[Frameworks] UBU - Not Pirates. A response to the UBU thread

[marcos at expcinema.com]

   Here is their response:

   http://ubu.com/resources/frameworks.html

    Quoting jeanne LIOTTA <jeanli515 at gmail.com>:

> Yes its been tweeted from day one of discussion, and been retweeted by many
> others (with various emoticons) yep whole thread. It's alive! :-P
>
> On Sun, Oct 17, 2010 at 1:40 PM, Mr Chris Lynn   
> <lynnchristopher at yahoo.com>wrote:
>
>> David they are listening they have tweeted about the discussion if you go
>> the ubu home page and click on the Twitter link the whole thread is there
>> cheers
>>
>> Sent from my iPhone
>>
>> On Oct 17, 2010, at 9:10 AM, David Tetzlaff <djtet53 at gmail.com> wrote:
>>
>> I just want to note that I mean nothing I have said to discount the
>> specific critiques of Ubuweb Jonathan discusses. To the extent that
>> they have shamed anyone, positioned themselves as "the solution" etc.,
>> they'll get no defense from me.
>>
>> Nor do I intend to advance a brief for crappy lo-fi copies, other than
>> to observe that most of the time (but not always) something is better
>> than nothing.
>>
>> Nor do I dispute that the discovery of a widely distributed,
>> unauthorized, poor-quality copy of ones work can engender a legitimate
>> sense of violation. I do however hold to my argument that this cannot
>> justly be equated to the violation involved in the theft of personal
>> objects. (Steve: I do not discount the validity or significance of
>> these feelings of violation, only the validity of equating them with
>> more serious violations.) Piracy may not be theft, but that doesn't
>> mean it's totally OK.
>>
>> Jonathan wrote:
>> Which is what troubles me to see people so ready to accept the
>> anecdotal evidence that UBU has elevated experimental film's
>> cultural profile (and rental fees). If anything, I'd say UBU is at
>> least as much a beneficiary of this elevation - which has primarily
>> been accomplished "from the inside" of experimental film - as a cause.
>>
>> Well, as there are no formal studies I know of, anecdotal evidence is
>> all we have. And a claim that 'elevated cultural profile' results in
>> increased rental fees strikes me as especially dubious. The argument
>> of my earlier posts was that the economic value of experimental
>> filmmaking cannot be realized through the commodity forms of sale or
>> rentals of the films themselves.
>>
>> If attendance at Anthology is up, if rental fees at Canyon are at
>> stable, if more people are indeed getting exposure to experimental
>> film/video, I'd put UBU pretty low on the list of people to credit.
>>
>> (I mean this sincerely:) Who/what do you credit and what evidence
>> (anecdotal or otherwise) leads you to this conclusion?
>>
>> Those who have voiced skepticism, even outright hostility, toward
>> UBU can't simply be dismissed as dupes of a corporate ideology of
>> intellectual property and copyright,
>>
>> Of course not. But what has pushed my buttons in this discussion is
>> not the critique of Ubu, but the discourses raised in that critique.
>> And, I'm sorry, but anyone who suggests 'copying is stealing' or uses
>> the phrase 'intellectual property' without brackets IS a dupe of
>> corporate ideology.
>>
>> I wonder if anyone at UbuWeb is listening in to this discussion. I'd
>> certainly agree that UbuWeb could be improved -- though I'd guess
>> that, like many film fests and screening series, it's mainly a labor
>> of love with limited resources and the creators are doing their best,
>> aware of the flaws, and just very limited in being able to deal with
>> them. Nevertheless, we might light the proverbial candle instead of
>> cursing the cliched darkness, and try to generate some ideas about
>> online versions of experimental work (not just Ubu, there's a lot of
>> classic material on Google video as well) could be improved to better
>> serve the artform, the community, and the artists whose continuing
>> practice keeps the form alive.
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>>
>>
>>
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>
>
>
> --
> www.jeanneliotta.net
>


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