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Kopimi, greyzones, and the terror of the shuffle button

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Presentation for Kenntnisland, Amsterdam 2008

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Kopimi, greyzones, and the terror of the shuffle button

  1. 1. Escaping the terror of the shuffle of the shuffle <ul><li>Why we must think beyond copyright </li></ul>Rasmus Fleischer [email_address] Studio K, Amsterdam, 2008-10-02
  2. 2. History of copyright <ul><li>from 1800: texts </li></ul><ul><li>from 1900: works </li></ul><ul><li>from 2000: tools </li></ul>
  3. 3. History of copyright <ul><li>from 1800: texts </li></ul><ul><li>from 1900: works </li></ul><ul><li>from 2000: tools </li></ul>
  4. 4. History of copyright <ul><li>from 1800: texts </li></ul><ul><li>from 1900: works </li></ul><ul><li>from 2000: tools </li></ul>
  5. 5. History of copyright <ul><li>from 1800: texts </li></ul><ul><li>from 1900: works </li></ul><ul><li>from 2000: tools </li></ul>
  6. 6. records radio ≠ downloading streaming ≈
  7. 8. Downloading massive amounts of music, without given permission, is practically accepted. Making massive music archives meaningful is not accepted. Tools for indexing are under attack. but
  8. 9. Making massive music archives meaningful is not accepted. Tools for indexing are under attack. The war on file-sharing undermines free licensing. Creative Commons operates on the level of individual works , not on the level of tools .
  9. 11. Digital piracy is larger than just online P2P networks! Darknets, sneakernet...
  10. 12. 1998: 8 GB 1999: 15 GB 2000: 30 GB 2001: 55 GB 2002: 100 GB 2003: 175 GB 2004: 250 GB 2005: 450 GB 2006: 600 GB 2007: 900 GB 2008: 1,5 TB 2009: 2,5 TB 2010: 4,5 TB 2011: 7 TB 2012: 12 TB 2013: 20 TB 2014: 35 TB 2015: 60 TB 2016: 100 TB 2017: 175 TB 2018: 320 TB
  11. 13. 1998: 8 GB 1999: 15 GB 2000: 30 GB 2001: 55 GB 2002: 100 GB 2003: 175 GB 2004: 250 GB 2005: 450 GB 2006: 600 GB 2007: 900 GB 2008: 1,5 TB 2009: 2,5 TB 2010: 4,5 TB 2011: 7 TB 2012: 12 TB 2013: 20 TB 2014: 35 TB 2015: 60 TB 2016: 100 TB 2017: 175 TB 2018: 320 TB In 10-15 years: All recorded music that has ever been released will fit in a pocket, ready for copying. ...but will it have any value for us?
  12. 14. When all music can be listened to wherever, whenever... ...we start to desire musical experiences specific to a time and a place.
  13. 15. When all music can be listened to wherever, whenever... ...we start to desire musical experiences specific to a time and a place. When stuff that can be copied become superabundant... ...stuff that can not be copied becomes more relevant.
  14. 17. Creating meaning out of superabundance: selecting, indexing, interconnecting, contextualizing, actualizing... Provisional communities: between public and private, between commercial and non-commercial
  15. 18. Copyright law distinguishes between 1) Private use , privat copying ; 2) Public distribution , public performance . The first is left free, the second thoroughly licensed. Nothing is recognized in between. public | private
  16. 19. Copyright must draw a straight line between 1) Private use , privat copying ; 2) Public distribution , public performance . Nothing is recognized in between. public | private commercial | non-commercial Result: Cultural activities must either be for-profit-only or strictly “non-commercial”.
  17. 20. Copyright materializes in the city, as well as in computer networks.
  18. 21. “ Creative industries”: content without context
  19. 22. There are no digital products.
  20. 23. KOPIMI copy me
  21. 24. How to integrate the infinite abundance of information into our finite lives?
  22. 25. the end

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