OK Go are known, in addition to their music, for their quirky videos, particularly a no-edit style
that reduces “production values” (and costs) while making the whole thing that much more impressive. They’ve done a Rube Goldberg machine
and a sound generating car-obstacle course combo
. Now they have an entire video based on optical illusions.
One of my favorite things about optical illusions is not that they show that our brain can be tricked (which it can). It is that optical illusions are entertaining proof that the reality we perceive is a processed version of actual reality. Optical illusions represent a hack of that system.
Hat tip to Lauren Davis at io9.
We have a hopeful sounding update on the takedown of astronaut Chris Hadfield’s video cover of David Bowie’s “Space Oddity” from the International Space Station. According to Ars Technica, it was Hadfield himself who took down the video in order to comply with his original agreement with David Bowie. For those paying close attention (eg, not me), Hadfield gave us a little advanced warning that this was going to happen:
Hadfield and Bowie’s camps are reported to be working on a new licensing deal that should see “Space Oddity” from orbit return to the Web at some unspecified future date. Don’t hold your breath, though. Getting the details of the first, one-year license hammered out apparently took several months – probably due to the variety of individuals and government organizations involved.
If I were David Bowie*, I would be grumpy with my representatives for not getting a new deal done before the old one expired. In the one line of an otherwise very wise discussion of the copyright issues surrounding Hadfield’s “Space Oddity” cover (endorsed by Hadfield) that misses the point, Meera Nair says:
Yet the fact that something that people liked to watch was disappearing from YouTube prompted a bewildering public outcry.
The outcry might have been unreasonable, but there was nothing bewildering about it to regular viewers of the Internet.
The original one-year license made sense at the time. In retrospect, the video seems like the most likely candidate to go viral ever. At the time, who knew it would matter so much when the license expired?
Hadfield’s cover of “Space Oddity” was tremendously good press for Bowie and introduced the song to generations that were not necessarily familiar with his oeuvre. While not necessarily fair, it was obvious that the removal of Hadfield’s cover from the public spaces on YouTube would make Bowie look like a monster. In many ways, this is less a copyright FAIL than a public relations FAIL.
*I suspect that, were I David Bowie, that this issue has not been at the top of my priority list.
UPDATE: The video was taken down voluntarily by Hadfield in keeping with his original agreement with Bowie and without pressure from Bowie. That does not mean this is how things should have happened.
Almost one year ago today, I posted about astronaut Chris Hadfield’s cover of David Bowie’s “Space Oddity” from the International Space Station. I hope you took the time to check it out then, because you can’t anymore.
According to the Ottawa Citizen, David Bowie had given Hadfield a one-year license to cover Space Oddity. Last Wednesday, the license expired and the video was taken down.
While Bowie has the right to license his song as he sees fit under the law, it is difficult to see how this helps anyone, including Bowie, aka The Goblin King. It is very easy to see how this hurts the effort to inspire people with science and art.
At the time, I wrote that Hadfield’s cover represented the “best of humanity”. If that was true then, what does this – the use of copyright pedantry not to prevent theft of ideas, but to squash creativity and inspiration – represent?
But, let us reflect the best of humanity and be charitable. Maybe Bowie just forgot to renew the license. I do that all the time – forget things, not licenses, no one wants to license my crap.
*Hat tip to Cory Doctorow at BoingBoing.
We’ve already reposted Marie-Claire’s post on Tegan & Sara’s rendition of Walking with a Ghost, which, depending on your pedantic devotion to the definition of irony, may or may not have been ironic. Marie-Claire’s post used the comparison between Tegan & Sara’s original and The White Stripes cover to talk about replication studies in science.
On Wednesday, The Nerdist Podcast released an interview with Tegan & Sara, in which they talk about their careers, motivations, inspirations, pet giraffes, and asteroid-induced apocalypses. This reminded me of a key principle of understanding replication studies in science: you need to understand not only what the people were doing, but also the people. Continue reading “Troubleshooting Replication Studies (in Music)”
Editor’s Note: Marie-Claire has been too busy getting situated as the first Research Chair in Science Education and Public Engagement. How busy? Too busy to listen to music. Forget about writing about music. To give you a reprieve from my musical tastes, we are reposting this gem from 11 September 2012.
Husband and wife duo Whitehorse pack an emotional punch with the first single from their new album The Fate of the World Depends on this Kiss. (I promise I’m not wallowing in clichés here, the punch is literal. Watch the video.) Luke Doucet and Melissa McClelland, major talents in their own right, have continued their musical partnership that began last year with the release of their self-titled debut. Continue reading “Whitehorse’s Achilles’ Desire [Repost]”