August 27th, 2010Innovation
and re-enactment? Xavier and Mårten will discuss three different subjects within the context of piracy: dance/ownership, theatre/war-machine, and invention/art.
Mårten Spångberg (1968) lives and works in Stockholm as essayist, performance critic, dramaturg and choreographer. For the discussion at the Pirate Conference, Mårten wrote an article as an introduction to his views on piracy:
Piracy And Desire, Lack Is Strategic
One can think of two kinds of breaks with the confinements proposed by the law. Prison break, a breach with a conventional and continuous imprisonment without exception results in the subject always looking over his shoulder waiting for the law to catch up. The subject will inevitably return to his original imprisonment where he also will feel relief. The prison break operates on the basis of breaking through and leaving a trace, whereas a clean break implies a shift of discourse, i.e. the prison guard will not even know that the subject has disappeared out of the field of vision. The result is identical, but after a clean break the subject will continuously look over his shoulder hoping that at least somebody will appear. A clean break implies sovereignty, a lonely place without anybody to gossip with.
Piracy can be considered as simple prison break, a crossing of a conventional restriction in order to get away with some or other thing, or simply obtaining value. It can also be understood as a clean break, especially considering digital media where a copy is not destabilizing value. Is it however possible to instead consider piracy not only as strategic endeavor, but rather as operations either on structural or tactical levels? We would like to understand piracy as concept, as a heterogeneous huddle of incompatible connections raising questions that cannot be answered within our present predicament or as a cluster of mutating lines carrying the potentiality of ungrounding established capacities of dualist-based discourse.
The language apparatuses that define present political contexts have over the past twenty-five years lost its deterritorializing agency, i.e. any political emergence or social movement can but be canonized due the dominant discourse of Western representational democracy, hence the multiplicity has made itself invincible. As long as tomorrow is designated by yesterday’s idioms, difference can only operate on levels of degree, in particular in a reality where capitalism has become omnipresent.Tags: article, choreography, copyright, dance, incubate, marten spangberg, ownership, piracy, pirate conference, theatre, xavier le roy
July 21st, 2010Social Media
We”ve just confirmed
ank”>Jiggy Djé to share his thoughts on copyright/piracy and the re-usage of culture
at the Incubate Pirate Conference. Jiggy Djé will take seat in the panel following Matt Mason”s keynote speech on piracy in the arts. Other members of the panel are: Matt Mason, Martijn Arnoldus (Creative Commons Netherlands), Sander van de Wiel (Pictoright), and DJ /rupture. Atze de Vrieze (VPRO 3voor12) will moderate the panel.
Jiggy Djé is a Dutch rapper that started making hip hop in 1997. Together with DAC (De Amersfoortse Coöperatie) he released two albums: diDACtici in 2002 and Professioneel Chillen in 2005. In 2006, he won the public price at the Heineken Grand Prix, the oldest and most renowned Dutch music prize. The same year, Jiggy Djé released his debut album and founded his own record label; both titled Noah’s Ark. He signed artists like Hef, Önder and SpaceKees to this label. Follow Jiggy Djé on Twitter.
Tickets for the Pirate Conference can be bought trough the Pay What You Want principle. Through incubate.org and incubate-innovation.org visitors can indicate how many tickets they want to buy and what total amount of money
they would like to pay for them. The payment can then be made via Paypal or bank transfer. The Pay What You Want principle is not applicable to the normal day tickets and passepartouts of Incubate. Incubate tickets can be bought through the Incubate website.Tags: copyright, hip hop, incubate, jiggy djé, noah's ark, panel, piracy, pirate conference, rap
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We’re really proud to announce that Hank Shocklee will share his views on copyright and piracy with all of us at the Incubate Pirate Conference. Hank Shocklee is Music Producer, founder of Public Enemy & The Bomb Squad. The Bomb Squad is a hip hop production team, mostly known for their groundbreaking work on Public Enemy’s It Takes a Nation of Millions to Hold Us Back. This album, released in 1988 (before the record labels and lawyers really started paying attention to sampling), is known for its dense, sample-heavy production, often utilizing dozens of samples on just one track. The Bomb Squad are also known for their ability to incorporate harsh, unmelodic sounds and samples into their songs, generally enhancing them. Because of this highly influential sound and productionmethod Hank Shocklee is viewed by some as the Phil Spector of hip-hop.
A worldwide role model for pushing the envelope and breaking new artistic boundaries, Hank Shocklee is looked upon as the leader of the pack. Whether via his production legacy which continuously ranks at the top of the ‘best of’ lists or throughout the academic circuit, Hank’s ideologies and techniques are studied amongst a wide cross section of people that include music fans, aspiring artists, audio technology developers, universities and media policy makers.
As a DJ, producer, composer and record company executive, Shocklee has managed to work with and develop a large variety of artists
and musicians across many genres all while keeping a very innovative approach and a distinction for high quality productions. Shocklee has been a force behind some of the most significant music and film projects of the last two decades including Public Enemy, Ice Cube, Mary J. Blige, LL Cool J, Slick Rick, Anthony Hamilton, Ridley Scott’s American Gangster, Spike Lee’s Do The Right Thing, Ernest Dickerson’s Juice and countless others.
At the Pirate Conference, Hank Shocklee will be interviewed by Job de Wit (freelance pop/hip hop/house journalist) about his method of production, his view on (the future of) copyright, and sampling and the recycling of material to build a new work and a new context.
Tickets for the Pirate Conference can be bought trough the Pay What You Want principle. Through incubate.org and incubate-innovation.org visitors can indicate how many tickets they want to buy and what total amount of money they would like to pay for them. The payment can then be made via Paypal or bank transfer. Also visit incubate.org and incubate-innovation.org for more information on the program of the Incubate Pirate Conference.
The Pay What You Want principle is not applicable to the normal day tickets and passepartouts of Incubate. Incubate tickets can be bought through the Incubate website.Tags: bomb squad, copyright, discussion, hank shocklee, incubate, piracy, pirate conference, public enemy, sampling
/weblog/” target=”_blank”>Institute of Network Cultures Blog posted a very interesting interview with Paul Keller, one of the founders of Creative Commons Netherlands. This is a very interesting read in preparation to our Pirate Conference on September 17. At the conference, Martijn Arnoldus (another member of the Creative Commons Netherlands project)
will also take part in the panel following the keynote speech by Matt Mason.
Copyright law usually makes the distinction between private and public. Private is what I show in my own house, legally defined as people I have personal bonds with, in a close community. A public performance requires permission from the copyright holder, while with a private doesn’t. The internet has of course dramatically enlarged the range of our public. If I look at my flickr collection of pictures, hundreds of thousands of people have looked at them, while it it is still essentially the same collection that started its life in a shoe box on my shelf that maybe 5 people looked at back in the days. You can argue that the private has become global, and as a consequence this public-private distinction doesn’t work well for triggering copyright anymore.
Copyright currently justifies a simple binary transaction. I have cultural goods, you
have money, and we do a proper exchange, or otherwise I’m in violation of copyright. Given that everybody can make copies of pretty much anything, this is clearly not the smartest system for organizing knowledge transfer or the distribution of cultural goods.
Read the full interview at the website of the Institute of Network Cultures.Tags: copyright, creative commons, institute of network cultures, interview, paul keller, pirate conference