Sigh. No one “owns” Sita Sings the Blues, or any of my Free works, but things like this fraudulent copyright claim keep happening:
false copyright claim
I’ve never had any problem with Next New Networks. I like its founder Fred Siebert. Since I believe the folks at Next New Networks are cool, maybe they could assist with a “teaching moment” and figure out where along the chain of bureaucracy this happened. It would be helpful and enlightening for many to see just how easy it is to make a false copyright claim in YouTube’s hair-trigger content ID system.
Since Sita Sings the Blues is now CC-0 “Public Domain”, I can’t go legal over things like this, nor do I want to. I do wonder what happens with fraudulent claims over other Public Domain material. Do different entities just randomly claim PD works and then duke it out with each other? If PD material can be claimed by big corporations, that will exclude small players from using it because they don’t have the resources to challenge said false claims. But don’t get me started.
Update: Mike Schmitt, who took the screenshot at top, says,
“BTW, the copyright claim flags the 0:34-second mark in the trailer, which is the exact point at which the percussion-heavy song starts. So AFAIK it’s a content claim against the song (since there seems to be some confusion here). The same entity holds a copyright claim against the other Sita trailer on my channel, which starts with a different song. ETA: the video in question is here: http://www.youtube.com/watch?v=GI0ehPVUGzs “
A great “machine’s-eye-view” of our quilt plotter is at the one-minute mark of this Apple promo video. In addition to creating the Mathematica user interface and co-founding Touch Press, Theo is Science Officer of our own PaleGray Labs.
The PaleGray Labs office/workshop/studio is in a former bank building, which is why our suite contains a vault.
Entering the Quilt Vault
When I bought a new mattress I stored the previous one in the office vault before it found a new home. I quickly realized the vault could be its new home, and the home of my art quilts, freshly returned from Sleepy Creek Vineyards. And so the Quilt Vault was born.
Even though Theo’s kids call the Quilt Vault a “sex dungeon,” having a real bed on site is practical for a quilt studio. I’m currently designing minimalist quilt tops using the 44″ wide bolts of colored fabric I bought last year, to have more colorful bases for complex stitch patterns. The bed provided instant visual feedback as I pieced this together:
PaleGray Labs being the textile art collaboration of me and Theodore Gray. First up, we have a photo of Mathematician Ian Stewart holding up PaleGray Labs’ “Fibonacci Sequins” quilt Theo just gave him in London:
Fibonacci Sequins
This was designed by me and Theo using a Mathematica tool he created for that purpose, stitched on the new quilt plotter, and bound on my 100-year-old Davis Vertical Feed treadle machine. I hand-sewed on the sequins and beads. This was a test, but we plan to make more of them, including large bed quilts.
What I call the “quilt plotter” is a Quilt Master IV Full Frame Quilting System. Actually the model IV isn’t on their web site yet – we’re early adopters! – but you get the idea.
Below are some initial experiments with the quilt plotter. We’re still getting the hang of this thing, and working out some software issues that will require communicating through a Chinese interpreter some time in February after Chinese New Year vacations are over.
All stitchcoding by Theo using tools he built in Mathematica. Above we have fibonacci spiral fractals, a big guilloche pattern, and a modified dancing Reena Shah cycle from Sita Sings the Blues. All just tests, because the machine ripped the fabric before we learned to let it “cycle” on before moving the head (a problem that could be fixed with improved software, but until we get the ear of the Chinese software company that controls its operating system we just have to be very careful and do a lot of work-arounds).
Here’s my treadle-operated Davis Vertical Feed, which I am in love with. It makes binding almost a pleasure, a physical game of skill, a kind of meditation. If it weren’t for the time it takes to cut and iron the binding strips, I could see binding all PaleGray Labs quilts with this. (I’m also experimenting with bias tape and a Suisei binder attachment on my Singer treadle and Featherweight, which have the necessary mounting screw holes but lack the genuine walking foot that quality binding needs). Behind the Davis is the new 20″ long arm zig-zag machine, designed for making sails but which I intend to use for trapplique. It’s a powerful beast but we don’t get along because something’s wrong with its tension. The company is sending me a new tension assembly which will hopefully fix the problem.
The domain palegraylabs.com currently just reroutes to the “Quilting” category of this blog. Hopefully we (meaning I, helped by Webmaster Ian) will design a nice web site of its own soon.
Figure 1: carbon in the earth, oxygen in the atmosphere
Primitive species turned carbon from Earth’s earlier, carbon-rich atmosphere into more of themselves:
early primitive life (procaryote cells) modified our planet by converting CO2 and H2O to organic matter and releasing oxygen to the environment. As a consequence these organisms moved carbon from the atmosphere to the rocks (Figure 11) and broke down water molecules releasing oxygen to the ocean and eventually to the atmosphere. Life therefore is a powerful force controlling the composition of the Earth’s atmosphere which in turn exerts a powerful control on our planet’s climate. http://eesc.columbia.edu/courses/ees/climate/lectures/earth.html
Now we’re taking that carbon out of the earth and spewing it back into the atmosphere…
Figure 2: digging up carbon and burning it into the atmosphere
…creating a climate suitable for bacteria and prokaryotes, but not for the complex life forms we cherish today (such as ourselves).
Figure 3: carbon in the atmosphere good for some bacteria, bad for us.
To restore climate balance, we must put carbon back into the earth.
We should throw carbon into large holes, cover them up with layers of rock and soil, and allow them to compress for millions of years, over which time they will again form a viscous underground carbon sludge safely distant from our preferred oxygen-rich air.
Figure 4: trees fix atmospheric carbon
In other words, we should be putting our carbon waste (paper and plastic) in landfills. Not recycling them.
Figure 5: put the carbon back in the earth
Paper comes from tree farms, which are carbon sinks. In an ideal climate-restoration system, farmed trees would fix atmospheric carbon, become paper, and get buried back into the ground, with earthbound carbon accumulating every year as atmospheric carbon diminishes. By this logic, the junk mail industry is helping the environment, as it converts atmospheric carbon to bury-able waste, paid for entirely by advertisers.
Plastic is made of carbon humans dug up from deep within the Earth as petroleum. If it’s buried it can become petroleum-like again in several million years. If petroleum is burned as fuel, more carbon goes into the atmosphere. Petroleum is more valuable as a plastic source than as a fuel; solar energy can power vehicles but it can’t become plastic (without the intervention of billions of years of photosynthesis and compression).
So bury your paper and plastic (carbon) waste. Bury it in a good landfill.
But recycle metal. It’s much more efficient than mining anew. Metals aren’t carbon. And recycle glass. It’s silicon, not carbon.
Note: none of this is going to fix the world. We’re all doomed for many reasons. It does however take some air out of the sails of “recycling paper and plastic helps the Earth!!!” The ritual of recycling paper and plastic is mostly just that – a ritual which eases denial of environmental catastrophe in progress. I’m suggesting we can abandon that ritual now.
Update from Theo* (via email):
The thing everyone keeps missing is that none of that matters. The only thing you have to understand is that ALL carbon that can be dug out of the ground in any form, will be. The economic pressure to do so is simply overwhelming, and no one is going to be able to stop it. The ONLY question is whether it will be burned, or made into plastic and thrown away (which keeps it out of the atmosphere).
And the only thing that matters in answering that question is whether there is more money to be made in burning it, or in making it into plastic. What is the relative price of fuel vs. feedstocks for plastic, and what is the relative demand for fuel vs. for plastic. Right now it’s evenly enough matched that a lot goes into both, but if something tips the balance towards it’s being worth much more for plastic, there would be a massive worldwide switch away from burning it. No need for demonstrations, it would just happen.
Things that can tip the balance in that direction are:
Cheaper alternatives for fuel, so wind power, hydrogen from solar, etc, etc.
Things that increase demand for plastic.
It’s in item number 2 that recycling comes into play. If you recycle paper, that lets people make more paper packaging instead of using plastic. If you recycle plastic, that keeps it out of the landfill (where it belongs and can do some good) and returns it to the market to compete with virgin plastic, thus reducing the demand for oil to make new plastic, thus diverting more carbon into the atmosphere.
Burying paper also has the side effect of removing even more carbon from the air because it’s made out of carbon from the air, but that’s only one reason for doing it. Helping increase the price of plastic is at least as important a reason.
No questions about how much fuel it takes to do any of these things is relevant. The fuel is going to get burned. Exponential growth has no mercy: The carbon IS going to be dug out of the ground, nothing can stop that, all we can do is try to re-bury as much of it as fast as we can.
*Please note Theo’s opinions are his own; I’m sharing them here because I think they’re interesting and worth discussing.
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.
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.
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.
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.
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.”
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.
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.
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.
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?
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.
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!”
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.
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.
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.
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.
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?
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.
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.
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.
Like millions of others who don’t give a rat’s ass about copyright, I hope you join me. Make Art, Not Law.
