[263] Anotaciones Sobre El Derecho Intelectual

Encuentro fascinante las tendencias en internet.  Durante años he colocado links curiosos en mis correos electronicos, en los chats, en el blog y en fb.  La gente los ignora.

De unos meses para aca me spammean con imagenes mi fb.  Los spammers son imagenes o memes de internet.  Lo malo, son robados impunemente por terceros.  No se le da credito a la fuente original.  Peor aun.  Tras de robado le quitan la referencia de la otra pagina y ponen un watermark propio.  Localmente la claque son de 4 o 5 sitios, destacando Blogiante y WTF Puerto Rico.  No importa, son el mismo corillo y entre ellos se hablan.  Simplemente exponia mi observacion.  No es mas facil incluir un footnote con el origen de la imagen?

Anyway...

No me convencen los argumentos de los gorilas celadores del copyright.  Estos embelecos como SOPA, etc. que buscan limitar la libertad de la web.  El copyright es hasta cierto punto una camisa de fuerza.  Es bueno hacer adaptaciones, darle un giro propio a las cosas, eso es creatividad en accion.

Pero es otra cosa plagiar impunemente.  Eso invalida por completo el trabajo que paso otro.

Habia hablado del remix culture en articulo previo:

http://alcantarillaalquimica.blogspot.com/2012/01/226-everything-is-remix.html

No debato moralidades aqui.  Solo expongo puntos.  A mi me ense/naron sobre el plagiarismo.  Pero las nuevas generaciones todo es debatible.  Traigo un artculo de waxy referenciando un articulo del NY Times relacionado al compas moral de las nuevas generaciones al copyright:

http://waxy.org/2011/12/no_copyright_intended/

http://pogue.blogs.nytimes.com/2007/12/20/the-generational-divide-in-copyright-morality/

In an auditorium of 500, no matter how far my questions went down that garden path, maybe two hands went up. I just could not find a spot on the spectrum that would trigger these kids’ morality alarm. They listened to each example, looking at me like I was nuts.

Finally, with mock exasperation, I said, “O.K., let’s try one that’s a little less complicated: You want a movie or an album. You don’t want to pay for it. So you download it.”

There it was: the bald-faced, worst-case example, without any nuance or mitigating factors whatsoever.

“Who thinks that might be wrong?”

Two hands out of 500.

Now, maybe there was some peer pressure involved; nobody wants to look like a goody-goody.

Maybe all this is obvious to you, and maybe you could have predicted it. But to see this vivid demonstration of the generational divide, in person, blew me away.

I don’t pretend to know what the solution to the file-sharing issue is. (Although I’m increasingly convinced that copy protection isn’t it.)

I do know, though, that the TV, movie and record companies’ problems have only just begun. Right now, the customers who can’t even *see* why file sharing might be wrong are still young. But 10, 20, 30 years from now, that crowd will be *everybody*. What will happen then?

Sobre el tema, Melancholy Elephants, un cuento corto que encontre curioso... 

http://www.baen.com/chapters/W200011/0671319744___1.htm

Se discute del debate de quien es dueno de que y como atribuir credito a las cosas aqui:

http://tapenoisediary.com/2012/03/14/link-blogs-and-attribution/

http://tapenoisediary.com/2009/04/13/link-curation-and-best-practices/

Relacionado, otro interesante articulo relacionado a trends en la musica.

http://waxy.org/2008/05/the_whitburn_project_onehit_wonders_and_pop_longevity/

book vs ebook

http://tapenoisediary.com/2012/04/13/books-bits-vs-atoms/

http://alcantarillaalquimica.blogspot.com/2011/02/la-permanencia-de-la-informacion.html

 

Creative Commons – Seen It But Really?

http://www.squidoo.com/cc-flickr

[216] Santini and my Antiversary

Dios mio!  Vi la atroz postal navide/na de Santini (tacky just doesn't cut it) y decidi buscar informacion irrelevante para escribir un post.  Simplemente expongo que han salido varias cosas que debo sacar ya.  Primero, la postal de Santini, ajustada para sus sensibilidades con gatitos.  Porque todo con gatitos se ve mejor:

Me hizo pensar.  Tanto passive agressiveness en una imagen.  Creo que los comentarios de El /Name y de Santini Family Fights son sumamente interesantes:
http://elname.com/2011/12/con-su-tarjeta-navidena-la-familia.html?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+elname+%28El+Ñame%29
http://santinifamilyfights.tumblr.com/

En esa misma onda hice referencia a una imagen de Simba y Scar en Lion King.  Gran imagen para mi Antiversario el dia 11...Siguiendo esa linea passive aggresive (http://www.zefrank.com/punc/) esta linda postal:

Dios mio!  Hay asperezas pero no es para tanto.

En otros temas, he estado revisando CDs viejos y los toco por momentos.  He tropezado recientemente con un grupo folk llamado Fiery Furnaces.
http://www.thefieryfurnaces.com/site/
http://pitchfork.com/artists/1602-the-fiery-furnaces/

En particular por un video dedicado al gran Dubya, we got back the plague....  Video debajo:



Letra:

That easygoing man of blood
Mucking about in the McClennan County mud
If you're hoping he won't, well course then he must
While driving his truck through the McClennan County dust

Well I read in my book on Sunday afternoon
So it's easy to think the end's coming soon
But though sometimes the signs from heaven are vague
Early November we got back the plague

While beautiful Laura's sweeping the porch
He's teleconferencing up his operation torch
And I don't care if he bombs Babylon to hell
Except for he's building Babylon here as well

Well I read in my book on Sunday afternoon
So it's easy to think the end's coming soon
But though sometimes the signs from heaven are vague
Early November we got back the plague

Waking up in Cedar Rapids looking for allies
Praising his leaches and looking for likewise
Down in St. Charles local talent he hawks
Smirking and sowing the wind as he talks

Well I read in my book on Sunday afternoon
So it's easy to think the end's coming soon
But though sometimes the signs from heaven are vague
Early November we got back the plague

In Northern Virginia on their excursions
Or LUVN with all their diversions
Horns for hounds and spurs for horses
Release the committed 72-hour task forces

Well I read in my book on Sunday afternoon
So it's easy to think the end's coming soon
But though sometimes the signs from heaven are vague
Early November we got back the plague

Bentonville and Dallas with gasoline douse
Then back to Crawford going over the firehouse
Behind the curtains not too much of a trick
Sicking ourselves to make ourselves sick

Well I read in my book on Sunday afternoon
So it's easy to think the end's coming soon
But though sometimes the signs from heaven are vague
Early November we got back the plague

That easygoing man of blood
Mucking about in the McClennan County mud
If you're hoping he won't, well course then he must
While driving his truck through the McClennan County dust

OK, mas passive agressiveness pero esta vez contra George W. Bush.  A lo que voy.  Investigo McClennan y llego a Waco y a Crush Texas.
http://en.wikipedia.org/wiki/McLennan_County,_Texas
http://en.wikipedia.org/wiki/Crush,_Texas
Tropiezo entonces con William Crush...

William Crush

William George Crush was the general passenger agent of the Missouri-Kansas-Texas Railroad, known familiarly as the "Katy" railroad.^[5] Observing that curiosity-seekers inevitably showed up at train wrecks, Crush persuaded the railway's management to let him pursue a publicity stunt involving the staging of a collision. For the public spectacle, to which the Katy offered to transport spectators for $2 each, on September 15, 1896 near Waco, Texas, Crush placed two locomotives, facing in the opposite directions, on a 4-mile (6.4-km) track. The event had to be delayed by several hours because the crowd of some 40,000 people resisted being pressed back by the police, to what was supposedly a safe distance. The crews, after tying the throttles open, jumped off and let the engines, pulling wagons loaded with railroad ties, steam at full power into a head-on collision, the combined speed of which was 90 mi/h (145 km/h). An unanticipated effect, making the intentional accident more dangerous, was that two boilers exploded. Several individuals were wounded by flying debris, and three were killed. A flying bolt took out one eye of the event's photographer, Jarvis "Joe" Deane.^[6]
The total kinetic energy released at the point of impact in the collision was equal to 200 megajoules (MJ), or about 50 kg of TNT.
The event, which became known as the Crash at Crush, was commemorated in "The Great Crush Collision March" by Scott Joplin, who dedicated the composition to the Missouri-Kansas-Texas Railway.^[7]



Que puedo decir?  La estupidez trasciende la historia.  Things going boom.  Trenes.  Heridos.  Show.  Habia que novelerear:
http://www.lsjunction.com/facts/crush.htm
http://www.unmuseum.org/crash.htm
Crash at Crush -- 1896 By 5 p.m. the afternoon of September 15, 1896, nearly 50,000 people had gathered anxiously on a wide stretch of Texas prairie near Waco. Moments later, they watched two 35-ton locomotives, each pulling seven boxcars, collide head-on at a combined speed of 120 miles per hour. The publicity spectacular was staged at Crush, Texas, a short-lived town established just for the occasion. Organizer for the event (and namesake for the town) was William George Crush, a passenger agent for the Missouri, Kansas & Texas Railway Company, commonly known as "the Katy."

Que conste, ninguna directa con la alegoria del choque de trenes...





Handshake. Two opposing locomotives of The Katy railroad "square off" a short while before
the collision. (photo courtesy The Texas Collection, Baylor University, Waco, Texas)
The collision, intended as publicity for the railroad, was planned and promoted for months in advance. The locomotives, Old No. 999 and Old No. 1001, were displayed prominently during tours throughout the state.
Rather that the usual entrance fees charged for major public attractions, Katy officials announced that they would charge no admission for the well publicized event. Further, they promised that food concession contractors would not be allowed to sell lunches at extortionate prices, and that containers of "fresh Waco water" would be abundant and free. The only fee would be the train fare required to transport the many thousands of spectators to the crash site. Even these fares were offered at bargain rates--none over $5 from anywhere in Texas. As a result, the excursion trains were so packed that some people were obliged to ride on top of the cars for lack of room inside.



Finalice mi paseo musical redescubriendo un grupo llamado Goldfish.  Les dejo un videito de lo mas gracioso:



Otro mas



y algo del grupo:
http://en.wikipedia.org/wiki/Goldfish_(band)
Goldfish are an electronica and dance group hailing from Cape Town, South Africa, consisting of Dominic Peters and David Poole. They create dance music containing elements of jazz and African music, combining live instruments like double bass, saxophones, keyboards, flute, and vocals with samplers, effects and synths. They have opened for many international electronica acts, including Basement Jaxx, Faithless, Fatboy Slim, Mr Scruff, Audio Bullys, Paul van Dyk, Pete Tong and Stereo MCs.^[3]
Their work features many different vocalists, including Sakhile Moleshe, Max Vidima, Monique Hellenberg, Hlulani Hlangwane and the duo's own David Poole.
An advertisement for the Kia Soul automobile featured their track "Fort Knox."

y lo dejo asi, crudito...