Peter Griffin talks to artists and technologists about the ongoing digital changes,
“The TPPA is secret; we don’t really know what is in it. It’s making sure we aren’t selling ourselves short just so we can get some milk powder into the United States.” With three-strikes laws passing around the world and the shadow of SOPA and PIPA online piracy legislation looming large in the US
“Copyright was founded on the premise of giving artists rights to make money, to have a temporary monopoly where they can control their work and to try to monetise it so they can make more work,” she acknowledges. “But the second half of copyright is about enabling public rights. As long as that pressure is coming from copyright holders to expand rights in their direction, we are going to need to keep up the pressure to maintain the public rights.”
Read more at The Listener.
SOPA Protestors. Photo: Demand Progress
FightForTheFuture report that as we approach Monday’s crucial Senate vote there are now 35 Senators publicly opposing PIPA. Last week there were only 5. And it just takes just 41 to stop it. Congratulations everyone on spreading the message!
Here’s a summary of the biggest ever day of online protest.
Calling all remix and mash-up proponents – NZ digital content and data wants YOU!
This November New Zealand will see the biggest push ever to get people using NZ digital content and data, with the launch of Mix and Mash: The Great NZ Remix and Mashup Competition. www.mixandmash.org.nz
Our thoughts are with Cantabrians amidst the chaos, devastation, and upheaval of this life-changing disaster, where the Internet (through Twitter) is replacing the radio. Christchurch art historian, curator and writer Cheryl Bernstein writes about her experience of the earthquake(s):
For a couple of days, our legs were rubbery, our knees wobbling. The floor rose to meet us. We weren’t sure at times if the shakes were real or imagined. After some of the real aftershocks, ones in which the house banged and rattled and mortar rained down the roof, my hands were trembling so much it was difficult to hold my mobile phone, which didn’t leave my hand or my pocket for five days straight. When we lost coverage for an hour or so on the first day when the emergency batteries ran down in the cellphone towers, I knew to expect it—and that it would be temporary—through what I’d read on Twitter. Twitter was an immediate source of necessary information, reassurance, companionship. Critically, my phone felt like a lifeline to the outside world, to places where the lawn wasn’t covered in bricks and entire shop-fronts hadn’t fallen into the street and the river hadn’t changed its course and cracks so big a man could stand waist deep in them hadn’t appeared in the roadway. A line to the old real life.
In late June the Creative Freedom Foundation spoke at Youth Parliament on the topic of “Inquiry into whether copyright infringement is hurting New Zealand music; how can artists use new media to get their music sold rather than stolen”. Two government spokespeople from the Ministry of Economic Development and the Ministry of Culture and Heritage as well as CFF’s Bronwyn Holloway-Smith were questioned in person on the topic.
Colin Jackson writes on his blog that “There’s a great New Zealand film called “Boy” – it’s a coming of age tale with a uniquely New Zealand flavour to it. It’s been in the cinemas here for three months, and it’s gone down very well. I’m probably not telling you anything you didn’t know, because the film has been well-promoted. I think I saw that it was now the highest-grossing New Zealand movie ever. Well done to Taika Waititi and every one else involved.
New Zealand’s multi-talented* music identity A Low Hum has announced that most of their future recordings will be released as an MP3/Artwork combo, joining musicians and music organisations around the world who are adopting new business models to take advantage of the internet.
Pat Pilcher at the NZ Herald talks to Bronwyn Holloway-Smith about ACTA, “Leading up to the New Zealand ACTA negotiations, local opposition to ACTA has steadily mounted as concerns around the lack of transparency and public input into ACTA, as well as fears that an ACTA agreement could trample over hard-won New Zealand digital rights legislation such as the soon to be enacted replacement to the controversial Section 92a.”