// [o_Ó]<<

OpenSourceCinema.org Manifesto:

1) Copyright Is Theft!

Every time we copyright a work, we are robbing from the Commons We are denying others the freedom to share the ideas we have given life to. We are denying others the freedom to build on our ideas.

Yes, Copyright in some sense is necessary. It is an incentive to create, to encourage “the progress of science and useful arts” . But when it is the life of the author, plus 75 years? That’s a theft of our collective heritage.

2) Music Wants To Be Free!

On the advice of my lawyer, I must qualify the above statement. Of course artists need to profit
from their work. But as my lawyer explains, over the years copyright has mutated from something
that was supposed to encourage art by guaranteeing a limited profit for artists, into something
that corporations use to control the supply of art, music and ideas—long after the artists
have passed away. It used to be that art would fall into the public domain after its creators had
made money from it for a few years - but nowadays, the public domain is an antique concept.
Corporations have much longer life spans than individuals, so from their point of view, their
copyrights should never expire. As Sonny Bono put it (congressman Sonny Bono, that is), “copyright
should last forever minus a day.”

As a result, artists are having a harder time building on art from the past. Culture—which needs
to live and breathe and evolve—is being stored in vaults, released at the discretion of corporate
interests. So this film project is about more than just music, it’s about the future of all creativity. As John Oswald once said: “If creativity is a field, then copyright is a fence.”

3) Film is Fascism!

The traditional approach to creating films, especially documentary films, is flawed. A single perspective cannot hope to capture the nuance of an evolving cultural debate. Sure, Point of View is important. But “The Ecstasy of Influence”, the participatory nature of digital creativity, begs us to create media that invites input from its audience.

4) Film is Pollution!

Travelling the globe, running hours of tape, wasting resources - these are a fact of life for documentary filmmakers. This no longer needs to be the case - with digital tools and transmission, we can crowd-source our ideas with silicon instead of carbon.

5) Open Source Cinema!

I am hereby opening this film to the masses. My entire plan, warts and all, can be viewed at the WikiFilm.

Your contributions can be made at the Create section of the site. I invite your participation.

I’m using an innovative open-source filmmaking technique because I believe that this film can’t
be a closed argument, it has to be opened up to the community at large. The argument will continue
to grow with our culture. This is not dogma. This is evolution.

Las dificultades de la deriva son las difcultades de la libertad. Todo nos lleva creer que el futuro provocará la transformación irreversible del comportamiento y del marco de la sociedad contemporánea. Un día construiremos ciudades hechas para la deriva.

___________________________________________________
Teoría de la deriva.
Guy Debord. 1956
·
·
·

La aparición de una crisis puede leerse no sólo como simple ruido en el sistema, sino como la señal del surgimiento del nivel siguiente dentro del orden histórico.

Las crisis son momentos de cambio, de metamorfosis: podemos imaginar que una oruga se halla bajo una profunda crisis en el momento en que se transforma en mariposa. Todos pensamos que la palabra crisis significa algo terrible, pero no es así. Significa algo inteligente, pacífico y positivo. Crisis proviene etimológicamente del griego krino, que significa evaluar, juzgar o decidir. Una crisis es un tiempo para el juicio y un objeto de juicio. Pese a que muchas crisis se han ocasionado por fenómenos verdaderamente imprevisibles, muchas otras surgen del colapso de viejos sistemas cuando son superados por los nuevos.

[…] Al sufrir una crisis, mucha gente malgasta su tiempo contemplando cómo el viejo orden se desploma, deplorando su destino y añorando el mundo desaparecido. Pero se precisa de un juicio crítico en los momentos críticos para entender que la historia real es lo que está viniendo. Es entonces cuando la tarea de decidir se vuelve más sencilla y fascinante.

___________________________________________________
Derrick de Kerckhove: La piel de la cultura : investigando la nueva realidad electrónica
(1995) (Ed. Gedisa, 1999)

(*) William Irvin Thompson, “History as Cultural Perception”, Understanding 1984 (Ottawa: Canadian Commission for UNESCO, ponencia nº48)
·
·
·