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Lana Del Rey, Radiohead, and the Difficulty of Making Original Music | The New Yorker
Does “Get Free” plainly resemble “Creep” more than “Creep” plainly resembles “The Air That I Breathe”? Probably? If you think about it for too long, the question itself begins to feel paradoxical. They are all the same song; they are all different songs. What’s fair from a legal position—how many permutations within a finite range of musical notes can we expect to organically repeat?—is, as ever, comically unclear. Intellectual property should be protected—an artist’s work has no less proprietary value than a corporation’s, and of course it deserves strident safeguarding. Yet there is always a degree of absurdity to these disputes, which, independent of direct and objective mimicry, tend to be predicated on interpretive leaps—on sniffing out what a song “feels” like, and whether or not that feel has been repurposed egregiously.


Yet there’s something lovely and comforting about the continuum—about art begetting art, about a pulse traveling down a line. The interconnections and overlaps are evidence of a mysterious symbiosis, a hand in the dark, a history. Can something come from nothing? The bigger question may be whether we want it to.
music  legal  copyright 
22 hours ago by JohnDrake
German anti-piracy market leader Copytrack hits phase with -based Global Registry.…
Copyright  ICO  Blockchain-based  from twitter_favs
yesterday by randyhilarski
The Strange Copyright of Doctor Who
Not clear when things changed from the early arrangements.
DoctorWho  copyright 
yesterday by nwlinks

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