post-post-goth

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No other type of music-making contradicts itself through its recording like improvisation does. In this essay I intend to explain certain aspects inherent within the practice of improvisation and noise that counter the idea of intellectual property practically and conceptually. While many musicians would probably argue in favour of getting rid of any notion of authorship, and sharing their recordings, there is often a lack of discussion about this aspect of musical practice. Almost all the people that I know are downloading music, but people rarely talk of the consequences. Some people tell me it is very utopian or naïve to think that one can get rid of copyright and intellectual property, but to a certain extent it is already happening in practice. Most of the music that is heard in the world is likely to be from downloads using different peer to peer (P2P) networks such as Soulseek, Amule or Bittorrent, or one-click hosting pay websites such as Rapidshare. Because of its rigid and bureaucratic structure, the law is always left behind by the questions posed by new technologies. But, apparently, it is only a matter of time before the law catches up. Right now repressive measures aided by technologies of surveillance and control are already being developed without our consent by the most powerful governments under the pressure of corporations (ACTA being a good example).1 Should we allow them to do this or should we start to develop our own platforms outside of the ideological framework that lets them behave this way? I will argue that the practice of improvisation in itself questions the foundations upon which intellectual property is based, such as: authorship, rights, restrictions, property, and the division between production and consumption. Improvisation and noise distribution, with their hardcore DIY (do it yourself) aesthetics, indicate alternatives to the mainstream means of production and distribution of music. Both practices are intertwined and share many things in common, but I am taking their obvious characteristics as a way of showing that within these types of music-making, there is already an existing critical attitude towards copyright that should be deepened and developed consciously.

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new music from CCC CNC NCN

https://ccccncncn.cc/progetti/rafting/?fbclid=IwAR1GgI7cAYK_QlaL1nwju7VnzB98yH1HatOomn3Sk5_sJAOiHgNgxcFA7PI

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Into the Red- an interview with Mack Rabiech Chami

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interview with lawrence english

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Manifesto by Brian Eno