the evening of October 30, 2010, in CSOA Officina 99 in Naples, took place the presentation of the new album Sula Ventrabianco, "What? ", preceded by an interesting round table dedicated to music and Creative Commons. The debate was sponsored by the label copyleft Sub Cava Sound and was attended by many organizations working in the field of protection of copyright and of self. The event saw the creation of an interesting experiment: a streaming link che ha connesso in diretta numerose webradio italiane. Sub Terra, non avendo potuto essere fisicamente presente all'evento, ha mandato un comunicato che offre alcune riflessioni di spunto su musica, DIY, mercato e licenze libere. Se si considera anche la licenza DOC, in vigore con l'uscita del disco dei Rein, "E' finita" ,
che rappresenta in Italia il primo accordo tra l'approccio copyleft di un gruppo e la SIAE, si può ben notare come l'evoluzione del modo di fruizione alla cultura, proposto dalla filosofia open, stia davvero cambiando le cose grazie alle energie creative indipendenti provenienti dal basso.
"E' bello percepire che qualcosa sta cambiando davvero, that a certain kind of philosophy and approach to culture is slowly approaching events bigger and that groups like the Sula Ventrebianco able to have visibility channels using "alternative" to traditional logic of the music industry.
It 's a shame not to be physically present at this roundtable discussion: but with this news we want to establish our brotherhood and our presence, not without the intention to position ourselves in a sort of constructive dialectic. I speak on behalf of Sub Terra, which has a small copyleft netlabel based in Viterbo, and as regards our part on behalf of the Popular Front for the free music, coordination / workshop in Rome with a long history behind (at least since 2004) and many worthy initiatives. Just remember, for example, the creation and management of independent web radio "radioactive" with music distribution, broadcasting and content related to Copyleft and Free Software, in 2005-2007; "Commons Radio People" , radio program on Copyleft, Free Software and the protection of intellectual property (in collaboration with Radio Free Hardware Foundation Open City and Italy), broadcast in May and June 2007, participating in numerous events like the Festival of Arezzo Copyleft 2007 (Sub Terra participated in the 2009 edition) or "Teranova Festival of Lorraine, France in 'in October 2007, the publication of self-produced compilation "Liberalarte! 3" , published with Creative Commons licenses and authorization "Diffusion 1.0" in October 2008 and other recent projects still under development, which we'll talk.
Sub Earth has entered relatively recently within the Front, as well as Sub Cava. The idea that we like is to be found in the front (probably one of the most venerable in terms of activities in the field of music and culture "open") a point of aggregation for numerous reality, small large, which are rising a bit 'everywhere.
Need primaria e grande potenzialità di queste realtà è infatti quella di connettersi ed unirsi. La Rete è un'opportunità dalle potenzialità infinite, sconosciute finora all'umanità, ma è anche un oceano dove è facile disperdersi e scomparire in mezzo alle onde.
Il concetto di musica e cultura "open" può assumere sfaccettature molto diverse a seconda del punto di vista da cui lo si guarda. Con l'avvento di internet abbiamo assistito al collasso dell'industria musicale così come la conoscevamo e non staremo qui a ripetere le cause, che sono arcinote (peer-to-peer, download selvaggio, costi troppo elevati dei cd etc.). Il crollo è stato visto come una maledizione by some (supporters of the old system, basically stabilized in logical monopoly and privilege) and the advent of a dream by others (the plethora of musicians "unknown", which have seen their basements the chance to relive some of intoxication freedom of the spirit of anti-establishment of the radio of the 70s), but what is most noticeable is the large gap left by the earthquake, so that in reality that is everywhere, in this era of transition, is the confusion and bewilderment, between the two extremes of euphoria and despair. On the one hand the market, other than pure art and philosophy (what used to be called Do It Yourself) in the middle of an induced fallen apart, the one that produced the music world as we have known (divided, put crudely, between indie and mainstream), with its valuable stuff and its huge and (rightly) hated defects.
But what now remains?
The first thing we should consider is just what has been lost. First, the physical media. We might reflect on the fact that so much magic of music as we know it lies not only in the "fetish", but also in the distance that separated the artist from his audience, creandogli a kind of aura. Internet allows you to cancel this distance, but also removed the fetish. We have probably lost that magic, and this view of nature "romantic" is actually much more practical than you might think, since the market fell apart because of the crisis called (the thing we like it or not) and now it appears unlikely that an artist can no longer keep selling physical media. In addition, the annulment of the distance has indeed shot down the superpower arrogance of capital, now in a sclerotizzatosi 'odious monopoly corporation, but has also meant that the level of production, is now available to all, subsided and no one could more truly to emerge from this ocean without head or tail we call the Internet. Not to mention that we live in an era of a totally, which is really hard to say anything that has not already been said. Cases such as the Consortium of Independent Musicians in Italy does not seem possible, and we like it or not, are born thanks to the indie-mainstream dialectic that has failed and which one should look like a single system, rather than as two realities opposing and conflicting. Leaving the corporate stuff, what is lost is just the "middle ground" that would let some musicians in the balance between indie and mainstream to live in dignity, if not to make the leap with the multinational. Today corporate stuff, seriously affected but not extinct, persists (also classified as indie), and what once would have called a true "indie musician no longer has a plausible market outlet, and is found to remain underground with no way of 'output and without a living. The confusion is very short.
On the other hand, there are enormous opportunities and attempts to fill the void with the possible alternatives, such as Sub Cava.
The fall of the old system, in which dinosaurs are struggling to adapt as the SIAE, intent as they are to find a way to maintain the ancient privileges, opens horizons and potential for truly innovative rethink the market more balanced between the need to gain and artistic quality of the proposal. For the first time in decades, we may find that you can build a market on a human scale. The meeting point can be glimpsed through the clouds of this uncertain sailing: on the one hand, the market can no longer ignore the Internet and free software licenses as a reality to be reckoned with, the other is the need of many musicians devoted to the profession and not without talent, who are trying to emerge from this creative explosion of 2.0, but still have great difficulties in finding appropriate means of subsistence. From this meeting and from this unrest could develop something completely new, perhaps even from an artistic viewpoint. The best minds are already on the ground. In the literature we have already had cases of commercial success and quality: just think of Wu Ming. The book however is a different matter, being so bound to the support that is well away from the die and probably never will die. The dematerialization of music makes things more difficult, so that currently the only (slim) for survival of a musician seems to be to do more live as possible. Copyleft offers the possibility to those who can make a judicious use, you can build a large fan base that can support the group in live. Even here, however, the possibility of support seems to be thin (hard to live being constantly on tour, because it is increasingly difficult to find venues willing to let you play). The biggest problem is indeed to find a label, a valuable trading partner, and not least to be able to receive royalties with the use of free licenses. With regard to labels and good trading partners, the destruction of industries brokers who represented the "middle ground" seems to have turned this opportunity into a chimera for the indie musician. The self is now the norm, as well as the need to promote themselves and relying on self-financing agency that do the work in charge. But not everyone can afford. From this point of view, Sub Cava and its artists is truly a valuable attempt to fill that void and offer their response: self-management means that groups are self-management, probably feeling much more "business" of it has to date or the Front netlabel as Anomolo (correct me if I'm wrong, and anyway I would also stressed in a positive way "business", as that union between quality and fair compensation, which should be the law of which he wants to live music). At the same time, they can enjoy the connection with reality like that move on the same basic parameters, such as Sub Terra, offering a real attempt fill the gap. The other problem, perhaps the greatest, is that of royalties, a debate that has led the Front in the past over and over again in front of the SIAE, resulting in very slowly, at least awareness of the problem and maybe some concrete results. Questone The fact seems to be all that you can be subscribed to SIAE, with the advantage of seeing the collection of royalties, but at the same time enjoy the flexibility of free licenses. To do this the SIAE should clearly distinguish between commercial and noncommercial use of music, and the artist would still have to be inserted in a market context (SIAE otherwise you do not need nothing at all). The agreement is CC-SIAE still far from being concluded, but a first win can be glimpsed in the particular license that allows the artist to manage themselves on the Internet. The experiment can be read at this link http://www.rein99.it/licenze/ and will be effective with the release of its November 5, 2010 to "It 's over" , the new album Rein.
So much for the practicalities and the "alternative" as possible, that you are talking about in this round table. Sub Earth moves, by choice and necessity, dynamic now much more "home" than Diving Cava, have focused more the appearance of the philosophical question, che rientra in senso più ampio nella possibilità di ridare umanità a un'arte ormai troppo mercificata ed offrire con umiltà spiragli di vere alternative economiche alla nostra vita, rispettando nella globalizzazione tutte le singole identità connesse in rete. Glocal è il concetto che vi è alla base. La Rete di cui potremmo venire a far parte tutti insieme, con nodi grandi, piccoli e medi, come il Fronte, Sub Cava, e Sub Terra e chissà quanti altri, potrebbe essere una reale alternativa che attingendo dal basso, da sottoterra, dalle energie creative che spuntano come germogli, può riuscire a riempire quel vuoto ad alti livelli con un'alternativa artistica, umana ed economica davvero possibile. Nonostante il Fronte attraversi currently at a standstill, the latest draft, still smoky, which are in the pipeline are the construction of a self-managed physical distribution of CDs (called Fapper3, playing with a few stores through the compilation Liberalarte3! ) in shops of any type sensitive to the problem, or a project in the pipeline for the creation of a booking copyleft in private places: in short, a small network from below, in the spirit of Sub Terra, which can complement the work done by higher reality as large as those of Sub Cava. Only connecting us we could fill that void and we reserve the right to see so many years of sailing in the clouds, but frightening at the same time so exciting. "
Carlo Sanetti
Sub Terra
indie label copyleft
www.subterralabel.com
Sub Cava Sonora
Popular Front for Free Music:
The links you can listen to the podcast of the concert Sula Ventrabianco:
and conference
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