Archive for November, 2008
Free Jazz Hour: Nov 24, 2008
I got so excited about my last post, I forgot to post the set list from the last Free Jazz Hour. This was an eastern-themed show, with lots of tablas and sitars.
- Codona – Codona – New Light (1979)
- Aktuala – Tappeto Volante – Waruna (1976)
- MV+EE – Live in San Antonio (bootleg) – third set (2004)
- Samsimar – Folk and Pop Sounds of Sumatra (compilation) – Bapikek Balam (2003)
- Jean Cohen-Solal – Flutes Libres – Raga Du Matin (1973)
- Angus Maclise – Invasion of the the Thunderbolt Pagoda – Heavenly Blue Part 4 and 5 (1999)
- Bismillah Khan – Shehnai Recital – Raga (19??)
Listen to the archived show here (available until Dec 1, 2008).
Intellectual Property and Conceptual Art
Detail of Sol LeWitt wall drawing at Dia Beacon (photo by Flickr user stan)
Julian Sanchez took a stab at describing the complex relationship between conceptual art and intellectual property recently on Ars Technica. I think he hits the major issues pretty well, and does a good job describing how they relate to work by Sol LeWitt, John Cage, Terry Riley, and even Glenn Gould (the story of Jeff Koons’ String of Puppies might have been an interesting one to add to the mix).
One of the keys here is understanding that much of the time, intellectual property in the art world is enforced the old-fashioned way: through the arcane systems of distribution and attribution created by the art world itself, independent of the legal system. Part of what protects Sol LeWitt’s work is the fact that the instructions are only part of the “machine that creates the art” — there are also certain installers who know the “correct” way to interpret the instructions. Another part of the equation is the idea of authenticity that separates a “real” LeWitt or a “real” Warhol from the fakes. No self-respecting art institution or collector wants to own or display a fake work of art — even if it is indistinguishable from the real one. Thus, as these artists worked to remove personal identity from the equation, several strategies were devised enforce the notion of authorship in their work — certificates of ownership, authentication boards, etc.
Even while LeWitt was issuing legal certificates of ownership, he insisted that “anyone with a pencil, a hand, and clear verbal directions” could create legitimate versions of his pieces. In this sense, he could be seen as a forerunner of the free culture movement and Creative Commons. Crucially, however, his approach was to make the idea (that is, the non-copyrightable aspect of the work) the essential aspect; whereas, Creative Commons created a set of licenses that intentionally strip away various restrictions enacted by copyright law.
We should keep in mind, however, that LeWitt’s concerns seem to center around the integrity of the artwork, more than ideals of freedom or a gift economy. He later declared that this openness to unrestrained reproduction could corrupt his work, back-pedaling on his earlier idealism. This tension between freedom of use and integrity of work is essential to any understanding of intellectual property; as we refine our laws, and license our work, we should aim to strike a balance, rather than push an ideology.
River of Wood
Logs jamming Kemi River during general strike (Photo by Mark Kauffman for LIFE Magazine, 1949)
A friend turned me on to the fact that Google is hosting over 10 million images from the LIFE magazine archives. Enjoy.
Free Jazz Hour: Nov 17, 2008
The touch of love mean that you are my girl free music will last to the end of the world
- Arthur Doyle
Tonight’s set list (Artist – Album – Song (Year)):
- Pharoah Sanders – Karma – The Creator Has a Master Plan, Part I (1969)
- Marion Brown – Porto Novo – Porto Novo (1967)
- Albert Ayler – Spiritual Unity – The Wizard (1964)
- Sunny Murray – An Even Break (Never Give a Sucker) – Invisible Blues (1969)
- Arthur Doyle & Sunny Murray – Dawn of a New Vibration – Nature Boy (2000)
Listen to the archived show here (available until Nov 24, 2008).
we will meet
When there is space we will meet
our hands between us our eyes swollen
this same water pushing across the earth
this same weight inhabiting our feet
but an air less visible
a breath less burdened
by clinging leaves and stones
unaware of the surface stones
washing through shadows
through the ashes gathering in the corner
the birds searching for breath
but drowning in light
when our eyes have forgotten us
when the shadows have been set free
we will meet
Untitled
Untitled (2007) by Sam Messenger
Free Jazz Hour: Nov 10, 2008
Last night’s set list (Artist – Album – Song (Year)):
- Don Cherry – Brown Rice – Chenrezig (1975)
- Art Ensemble of Chicago – Les Stances a Sophie – Theme de Yoyo (1970)
- Sun Ra – Space is the Place – Space is the Place (1972)
- Sonny & Linda Sharrock – Paradise – 1953 Blue Boogie Children (1975)
- Jean Cohen-Solal – Captain Tarthopom – Captain Tarthopom (1973)
Listen to the archived show here (available until Nov 17, 2008).
Score vs. Score or, Instructions for Improvisation
It can be performed by any kind and number of instruments or voices. Only one instrument must play ad libitum the series with the last three or four notes (right) at random, but returning always to A flat. All other instruments and voices can be well tuned or fluctuate within a very small interval above and below the notes frequency of the instrument playing ad libitum: they can’t play more than five notes of the series for each performance.
— Roberto Donnini, instructions for Tunedless, 1977
The first drafter draws a not straight vertical line as long as possible. The second drafter draws a line next to the first one, trying to copy it. The third drafter does the same, as do as many drafters as possible. Then the first drafter, followed by the others, copies the last line drawn until both ends of the wall are reached.
— Sol LeWitt, instructions for Wall Drawing #123: Copied Lines, 1972
[Cross-posted at Emvergeoning]
The long arc of inclusion
Andrew Sullivan offers a hopeful response to the tragic defeat of gay marriage rights in California last night:
In the long arc of inclusion, we will miss our goals along the way from time to time. Today, we have full marriage rights in two states, we have many civil marriages in California that will remain in place as examples of who gay people really are, we have civil unions in many more places, and marriage rights in other parts of the world, as beacons to America. And this is a civil rights movement. It goes forward and it is forced back. The battle to end miscegenation took centuries. These are the rhythms of progress. Sometimes losing, and being shown to lose, shifts something in the minds of those watching as a small group is punished for daring to dream of full civil equality. In this battle we have already had far more defeats than victories. But each time, we have come closer to our goal. And in the hearts and minds and souls of so many, we have changed consciousness for ever.
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