Copyright is Brain Damage

A talk I recently gave at TEDx in Maastricht, NL.

Share/Bookmark

Hathor the Golden Calf

HathorWalk36

I took some liberties in this design. “Why all the boobies?” you may ask. Once upon a time, boobies were an object of respect, not shame and ridicule. My goddesses have big, bare breasts to represent that mindset. Not that I think boobies should be worshipped; I’m not into biological fertility, and I’m not a “breast (wo)man”. Having breasts myself, I can say they’re kind of a pain in the ass (nor am I an “ass (wo)man”). But there’s so much shame around female breasts these days, I make ’em big and plentiful on deities to remind myself, and hopefully you, that the shame, discomfort, and anger they provoke is about patriarchy, not women’s bodies.

Here’s Hathor as a golden idol:

HathorGold36

My favorite interpretation of Exodus 32 posits the Golden Calf was Hathor, a very popular Egyptian cow goddess. I’m running with that in my film. Fun!

Dvorak Diary #3: Introvert

On a recent trip to Trivandrum, India, I decided to try learning to touch-type in Dvorak (after decades of hunt-and-peck in QWERTY). Here I share some excerpts of my “Dvorak Diary”.

Biogradska_suma

Thursday, January first, Two thousand fifteen

Yesterday I awoke with a clear and simple melody running through my head, a really good and catchy one. Then I had breakfast with ____ and it was gone. This is why I am an introvert: I want to hear the music in my head. It’s like a wilderness preserve: clumsy tourists wander off-trail and step on the delicate wildlife, killing it inadvertently. They don’t mean to but the endangered plants and animals don’t care; they don’t survive on good intentions. I miss my melody. It lived so easily in my head yesterday but couldn’t survive another person. Habitat loss. Like the Sitka Deer, much of the life in my head needs a wide range. I am an increasingly grumpy forest ranger, responsible both for the needs of the tourists and the wildlife. The former endanger the latter so I want them to just fuck off. But I need tourists for some reason, like were it not for tourists the forest would be razed for a housing development or mine or parking lot.

Dvorak Diary #2: Offline

On a recent trip to Trivandrum, India, I decided to try learning to touch-type in Dvorak (after decades of hunt-and-peck in QWERTY). Here I share some excerpts of my “Dvorak Diary”.

japan-earthquake-tsunami-nuclear-unforgettable-pictures-wave_33291_600x450

Tuesday, December Thirtieth, Two thousand fourteen….

I have been kinda ‘offline’ since returning. The last legs of my flights were awful, and I still haven’t recovered, though at this point it’s probably jetlag more than exhaustion that has me failing to connect to ‘my’ world and identity. I haven’t felt connected online, and am concerned about how I let Facebook information just wash over me with no real engagement on my part. It’s a hell of a lot of information to just suck through me like a stream. I surely have more than enough information rattling around in my head already. Maybe it’s time to let it settle, to digest it and let it adjust to the habitat of my mind and maybe make something of itself instead of just washing through like a tsunami. I feel less satisfied being an information node than a full human animal. Jetlag reminds me I am an animal, and no amount of information can heal my exhausted body. I recently read that staring into screens is terrible for sleep – I read that staring into a screen, ha ha – so last night I didn’t check email or read Facebook.

Is Facebook the television of today? It’s not broadcast, and it can be useful sometimes, but I become very passive with it, especially at night when I turn to it in my insomnia.

Dvorak Diary #1: Airport

On a recent trip to Trivandrum, India, I decided to try learning to touch-type in Dvorak (after decades of hunt-and-peck in QWERTY). Here I share some excerpts of my “Dvorak Diary”.

Dubai Airport

 

December Twenty-Fifth, Two Thousand Fourteen….

The airport here has two levels. Lower is a huge confusing mall like Heathrow; upper is one huge business class lounge with its own gates. Lower is a dystopian capitalist nightmare; powerless citizens oppressed by armed guards are blasted with ‘luxury’ images and stores. The more oppressed, powerless, and confused the human, the more vulnerable to advertising. The violence behind capitalism is apparent at airports. Armed guards at the periphery, armed guards at every step, and at the center: shopping. But the business class lounge is ad-free and store-free. ‘Luxury’ goods aren’t for the rich and powerful, they’re for the disempowered middle class. They are the only way to gain a sense of power where all other power has been stripped away.

I started typing that at the Dubai airport but finished it here on the plane. That’s how slow a typist I am.

Czech Myself Before I Wreck Myself

My “Make Art Not Law” talk is finally online!

Text and slides here.

Polish Czech translation and subtitles here.

Make Art, Not Law

Below are the images and text of a Pecha Kucha talk I gave in Champaign, IL. The Pecha Kucha format is 20 slides x 20 seconds per slide. Hopefully the video will be online within a few months Video embedded above.

Transmission_10fps2

You are an information portal. Information enters through your senses, like your ears and eyes, and exits through your expressions, like your voice, your drawing, your writing, and your movements.

02_Paley_pkncu

In order for culture to stay alive, we have to be open, or permeable. According to Wikipedia, Permeance is “the degree to which a material admits a flow of matter or energy.” We are the material through which information flows.

03_Paley_pkncu

It’s through this flow that culture stays alive and we stay connected to each other. Ideas flow in, and they flow out, of each of us. Ideas change a little as they go along; this is known as evolution, progress, or innovation.

04_Paley_pkncu

But thanks to Copyright, we live in a world where some information goes in, but cannot legally come out.
Often I hear people engaged in creative pursuits ask, “Am I allowed to use this? I don’t want to get in trouble.”

05_Paley_pkncu

In our Copyright regime, “trouble” may include lawsuits, huge fines, and even jail. “Trouble” means violence. “Trouble” has shut down many a creative enterprise. So the threat of “trouble” dictates our choices about what we express.

06_Paley_pkncu

Copyright activates our internal censors. Internal censorship is the enemy of creativity; it halts expression before it can begin. The question, “am I allowed to use this?” indicates the asker has surrendered internal authority to lawyers, legislators, and corporations.

07_Paley_pkncu

This phenomenon is called Permission Culture. Whenever we censor our expression, we close a little more and information flows a little less. The less information flows, the more it stagnates. This is known as chilling effects.

08_Paley_pkncu

I have asked myself: did I ever consent to letting “Permission Culture” into my brain? Why am I complying with censorship? How much choice do I really have about what information goes in and comes out of me?

09_Paley_pkncu

The answer is: I have some choice regarding what I expose myself to, and what I express, but not total control. I can choose whether to watch mainstream media, for example. And I can choose what information to pass along.

10_Paley_pkncu

But to be in the world, and to be open, means all kinds of things can and do get in that are beyond  my control. I don’t get to choose what goes in based on its copyright status. In fact proprietary images and sounds are the most aggressively rammed into our heads. For example:

“Have a holly jolly Christmas, It’s the best time of the year
“I don’t know if there’ll be snow, but have a cup of cheer
“Have a holly jolly Christmas, And when you walk down the street
“Say hello to friends you know and everyone you meet!”

12_Paley_pkncu

I hate Christmas music. But because I live in the U.S., and need to leave the house even in the months of November and December, I can’t NOT hear it. It goes right through my earholes and into my brain, where it plays over and over ad nauseum.

13.2_Paley_pkncu.013

Here are some of the corporations I could “get in trouble with” for sharing that song and clip in public. I wasn’t consulted by them before having their so-called “intellectual property” blasted into my head as a child, so I didn’t ask their permission to put it in my slide show.

14_Paley_pkncu

Copyright is automatic and there’s no way to opt out. But you can add a license granting some of the permissions copyright automatically takes away. Creative Commons, the most widespread brand of license, allows its users to lift various restrictions of copyright one at a time.

15_Paley_pkncu

The problem with licenses is that they’re based on copyright law. The same threat of violence behind copyright is behind alternative licenses too. Licenses actually reinforce the mechanism of copyright. Everyone still needs to seek permission – it’s just that they get it a little more often.

16_Paley_pkncu

Like copyright itself, licenses are often too complex for most people to understand. So licenses have the unfortunate effect of encouraging people to pay even MORE attention to copyright, which gives even more authority to that inner censor. And who let that censor into our heads in the first place?

17_Paley_pkncu

Although I use Free licenses and would appreciate meaningful copyright reform, licenses and laws aren’t the solution.  The solution is more and more people just ignoring copyright altogether. I want to be one of those people.

18_Paley_pkncu

A few years ago I declared sovereignty over my own head. Freedom of Speech begins at home. Censorship and “trouble” still exist outside my head, and that’s where they’ll stay – OUTSIDE my head. I’m not going to assist bad laws and media corporations by setting up an outpost for them in my own mind.

19_Paley_pkncu

I no longer favor or reject works based on their copyright status. Ideas aren’t good or bad because of what licenses people slap on them. I just relate to the ideas themselves now, not the laws surrounding them. And I try to express myself the same way.

Transmission_10fps2

Like millions of others who don’t give a rat’s ass about copyright, I hope you join me. Make Art, Not Law.

Transmission

Transmission_10fps2

Alumnuts

University High School 1984

Super high-res (800 dpi) image at archive.org!

I recently dug up, scanned and restored this cartoon I drew in 1984 for the Uni High yearbook. It makes me nostalgic not for school (for which I still carry much resentment*) but for the glorious escape drawing provided those years. There were no art classes at Uni while I was there, for which I am eternally grateful. While my liberal friends are mostly “arts education” boosters, I owe my survival to Art staying beyond the reach of school, teachers, and institutionalization. School ruined math, literature, physical exercise, social interactions, and pretty much everything else that could be beautiful – thank doG it didn’t ruin drawing too.

 

*Dropping out of the University of Illinois at the end of my Sophomore year was the first Great Decision I ever made. My second Great Decision was freeing Sita Sings the Blues and dropping out of Copyright. I’ve only made two Great Decisions in my life, but they’re plenty. Dayenu.

A Jewish State

Last night I finally watched Exodus, as research for my Seder-Masochism project. It was actually a much better movie than I expected. The film is mainly about showing a very hot young 1960 Paul Newman from various angles, mostly in sexy profile but sometimes portrait, but it’s also about the pressures that created Israel, and very sympathetic to the desire for a Jewish Homeland.  Today, fortunately, we have this excellent alternative:

 

I’d move there.

Addendum: Why do I say Culture is not a Commons?

Addendum to Culture is Anti Rivalrous

Why do I say Culture is not a Commons?

Because a commons is a publicly or collectively owned good, and culture can’t be owned. Page 12 in Lewis Hyde’s Common As Air (see article on why air isn’t a metaphor I’d use) refers to “the old idea of ‘the commons’ as a way to approach the collective side of ownership.” Whoa there. We agree that Culture shouldn’t be privately owned, but where I differ is that Culture shouldn’t – and can’t – be owned at all. When we call Culture a commons we remain in the framework of culture-as-property, the framework of ownership.

But: Culture. Can’t. Be. Owned.

The correct answer to the question of “who owns culture?” is “no one.” Not Sony. Not “The Author.” Not “The Public.” No one owns Culture, because Culture isn’t property. So I prefer not to talk about it like it is property, or something that can be owned. So I don’t call it a commons.

Also, I wrote that real commons – real collectively owned goods – need to be regulated and/or managed, because they are rivalrous and/or scarce. Calling Culture a commons implies that it needs to be regulated and/or managed. That sometimes betrays an unexamined belief that copyright is “natural,” that private interests could somehow step in and “own” Culture without interference. But Copyright and cultural ownership are completely artificial, legal fictions, State-granted monopolies that can only exist if Culture is artificially (and misguidedly) “managed.” So again, calling Culture a Commons implies it needs to be “managed”, reinforcing the same mental framework that allows copyright and the private ownership of ideas to thrive.

I’m not going to fight against anyone calling Culture a commons. Most progressives do it, and we should be working together, blah blah etc. But I did want to clarify why I wrote that Culture is not a commons, since it may freak some people out. Sometimes I refer to “our shared cultural heritage,” which is about as close as I come to calling it a commons myself. Language is tough. For example, there’s no word for the opposite of property. Until there is, it may be difficult to wrap our heads around the idea that something actually isn’t property and can’t be owned, collectively or privately.

At least I can use the word anti-rivalrous now.

Culture is Anti-Rivalrous

Economists talk about rivalrous and non-rivalrous goods, but Culture is neither rivalrous, nor non-rivalrous; it is anti-rivalrous.

I. Rivalrous

Rivalrous goods diminish in value the more they are used. For example, a bicycle: if I use it, it gets me from here to there, if you use it, it gets me nowhere. If I acquire your bicycle, you don’t have it any more. Only one of us can have the bicycle at one time. We can share it to a limited extent, but the more it’s used the less it’s worth; it gets dinged up and wears out. The more people use the bicycle, the less utility it has.

If I steal your bicycle, you have to take the bus

All material things – things made of atoms – are rivalrous, because an object cannot be in two places at the same time. Everything in the physical world is rivalrous, even if it’s abundant.

A commons is a rivalrous good. Hence the “tragedy of the commons“: the more people use a square of land, the less valuable it is to each of them. The grass gets eaten too fast to grow back, the soil can’t handle the incoming rate of sheep shit, and degradation ensues.

the commons

Fig. 1: a lovely day for grazing on the commons

tragedy of the commons

Fig 2: Tragedy strikes

Rivalrous and non-rivalrous are often confused with scarce and abundant, but they’re not the same thing. Air is abundant, but it is still rivalrous – some “users” could make it toxic for the rest of us, because air is not infinite. Land and water are so abundant in North America that Native Americans couldn’t imagine owning or depleting them, and look what happened. We treat the oceans as infinite, but they are not; human pollution and exploitation is killing ocean life. We also pollute the vast ocean of air – hence acid rain. Air and oceans are commons.

Commons are commonly-held rivalrous goods. Because they are rivalrous, some uses (or over-use) can poison them or otherwise diminish their value. For that reason, Commons(es) actually merit rules and regulations.

But Culture is not a commons, because Culture is not rivalrous and can’t be owned.

II. Non-Rivalrous

Non-rivalrous goods, as their name implies, don’t diminish in value the more they are used. A favorite example of a non-rivalrous good is the light from a lighthouse. It shines for everyone. No matter how much you look at it, I can see it too.

Everyone can see the light from the lighthouse...

This is a pretty good example, but it’s not quite right. Theoretically, if enough tall boats are in the harbor, they actually can crowd out your lighthouse light.

...except when they can't. Once again, too many sheep ruin everything.

Consider sunlight in Manhattan; yes, the sun shines for everyone, but if they build a high-rise next to your apartment you won’t see it any more. There’s only so much sunlight that hits a certain area, and that light is rivalrous. You can always move, of course – except land, while abundant, is definitely rivalrous and not infinite, so you’ll have to engage in some rivalry to do so.

The light metaphor has another problem: is light a particle, or a wave? If it’s a particle, then light is rivalrous. If it’s a wave, then it’s not.
Thomas Jefferson used the example of candle fire, writing “He who receives an idea from me, receives instruction himself without lessening mine; as he who lights his taper at mine, receives light without darkening me.” Of course candles burn out but it’s not the light that’s diminished, it’s the candle. That’s a great metaphor for attention, which is scarce: once our attention is used up, the light goes out.
But Culture is not non-rivalrous either.

III. Anti-Rivalrous

Anti-rivalrous goods increase in value the more they are used. For example: language. A language isn’t much use to me if I can’t speak it with someone else. You need at least two people to communicate with language. The more people who use the language, the more value it has.

Which language do you think more people would pay to learn?

  • English
  • Esperanto
  • Latvian

More people spend money and time learning English, simply because so many people already speak English.

Social networking platforms increase in value when more people use them. I use Facebook not because I love Facebook (I certainly don’t), but because everyone else uses Facebook. I just joined Google+, and will use that instead of Facebook if enough other people use it. If enough people flock to yet another platform, I’ll use that instead. Meanwhile I love Diaspora in principle (I was an early Kickstarter backer, before they surpassed their initial $ goal), but I don’t use it, because not enough other people do. When it comes to social networks, I am a sheep.

I'm surrounded by stupid sheep

A classic "Nina's Adventures" comic, which I only realized was anti-rivalrous a few years ago. ♡ Copying is an act of love. Please copy and share.

Culture is anti-rivalrous. The more people know and sing a song, the more cultural value it has. The more people watch my film Sita Sings the Blues, or read my comic strip Mimi & Eunice, the happier I’ll be, so please go do that now and then come back and read the rest of this paragraph. The more people know a movie or TV show, the more cultural value it has. Monty Python references attest to the cultural value of Monty Python – we even use the word “spam” because of it. Shakespeare‘s works are culturally valuable, and phrases from them live on in the language even apart from the plays (“I think she doth protest to much,” etc.). The more people refer to Monty Python and Shakespeare, the more you just gotta see em, amiright? Or not, it doesn’t matter whether you see them, you’re already speaking them. That all culture is a kind of language, I’ll leave for another discussion.

Cultural works increase in value the more people use them. That’s not rivalrous, or non-rivalrous; that’s anti-rivalrous.

IV. Some Exceptions That Prove The rule

I know what you’re gonna say now: “what about my credit card number? That doesn’t increase in value if it’s shared!!” That’s right, Einstein, because your credit card number is not culture. Here are two things that aren’t made of atoms and are nonetheless rivalrous:

1. Identity
2. Secrets

Identity is some mysterious mindfuck that my very smart friend Joe Futrelle says no one has satisfactorily defined yet. But whatever identity is, it’s rivalrous. If more people were named Nina Paley and had my home address and social security number, I’d be screwed. But that should highlight that my name, home address, and social security number aren’t culture. They may be information, but they’re not culture. They don’t increase in value the more they are used.

Secrets have power as long as they’re secrets. They lose their power when they are shared. When I become conscious of some secret that’s weighing on me, I share it with at least one other person (even if they are a confidante also sworn to secrecy): I can feel the secret’s power diffused just by the act of sharing. Notice I use “power” here instead of “value.” Secrets may be of little or no cultural value – most people don’t really care who that guy slept with 6 years ago – but they can certainly have power, especially when used for blackmail. Which is why it’s important they remain secrets, so they’re not used for blackmail, or harassment, or any reason at all. Privacy is important. Because secrets aren’t culture. Culture is public. Secrets are, well, secret. Until they’re public, whereupon we get scandalous stories that are culture – humans love to gossip – but aren’t secrets any more. The story might gain value, but the secret loses it.

Money vs. Currency
And how about money? Money is scarce, right? It has to be, or it doesn’t work (thanks Wall Street & Federal Reserve for screwing that up). But currency has more value the more it is used! Would you rather have your scarce 100 Euros in Euros, or in giant immoveable donut-like stones on a remote island?

A large rai stone in the village of Gachpar

I remember when the US dollar was a valuable currency; markets all over the world wanted dollars, because they were so widely used and exchangeable. So you want your money to be scarce, but you want your currency as widely used as possible.

V. Conclusion

It’s important to treat scarce goods as scarce, abundant goods as abundant, rivalrous goods as rivalrous, and so on. Wall Street treated money, a scarce and rivalrous good, as though it were infinite/non-rivalrous, and look what happened.  Power companies, and the politicians they own, treat the environment, which is a rivalrous commons, as though it were non-rivalrous, and we have dying oceans and mass extinctions and other events you don’t want to think about so much that you’ll just get mad at me if I point them out here so I’ll stop. The RIAA and MPAA, and the politicians they own, treat Culture, which is anti-rivalrous, as though it’s rivalrous. They are doing for Culture what Wall Street did for the economy. If you want to help make this better, treat Culture like what it is: an anti-rivalrous good that increases in value the more it is used.

 

Addendum: Why do I say Culture is not a Commons?

RANTIFESTO

Adapted from a talk and slide show I presented at the Open Knowledge Conference in Berlin on July 1, 2011. –NP

Why are the Freedoms guaranteed for Free Software not guaranteed for Free Culture?

Free software is a matter of the users’ freedom to run, copy, distribute, study, change and improve the software. More precisely, it means that the program’s users have the four essential freedoms:

  • The freedom to run the program, for any purpose (freedom 0).
  • The freedom to study how the program works, and change it to make it do what you wish (freedom 1). Access to the source code is a precondition for this.
  • The freedom to redistribute copies so you can help your neighbor (freedom 2).
  • The freedom to distribute copies of your modified versions to others (freedom 3). By doing this you can give the whole community a chance to benefit from your changes. Access to the source code is a precondition for this.

The Free Software Definition

These are the Four Freedoms of Free Software. They are foundational principles, and they are exactly right. They have served and continue to serve the Free Software Movement very well. They place the user’s freedom ahead of all other concerns. Free Software is a principled movement, but Free Culture is not – at least not so far. Why?

1. The No Derivatives (-ND) Restriction

If you tinker with software, you can improve it. You can also break it or make it worse, but the Freedom to Tinker is one of the foundational 4 Freedoms of Free Software. Your software may also be used for purposes you don’t like, used by “bad people,” or even used against you; the Four Freedoms wisely counsel us to GET OVER IT.
Unfortunately, The Free Software Foundation does not extend “Freedom to Tinker” to Culture:

Cultural works released by the Free Software Foundation come with “No Derivatives” restrictions. They rationalize it here:

Works that express someone’s opinion—memoirs, editorials, and so on—serve a fundamentally different purpose than works for practical use like software and documentation. Because of this, we expect them to provide recipients with a different set of permissions (notice how users are now called “recipients,” and their Freedoms are now called “permissions” –NP): just the permission to copy and distribute the work verbatim. (link)

The problem with this is that it is dead wrong. You do not know what purposes your works might serve others. You do not know how works might be found “practical” by others. To claim to understand the limits of “utility” of cultural works betrays an irrational bias toward software and against all other creative work. It is anti-Art, valuing software above the rest of culture. It says coders alone are entitled to Freedom, but everyone else can suck it. Use of -ND restrictions is an unjustifiable infringement on the freedom of others.

For example, here I have violated the Free Software Foundation’s No-Derivatives license:

The Four Freedoms of Free Culture:

1. The freedom to run, view, hear, read, play, perform, or otherwise attend to the Work;
2. The freedom to study, analyze, and dissect copies of the Work, and adapt it to your needs;
3. The freedom to redistribute copies so you can help your neighbor;
4. The freedom to distribute copies of your modified versions to others. By doing this you can give the whole community a chance to benefit from your changes.
(link)

Without permission, I’ve created a derivative work: the Four Freedoms of Free Culture. Although I violated FSF’s No-Derivatives license, they violated Freedoms # 2 and 4, so we’re even.

2. The Non-Commercial (-NC) Restriction

The Freedom to Distribute Free Software is essential to its success. It has given rise to many for-profit businesses that benefit the larger community.

 

 

 

Red Hat, Canonical – would the world be better if such companies were forbidden? Would Free Software benefit from a ban on those businesses?

Yet the Cultural ecosystem is stunted by the prevalence of Non-Commercial restrictions. These maintain commercial monopolies around works, and  – especially for vocational artists like me – are functionally as restrictive as unmodified copyright. Yet they are widely  mislabeled “Free Culture,” or even “Copyleft.”

Which of these things does not belong?

This is a still from the mostly excellent and popular documentary RIP:a Remix Manifesto. This film is many peoples’ introduction to the term “Free Culture” and “Copyleft.” But as you can see, the Non-Commercial restriction is lumped in with actual Free license terms.

See that dollar sign with the slash in it? That means Non-Commercial restrictions, which are most definitely NOT Copyleft. (I’ve posted about Creative Commons’ branding confusion before, but it’s only gotten worse since then.)

NC stands for Not Copyleft

This film is itself licensed under unFree Non-Commercial restrictions. As an artist and filmmaker, I have found confusion is rampant among my creative colleagues. Some filmmakers are beginning to think the term “Free Culture” is cool, but they still want to restrict others’ freedom and impose commercial monopolies on their works.

This doesn’t help either

The book Free Culture by Lawrence Lessig its itself not Free culure, but it is widely looked up to. It sets an unfortunate and confusing example with its Non-Commercial license. It illustrates the absence of guiding principles in the Free Culture movement.

I have spoken to many artists who insist there’s “no real difference” between Non-Commercial licenses and Free alternatives. Yet these differences are well known and unacceptable in Free Software, for good reason.
Calling  Non-Commercial restrictions “Free Culture” neuters what could be an effective movement, if it only had principles.

So what do I want?
I want a PRINCIPLED Free Culture Movement.

I want Free Software people to take Culture seriously. I want a Free Culture movement guided by principles of Freedom, just as the Free Software movement is guided by principles of Freedom. I want a name I can use that means something – the phrase “Free Culture” is increasingly meaningless, as it is often applied to unFree practices, and is also the name of a famous book that is itself encumbered with Non-Commercial restrictions.

I want a Free Culture ecosystem that allows artists to make money. I want anyone to be able to accept money for their work of remixing and building on Culture – just as a trucker can accept money for driving on a road. I want money to be among the many incentives to participate in building culture. Without the freedoms to Tinker and Redistribute without restriction, there is little incentive to build on  and improve cultural works. There is little reward to help your neighbor, when you are guaranteed to lose money doing so. “Free Culture” with non-Commercial restrictions will remain a hobby for those with a surplus of time and labor, and those who only accept money from monopolists.

I want commerce without monopolies. I want people to understand the difference.

I want a Free Culture ecosystem that includes equivalents of  businesses like Red Hat and Canonical. I want cultural businesses that give back to their communities, that work with their customers instead of against them. Only if we refuse to place Non-Commercial and No-Derivatives restrictions on our works will a robust Free Culture ecosystem be able to emerge.

I want the Free Software community – those who currently best understand the Four Freedoms – to champion the rest of Culture, not just Software. I want Freedom for All.

Blind Stitch

My obsessive desire to create sewn tapestries is butting up against the incredible amount of work required to do so. Most of that work is non-expressive; it is carrying out orders dictated by the design; it is execution; it is craft. I may be discovering, for myself, where the boundary between Art and Craft lies. All Art has elements of Craft; all Craft contains elements of Art. But Craft, in its purest abstract conceptual form, is pure work; Art is pure emotional force, perhaps idea. You can’t have one without the other, but the proportions vary widely.

I want to be spontaneous and expressive. Quilting is sort of like those dreams where you try running through molasses. It. Is. So. Slow. I have much patience for art, but quilting is so slow my expressive force peters out before it reaches expression. It’s what writing would be like if writing consisted of carving the letter punch, punching the letter form, setting the movable type, and pressing the press. By the time I did all that, I’d have forgotten what it was I wanted to say in the first place.

Can I sew expressively? I hope so. Here are a few experiments.

Neenzilla, 5″ x 5″. I did this really fast, while showing some friends how to free motion quilt. I like it a lot. But it’s just a sketch; it doesn’t feel like a “real” piece to me. It lacks sufficient Craft.

Blind Stitch, about 10″ x 10″. In an attempt to free myself up, I stitched the outline of this with my eyes (mostly) closed! I’d do more of that but I’m afraid of accidentally sewing through my own fingers. I filled in every other space tightly with more thread, in the usual labor-intensive eyes-open free-motion quilting way. So it attempts to balance expressive freedom and labor, except expressing myself with my eyes closed doesn’t really satisfy me. I prefer to say something, intentionally.

Here’s Blind Stitch from the back.

I am awesome

I was neither prepared nor in a particularly good mood when I did this “webinar” for Agora I/O. It was eerie having a “conversation” in which I could neither see nor hear the other participants. It was just me and my own voice, with questions and comments occasionally popping up in text on another webpage. Because of that, I couldn’t read anyone’s body language and try to pre-emptively smooth things over and “people please”; I could only speak my mind. Which I did. Which, upon reviewing, was a pretty great thing. You may not like me, but I sure do!

The fun starts about 8 minutes in, and gets better as it goes along. If you know about my story and Sita Sings the Blues, you can skip what comes before that, which is a basic recap.