Meanwhile the NO2ID campaign have been ridiculing the government's roadshow and "charm offensive" to sell the idea of the cards to the public:
and protesting at each of the venues on the roadshow. Shame on them. :-)
The biggest defect of modern capitalism can be expressed in a single word: externalities (or illth if you prefer John Ruskin’s prose). Either term refers to the harmful side-effects that accompany current economic activity: pollution, congestion, noise, cancer, stress, extreme inequality, loss of biologic and cultural diversity, and so on.
One way to evaluate the performance of an economic system is to look at the ratio of well-being to illth it produces. This is akin to the way engineers measure the efficiency of an engine: for every unit of energy an engine consumes, it performs some useful work and wastes some heat. The higher the ratio of work to wasted heat, the greater the engine’s efficiency.
"there is simply no real and substantial connection between this action and Ontario and that it is not appropriate for the courts of Ontario to assume jurisdiction."
I will not serve that in which I no longer believe, whether it call itself my home, my fatherland, or my church: and I will try to express myself in some mode of life or art as freely as I can and as wholly as I can, using my defence the only arms I allow myself to use - silence, exile, and cunning.
James Joyce, A Portrait of the Artist as a Young Man
The controversy over "Rejoyce Dublin 2004" provides a cautionary tale about copyright law and cultural institutions. The Joyce Estate has brought an array of legal actions to control the publication and communication of the works of James Joyce. Such litigation has had a chilling effect upon literary scholarship, anthologies, music compositions, public performances, and cultural exhibitions. As Robert Spoo observes:Extremely long copyrights have given artificial voice and weight to the personal predilections of one who, in the absence of such rights, would be an ordinary participant in the life of art and letters like most of the rest of us. These protracted monopolies create, or permit, peculiar and unaccustomed distortions of the public sphere; they encourage attempts to re-privatize that space, to reclaim it in the interests of family privacy or personal taste. They allow a mere right-holder to become a privileged and arbitrary custodian of culture. And all of this would be exactly as it should be were these monopolies confined to one generation or two. But to see this capricious veto power being exercised at a period so startlingly remote from the cultural and historical origins of the work in question is dispiriting.
The case of the Joyce Estate is not an isolated one. There have been a spate of similar incidents involving the custodians of the work of JD Salinger, Sylvia Plath, TS Eliot, Samuel Beckett, Bertolt Brecht, to name a few. The trend towards copyright term extension has invested copyright estates with a great deal of power. There will be increasing conflict with scholars, biographers, artists, and performers who wish to use such copyright work before the expiry of the life of the author plus seventy years.
There is a need to revise and design copyright law in order to protect the interests of libraries, archives, galleries, and cultural institutions. As Brendan Howlin observed in the Irish Parliament:Libraries are an extraordinary community resource. There has been an extraordinary development in the State-wide library network in the past five to ten years. Libraries are not just repositories of books which people take out and return within a week or a fortnight. For many communities, libraries are now a historical, cultural and artistic hub. We need to acknowledge that in a way we have not done up to now and allow libraries to develop to their full potential.
There should be stronger mechanisms to guarantee access to copyright works - such as a wide range of exceptions for fair dealing, or better still an open-ended defence of fair use, extensive exemptions for libraries and cultural institutions, and a flexible compulsory licensing scheme. Such revisions would promote the original purpose of copyright law to promote the wider public interest in education, research, and learning.
The ad hoc reforms of the Irish Parliament do not go far enough. The extension of the copyright term should be wound back in Europe and elsewhere, because of its impoverishment of the public domain. There is no need for the relatives of authors to enjoy such extensive post-mortem rights. The work of James Joyce should be allowed to fall into the public domain. As Robert Spoo comments:When Ulysses finally enters the public domain worldwide, we will witness, just as we did some years ago when copyrights in Dubliners and A Portrait of the Artist as a Young Man expired in the United States, an explosion of cheap reprints and new editions of Joyce’s Irish epic. We will also see uninhibited use of the work in streamed Internet performances, public readings, dramatic and cinematic adaptations, and multimedia digital presentations complete with period photographs, Dublin maps, sound clips of Irish songs, and hyperlinks to critical interpretations and manuscript sources. On that red-letter day for the public domain, Ulysses will finally take its place with The Odyssey as raw myth-making material for some future national epic. Indeed, it can be argued that a work does not really become a “classic” until it is unqualifiedly available for cultural exploitation. It would follow that overlong copyright protection is an inhibition on the full organic development of a classic.
The time has come for the work of James Joyce to be emancipated from the private possession of his estate, and become part of the intellectual commons, free to be interpreted, adapted, and performed by scholars and artists alike.
Hello friends,
my heart is heavy with this whole copy-protection thing. Many PC users have posted problems that they have had importing the new songs (regular disc only, not the dual disc) into programs such as Itunes. Let me first say that as a musician AND as a music fan, I agree with the frustration that has been expressed. We were horrified when we first heard about the new copy-protection policy that is being implemented by most major labels, including Sony (ours), and immediately looked into all of our options for removing this from our new album. Unfortunately, this is the new policy for all new major releases from these record companies. It is heartbreaking to see our blood, sweat, and tears over the past 2 years blurred by the confusion and frustration surrounding this new technology. It is also unfortunate when bands such as ourselves, Foo Fighters, Coldplay, etc... (just a few of the new releases with copy protection) are the target of this criticism, when there is no possible way to avoid this new industry policy...
I feel like as a band and as listeners, we've all been through a lot together over the past ten years, and we refuse to allow corporate policy to taint the family we've developed together. We deeply regret that there exists the need for any of our listeners to spend more than 30 seconds importing our music, but we're asking as friends and partners in this journey together to spend the extra 10 minutes that it takes to import these songs, which we think you'll agree to be our finest collection of songs yet. As a band, we've always been known for having the best fans in the world and I know that will continue for years to come. A month from now, I hope to be singing these songs together at a show, and the extra time spent importing the music will perhaps be forgotten, or at least forgiven. Thank you for your understanding and the continued kindness that you have always shown for five dreamers from San Diego, we love you guys,
-tim foreman