during which folks can comfortably share issues, and never simply share them with the expectation they is likely to be labored on but in addition profit from it by getting access to issues that they themselves may rework. So I discovered that very heartening.

Lee
Are you able to speak about a few of your favourite initiatives that you just’ve performed with the Junto through the years?

Marc
Yeah, definitely there’s a variety of initiatives. You recognize we’ve performed as I discussed earlier, we’re now doing our 5 hundred and sixty third proper now in a row that’s 563 consecutive to Thursdays sorry that’s 563 consecutive Thursday since January 2012 which is form of blows my thoughts once I say it out loud. Some of the significant merchandise to me that got here out of the junto was one of many members of the Junto died pretty early on within the Junto and it was fascinating to me as a result of I had by no means spoken to the particular person however emotionally it hit me very exhausting. And he was a very nice man. He was a powerful participant and and he was the one who for a time had maintained an inventory on Twitter of all of the Twitter accounts of people that had been Junto members. You may observe that listing and see what folks had been as much as. So it was a pleasant a part of the neighborhood, after which he died I believe at age 45. He had a younger little one. And the subsequent undertaking we did was he had some stunning recordings on-line so folks got one among them after which instructed to duet with it. So it was a posthumous collaboration and at the same time as I say that now like 8 years after the actual fact I can really feel the emotion and I can simply really feel how how unhappy it made me and the way emotionally significant it was for us to interact with the work that approach.

Lee
One of many issues I actually recognize in regards to the Junto, I’m curious if that is one thing that’s been significant to you as properly…you talked earlier than about how primarily Brian Eno was a sure type of key to the beginning of your evolution from being extra of a journalist and a musician to type of opening it up and being a caretaker to some extent, creating this neighborhood. One of many issues I’ve been fascinated about is Brian Eno’s conception of ‘scenius’ versus genius. Scenius as a communal… let’s see if I can discover the precise phrase. He writes ‘scenius stands for the intelligence and the intuition of a whole cultural scene. It is the communal form of the concept of the genius.’ And one of many causes that resonates with me so strongly is reasonably than type of trying as much as people which are which are creating tradition for us to devour, for me it makes it extra that tradition is created by the neighborhood general, not by people essentially however by the gathering of all of us and that all of us contribute to scenes and communities and the evolution of of artwork as a complete. And I’m curious if that’s one thing that’s been personally significant for you within the evolution of the Junto?

Marc
Yeah I believe the phrase scenius, the idea behind it’s an extremely robust one and I believe it’s the case. I believe that is one thing Eno himself has stated, which is that what typically occurs is that a person or a band or a number of folks from inside a scene grow to be type of extra broadly recognized for it. The best way that Lyle Lovett turned a type of image of what occurred in Austin musically or a sure particular person would come out of Detroit or the Downtown Scene in New York like John Zorn or somebody, however these people had been actually type of synecdoches for a complete huge quantity of exercise. I’m not saying that for the people it wasn’t deserved however the best way that the broader public, particularly the non-musician public considered these scenes was they they didn’t actually even perceive there was a scene per se. They thought or noticed these folks as geniuses with out actually appreciating or understanding the function that the scene performed in them being who they had been. So sure, scenius could be very a lot on my thoughts, and the extent to which I can by way of the Junto create what I consider as a type of on-line scene, type of foment and reinforce being cautious about my function in it by not dictating aesthetically an excessive amount of and so forth and being as welcoming as doable that that has lengthy been my objective for what I’m doing.

Lee
Has your understanding of Inventive Commons modified through the years now that you just’ve been doing this for therefore lengthy? And have you’ve advanced in any respect in your fascinated about it? Or the way it can finest be used, its which means in your life or the lifetime of musicians or different artists?

Marc
So in the end Inventive Commons is a expertise, that’s what it’s. It’s an settlement. An settlement is a type of expertise a lot as language is a expertise and I believe that my understanding of Inventive Commons has grown and I believe it’s gotten richer. However I believe on the similar time the expertise inside which Inventive Commons may play a task has modified so much. Programs have gotten increasingly locked in. Individuals are more likely to hear on a streaming service like Spotify than a streaming service like Soundcloud. And that’s an enormous change for the easy cause that importing audio to Soundcloud was one thing that was very easy to do. It’s not unimaginable to Spotify or the like in any respect. Nevertheless it’s a way more closed system and requires much more hoops to leap by way of. And so the division for a very long time it felt like type of within the punk mannequin, the division between stage and viewers had been slowly going away and Soundcloud was a giant a part of that, Bandcamp as properly. However the rise of streaming has modified that. And on the opposite aspect you realize for musicians talking to musicians I believe Inventive Commons continues to be a beneficial device. I really like seeing that it’s inbuilt as an choice in Youtube and that it stays the default I believe on Soundcloud so I believe there’s numerous alternative for it. However I believe the rise of streaming has been a giant problem to it having an actual robust play within the dialog.

Lee
I’m curious you probably have ideas about the way to unfold what Inventive Commons is and develop the neighborhood of individuals which are collaborating in this sort of open approach?

Marc
One of many greatest issues I’ve needed to notice is that the concept of the Inventive Commons shouldn’t be essentially inherently engaging to lots of people for quite a lot of causes. A part of it has to do with ego and the participation of music. I believe an individual who does knock on the idea of scenius shouldn’t be going to get the idea of the Inventive Frequent probably. I believe that there’s rising and sometimes fairly deserved critiques of expertise within the type of firms and I believe in consequence the connection of inventive commons to a company tradition could be very off-putting to folks. I do know a counter to that will be a lot open supply software program supplies a mannequin for this form of creativity. You recognize numerous Github is about copying code and sharing it. However on the similar time open supply continues to be half of a bigger technologically-mediated enterprise world. And so I believe that in an effort to encourage folks to consider Inventive Commons as a method to take part in tradition you actually should suppose so much about what their emotional response goes to be to each opening their work up for inventive reuse which is the ego half. But in addition you realize what does it imply that they’re doing so in a realm the place the applied sciences on which that work can be offered and skilled are sometimes for-profit organizations that aren’t essentially feeding again into the inventive course of. So I’m sorry which may have been a barely long-witted response. However I believe it’s a sophisticated time and a sophisticated matter.

Lee
That was Marc Weidenbaum, founding father of the Disquiet Junto, a distributed group during which musicians world wide reply to weekly assignments to compose, file and share new music on-line.

I used to be excited by talking with Marc not solely as a result of I’d participated within the group with out figuring out him beforehand and was curious to lastly meet him, but in addition as a result of I see it as a quintessential instance of the promise and pleasure of a neighborhood dedicated to sharing, re-using, remixing and re-sharing new works, which is what the Inventive Commons licenses got down to do.

Here’s a unfastened and enormous group of musicians everywhere in the world. They’re every making music. They don’t essentially know one another beforehand, however they arrive collectively loosely on-line. They discover one another’s work. They usually remix and re-share that work, resulting in new stunning compositions within the tens of hundreds, a vibrant and wealthy neighborhood of music and folks. Typically the brand new music will get exhibited, offered in efficiency, and even shared on a podcast like this one for instance. As an artist and musician myself, that is what I need to see on the earth. I get numerous power being a part of these sorts of sharing-based communities, the place we stand on the shoulders of giants so to talk, or possibly that metaphor isn’t solely correct. Possibly we’re accumulating threads from world wide and weaving a brand new tapestry.

Inventive Commons itself is influenced by the historical past of open supply: in software program that’s sharing the code to your software program, making it accessible to be modified, and relying on the license, permitting or requiring it to be re-shared together with your additions and crediting previous creators. Once we’re speaking about inventive output like writing, poetry, movie or music it feels genuinely beneficiant to me and a mirrored image of the world I’d prefer to stay in to be a part of an area the place we are able to borrow and use and re-use different folks’s inventive works giving them credit score and re-sharing our personal work, placing it again out into the world. It’s a contemporary model of how I like to think about musicians previously, touring world wide enjoying gigs, enjoying weddings and ceremonies and passing songs backwards and forwards to one another, every making their very own spin on the music.

So once I requested Marc about the way to get the phrase out about Inventive Commons in order that extra of us would pay attention to it as an idea I assume I used to be naively pondering that if solely extra folks had been conscious of it they’d select it as a license when releasing their inventive work out into the world. However Marc identified that it’s not essentially engaging to all inventive producers and artists, notably of us that aren’t essentially in creating work inside that neighborhood, that don’t need to quit management of their work, and that many of us see expertise tied to firms at this level. I’m fascinated about how a lot of silicon valley and firms normally have constructed their merchandise and their revenue largely off of open supply software program, together with a number of work created by volunteers. That is one thing that Ramsey Nasser identified after we spoke to him beforehand in regards to the Anti Capitalist Software program License. One of many Inventive Commons license choices is Non Industrial, which means that for those who put your art work or music with a Inventive Commons NonCommercial license then anybody who needs to remix your Inventive Commons work, not solely should you give credit score to the unique supply however they’ll’t use your new remixed model in a for-profit context.

In fact, this doesn’t tackle who’s utilizing your work or remixing it, for those who’re involved about co-optation of your work or to what functions somebody could use or reuse your work. In upcoming episodes we’ll attempt to sort out a few of these limitations, how varied communities are pondering by way of their collective information and inventive work, and the way they’ll share that work with the broader world.

You’re listening to Artists and Hackers.

Due to our episode’s company Kat Walsh of Inventive Commons, and Marc Weidenbaum, Author, Musican and Founding father of the Disquiet Junto. This season of the podcast is produced with the Engelberg Heart on Innovation Regulation and Coverage at NYU Regulation.

My identify is Lee Tusman. Our audio producer is Max Ludlow. Our design is by Caleb Stone.

Our music on immediately’s episode is all taken from Inventive Commons licensed music created as a part of the Disquiet Junto. Our tracks immediately are

all at fives, sixes and sevens by wasabicube, three euclidean rhythms by Lee Evans/Hippies Carrying Muzzles, each from disquiet0567 Three Meters.

Methods by the artist analoc for disquiet0482 Precisely That Hole.

Little Inexperienced Aura by he_nu_ri and lako by Ohm Analysis, for disquiet0566 Outside Furnishings Music

4 voice folly by caustic_gates , a part of disquiet0565 Musical Folly

And far too younger to… by NolanVerde for disquiet0066 Communing with Nofi, a posthumous collaboration with the artist Jeffrey Melton, aka Nofi, who handed in 2013.

Yow will discover extra episodes, full transcripts, and hyperlinks to search out out about our company and subjects on our web site artistsandhackers.org Yow will discover us on instagram at artistandhackers and mastodon at artistsandhackers at post.lurk.org You possibly can at all times write to us on our web site, and please go away us suggestions wherever you get your podcast.

Thanks for listening.

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