Re: <nettime> Social authorship in a capitalist age

["porculus" <porculus@wanadoo.fr>]

> The copyright debate is certainly polarised, as Sandy Starr argues in a
> recent contribution to openDemocracy's copyright debate. But that surely
> reflects the reality of the situation, namely a conflict of interest
> between the cultural industries, which market words, sounds and images,
> and the workers and consumers who make and use them.

well in some contries 'intellectual property' is unstransferable & ad
eternam, and a worker could even revendicate it on some produce of his
paid labor, this in theory..just for saying the copyright is just another
word for reification of my ass

>  the work is
> something that cannot be copied, at least without the owner's permission.

really i am flabbergasted about your 'copied a work', a work has an output,
thats all

> Quite simply, then, copyright turns symbolic forms into property

yez, but malarmé says a danseuse is not a woman who dances, permit i add a
femme fatal is not a woman with a garter belt (just)

> The Romantic movement then
> contributes the idea that art and commerce are opposed, that the artist is
> in heroic opposition to the drive for profit.

the romantic is for the affirmative action, as in the ancient regime, the
rabble doesnt pay, specially the nice women...the young and well turn guys
no more

> It is something of a contradiction, then, that in the modern era the
> figure of the Romantic artist is invoked to justify copyright - the very
> basis of commerce in culture. Yet this mythology lies at the heart of the
> publicity and lobbying of the cultural industries. In a prominent position
> on the Recording Industry Association of America (RIAA) website, for
> example, we find these words from Sheryl Crow:

but starve a romantic & she will put her mother and husbands & daughters &
sons to the game right away i say that without irony, the romantism is
unsurpassable, greater than god herself, it's our futur for some
plurimillenium reich till

> 'Copyright protects the creative processS. It's rough out thereS. There is
> nothing more inspiring to creativity than independence and that requires
> protection. If you're an artist that can do something nobody else can, you
> need to know that your work will not be diluted or mass produced.'

i see one thing here first : the creative process must be protected it's
as r&d, the potential must be protected it's evident this power is one of
the main incredible human heritage 'we are standing dwarfs on the shoulder
of giants etceteraz' but from this point begin all the blackmail & threat
so why i propose as robespierre to blind guillotine around and to f. 451
burn all the legal precedent this as some standing on ceremony just to
balance the menace & relax the stressing atmosphere after we will be all
only among gente dames (nice ones) & gentilhommes (well turn) for finding
gentlemen agreement (and refreshment) well i speak about the survivors, i
and you (i sincerely hope)

> We could start by showing how authorship is not at all a matter of heroic,
> individual creation. Rather it is a social process. There are three
> aspects to this. Firstly, there is collaboration, the fact that creative
> acts depend on interactive networks.

mais a bag of peanuts too monsieur
the huge problem is you could produce peanuts (as sex) with some whip
but hitler knew it was better to caress wernher von braun than kicking his
fucking nazi ass for having V1&V2 output..americans too for having saturne V
& the god warrior julot 2 knew it was better to not kick too much the one of
homosexual, well sometimes, specially michelangeloz one, for a nice tomb
it's schelling i believe who has said something as 'the play is what is
human in the man and a man could never be more a man as when he plays'
but gladiator marximus didnt like so much zuch zuper wankerz az shelling &
romantics, i bet you know why
 marximus !
 marximus !
 marximus !
 marximus !
 marximus !
panem + pinard + circences + du cul bordel !
(vive la revolution)






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