I for one find all the license talk fascinating.  I'm still smarting from Mathieu's response to the question 'what is free software? - answer " a set of licenses", from a while back.  Whereas I like to think of it as an ethical and political manifesto/code of conduct, he's quite correct that yes it is just a bunch of licenses.

Slightly OT but has anyone come across the 'telekommunist manifesto'

http://networkcultures.org/wpmu/weblog/2010/10/21/the-telekommunist-from-dmytri-kleiner-is-out-now/

I really like some of the writing therein regarding licensing and how as a community we are getting royally fucked by the recent'ish strain of hyper-aggressive-capitalism that is loving our willingness for our work to be appropriated and incorporated within an online marketing exercise.  Vimeo and soundcloud being a couple that spring to mind that I'm a content provider for (and am in the process of rethinking).

I know that in some ways this is not a new argument but it's certainly still relevant.

I think also it comes down to the same arguments I was having in the late Eighties/early Nineties where it basically comes down to - which side are you on?

I for one very consciously chose to be working within the music industry but in Manchester and very much in the Independent sector.  As far as I was concerned we were cooler, 2 steps ahead, we had more fun and there was nowhere else I wanted to be.  Pd and being based at the University of Huddersfield has given me that feeling back again.

In these moments I start to hear Billy Burroughs croaking in my inner ear:
"watch whose money you pick up"

Cheers,

Julian

On 25 October 2011 13:17, i go bananas <hard.off@gmail.com> wrote:
yeah.  this is a very unfair part of the music industry too.  the originators get forgotten, and the follow on-ers get all the benefits.

take this 'new' scene of dubstep that has just sprung up.  you have american kids with faked writs cuts drawn with texta pens to impress the twilight emo vampire wannabe crowd, making terrible soul-less versions of the original sound and filling it to the brim with cheesy melodies, and snare drum rushes. 
the originators have earnt nothing for too long, and go back to their day jobs.

and the emo chumps sip jack daniels and diet coke with tommy lee and rave on about how they're living the rockstar lifestyle.

i am just a simple person with 5 fingers on each hand, and a high school education, and solutions to these sort of inequities are beyond me.





On Tue, Oct 25, 2011 at 8:46 PM, Andy Farnell <padawan12@obiwannabe.co.uk> wrote:
On Tue, 25 Oct 2011 19:20:32 +0900
i go bananas <hard.off@gmail.com> wrote:


> However, one of the real special gems for me in my journey through the world
> of pd, was discovering that not only was it a fantastic way to program, but
> also, that Miller had issued pd through a license that i had never even
> heard of before, and it was the best sort of license i could imagine.  It
> was a dream come true, when i got a job to do audio development and i could
> just do it all in pd because we could just embed the entire pd program
> inside our app.

Yes it's wonderful. The magic of Millers Pd and our persistent advocacy of it
paid off, and it's opened the door for scores of new companies, hundreds of new
breed audio programmers who can rapidly produce thousands of cool new products.
And it's great to hear you landed on your feet with a gig doing a skilled and
very enjoyable thing. ;)

It would be remiss to not mention that the early movers this direction had to
fight tooth and nail _against_ the manufacturers who ultimately share in the
profits of this business. And we continue to fight daily against moronic
anti-economies of shortsighted, lazy, greedy, controlling "profit before
productivity" thinking.

--
Andy Farnell <padawan12@obiwannabe.co.uk>


_______________________________________________
Pd-list@iem.at mailing list
UNSUBSCRIBE and account-management -> http://lists.puredata.info/listinfo/pd-list