Page 34 - AC/E Digital Culture Annual Report

34a free culture amid the threats of abusive copyright. Therefore, there is growing demand for alternative licenses that lend themselvesto remix culture, such as the abovementioned Creative Commons or Colaboratorio Platoniq, an organisation where culture professionals and software developers interact.Openness is more than just tools and content,it is the culture of digital and the culture of sharing – in other words, the culture of Joi Ito’s free souls. Although it is old, we recommend downloading the book The Power of Open, which commemorates the tenth anniversary of free exchanges through Creative Commons licenses. Some of the music projects dealt with in the book are described below:Case of DJ VadimIn search of inspiration and new talent, Vadim uses ccMixter, a community remix site, to allow other producers to download his tracks undera Creative Commons license and remake them to their own liking. Three thousand people have downloaded Vadim’s tracks via ccMixter and have created more than ve hundred remixes. According to Ben Dawson, who works for DJ Vadim’s record label Organically Grown Sounds (OGS), “People were uploading their remixes and then sharing them with their friends, which brought a lot of attention to the music. This is a great way to let people get involved in the music and put some emotion, heart and soul into it rather than just listening on the radio”.Indaba MusicIn February 2007, ve musicians launched Indaba Music, a global networking site and collaboration platform. Members can upload their owntracks under Creative Commons licenses or use stems from other members to create remixesor collaborate on projects. An “Opportunities” section lists free and paying requests for artists to contribute tracks to works in progress.Indaba also hosts contests that encourage ex- perimentation with tracks by famous artists like Peter Gabriel, Weezer, Snoop Dogg and Yo-Yo Ma. The remixes from these projects are made available to the public under the Creative Com- mons Attribution-NonCommercial-NoDerivs (CC BY-NC-ND) license, allowing the collaborations between newcomers and established artists to spread widely.Indaba’s 540,000 users from 200 countries have proven that, when given the right tools, freedom can expand creativity. In late 2010, alternative rock band Marcy Playground licensed all the components of every track from its latest album, Leaving Wonderland ... In a Fit of Rage, under a Creative Commons license, a manoeuvre that yielded enough content to create a second album – called Indaba Remixes from Wonderland – with tracks remixed by Indaba users. In keeping with the spirit of sharing and collaboration, allof the contributors on the album will be paid royalties.JamendoIn 2004 the Luxembourg musician Sylvain Zimmer and two partners founded Jamendo,a unique Web platform that allows musiciansto make their music available under Creative Commons licenses to anyone who wants to listen to it. The company uses a freemium business model, providing all content for free to the public, then charging for access to rights not permitted by the CC licenses. Jamendo splits its revenue 50/50 with musicians.Tiago Serra and RadioHeadIn July 2008, the Grammy Award-winning alternative rock band Radiohead released a music video for the song “House of Cards.” It was produced without cameras. Instead of a traditional video, they asked digital media artist Aaron Koblin to produce a data set of 3D images that looked as if they came from an old TV. TheTHE MUSIC MARKET GOES DIGITAL · ROBERTO CARRERASSmart culture. Analysis of digital trends