Come come come, 20th May at Maggies/Tramps in Bretonside. We don’t get a dubstep night down here often, but when we do they’re big!

A lot of people have been looking for the kode9 featuring flying lotus podcast from Rinsefm and it’s not working on the site so I’ll host the mp3 here myself.

1] Heralds Of Change - Spotted
2] Rustie - Soapy Tits- beatnicks
3] Zomby - Spliff Dub [Rustie Rmx] Big fucking tune.
4] Ikonika - Please
5] Joker - Gully Brook Lane
6] DJ Mitsu the Beats - Negative Ion (Sa-Ra Remix)
7] Pattie Blingh - To: Re (Samiyam Mix)
8] Flying Lotus - Roberta Flack

Fly Lo steps in

9] Cookie Skit… lol
10] ?
11] ?
12] ?
13] Alien Skit
14] ???

Kode 9 on

****15]**** don’t think there’s a track in here
16] Kode 9 - Konfusion
17] Mashup with Tugged Out Bitches / Bodies18] TRG - Broken Heart (Martyn’s DCM remix)
19] James Yorkston - Woozy with Cider (Kode9 Rmx)
20] Mala - Unexpected
21] The Bug & Flowdan - Skeng [Kode 9 Rmx]

Fly Lo

22] ?
23] ?
24] ?
25] Madvillian - Shadows Of Tomorrow Feat. Lord Quasimoto [Flying Lotus Remix]
26] J Dilla - Lightworks [Remix?]
27] Mr Oizo - $tunt [Flying Lotus Remix]
28] ?
29] ?
30] ?
31] ? Sounds Familiar Fly Lo I think

Kode 9

32] Quarta330 - Bleeps From Outer Space (i think)
33] Mala - City Cycle
34] Dabrye - Air Feat. Doom [Kode 9 Remix]
35] Martyn - Velvet
36] Ikonika - Simulacrum
37] Kode 9 - ???
38] Badawi - Den of Drumz (Kode9 Rmx)

Fly Lo

39] ?
38] ?
39] Flying Lotus - Massage Situation
40] Si Begg - Bangin
41] ?
42] ?
43] Flying Lotus - Riot
44] ?
45] ?

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The thing that has interested me most about copyright infringement is how commonplace it has become over the last decade with the arrival of high speed Internet that if you were to ask anyone off of the street if they had ever illegally downloaded a film, the answer is more than likely to be yes.

The interesting thing is the difference between how seriously the film industry and the law take copyright infringment, but on a consumer level, illegally downloading a film can be second nature to some people.

As the Internet allows the user to be behind a mask so to speak, people are more willingly to download illegal content as they do not have to front anyone and the chance of anyone knowing is small (especially in this country).
This has been going on at a very high scale since the turn of the new century and shows no sign of stopping. It is reported that by downloading films, it costs the US industry $20.5 billion per year which also results in jobs being lost too.

However, copyright infringement does not involve material posessions, so therefore a lot of people claim that nothing is being lost by downloading a film. If someone owns a car, and you steal that car, they are being deprived of that car. With a film, if you download it, noone loses out. Or do they?

As this ‘crime’ has increased tenfold in the past 8 or so years, I feel it will evolve into something new in the next few years.

Broadcasting a copyrighted film to a large audience is also a crime. Buying a DVD, or going to the cinema effectively works on a license basis, you pay for yourself to watch the film, however if you ‘distribute’ the film to a larger audience, you’re conducting an illegal activity.

I predict that within the next few decades there will be various groups all over the world that will broadcast mainstream films in a similar way to how Pirate Cinema works which will have been organised by online social networks and then displayed in public areas where a large number of people will congregate to watch.

http://www.usdoj.gov/criminal/cybercrime/valenteCharge.htm
http://www.washingtonpost.com/wp-dyn/content/article/2006/09/28/AR2006092801640.html

Keep Up Your Rights. First Preliminary Program of the Berlin Pirate Cinema

The only thing we’ve seen from this year’s Berlin Film Festival was a dark limousine parked on Hackescher Markt with a printed logo that read “Cinema for Peace”. Which is a blatant lie: since the applied combination of computers and the internet, cinema - apart from a few marginal cinemas - is cinema for war.

This “War on Piracy” is, first, a war against their own customers, and it is openly advertised as such. Whoever enters a German cinema or video store will see himself, shot from behind, either handcuffed, under the slogan “Copythieves are Criminals”, or harrassed by fellow inmates, with the punchline “Hard, but fair”. They even went on a promotional tour with a mobile prison cell, which is
a marketing idea that not even the weapons industry has ever come up with.

Next, the “War on Piracy” is a war against their own employees, these new proletarians of “Intellectual Property”, embodied by the sound engineer who can’t afford his health insurance or the camera assistant who can’t pay back her student loans. And that’s not because they have been cheated out of the ownership of the means of production, not because the worldwide labor market keeps their wages down and not because their debt is the very business of insurance and credit companies, but only — German Ideologiekritik would refer to the term of the Traumfabrik here: mass fabrication of dreams, lies and movie reels — because of the applied combination of computers and the internet.

But above all, the “War on Piracy” is a war against revolution: against the French Revolution that has generalized individual rights and against the Digital Revolution that has generalized the individual exchange of data. What cinema - with the only exception of the French Cinema and the Digital Cinema - wants to generalize is the cancellation of these rights and the cancellation of these exchanges. That’s why we’re all criminals: not only those who circumvent the copy protection of a DVD or bring a camera to a cinema — in the U.S. today, both will face prison terms that dwarf the ones for theft and even exceed the ones for manslaughter — but everyone who insists on the basic banality that
whatever is digitized has already been, and can always be, copied, and that whatever can be seen has already been, and can always be, reproduced.

But instead of dropping the images altogether, which would be simple, cinema presents to us what it claims to be its rights: infinite copyrights that will never expire and that it threatens not only to protect, but to digitally manage. In order to make the expropriation of the people irreversible — the dream of cinema — they need more than all the legal backup that money can buy: they need a technical implementation. This is a war that Orwell had no imagination of and that even Kafka could not entirely figure out — and to make the slightest glimpse of this war disappear behind the smokescreen of public relations and free limo services (it was a Phaeton, by the way: the only luxury limousine on
earth that is named after a son who crashed in his father’s car) is the very program of the Berlin Film Festival. The cinema of the 21st century stands as much “for peace” as the drug enforcement agencies or the anti-terror police, and the Berlin Pirate Cinema is simply what we’re running to keep up our rights.

from here

Pirate Cinema was launched last night, it went really well and the picture came out a lot better than I expected. Got a lot of footage to edit today ready for tomorrow, here’s some stills…

Initially, my idea for Pirate Cinema came from the works of the Graffiti Research Lab in New York who have recently focused on projection technologies with projects such as Laser Tagging. This involved graffiti writers using laser pens to project their tag or message onto a nearby building which would be visible to anyone in the vacinity. The groups idealogies are based on creating open source technologies to aid in ‘getting up’ (a graffiti term for becoming known and getting your name out).
The thing that inspired me about this project was that the work was very accessible, being in the public eye as it was taken to the streets.

In various cities all over the world such as Berlin, Copenhagen, Knoxville (but starting in Berlin, Germany) there is an existing movement called ‘Pirate Cinema’. This is a regular event that involves screening copyright mainstream films to a large audience for free in a counter movement against the ‘war on piracy’ which they believe constricts the monolopy on the film and media industry in order to open it up to an open public for inspiration and ideas to thrive without having to pay.
These events would often take place in squat buildings with an audience of about 20. For even such a small audience, there has been police interest even with arrests of copyright infringement.

Although the idea is fairly similar, I didn’t like the idea of how they restrict themselves to a small building, where the streets would have a potential wider audience where people didnt have to sit in a shabby room to watch a film. However, these projects bring up a huge issue of copyright and broadcast law and what it means to certain people which is very interesting.

Drive In Cinemas to an extent are quite a big inspiration for the idea as, even though they seem to be an extinct event, the premise of having people anonymously come together to watch a film in an area, then go away again seems almost poetic.

Pirate Radio is the last but very benificial inspiration to the idea. I’m a big fan of Rinse.FM, a popular pirate radio station based in East London, however having to listen to it online rather than via a radio, you lose the realness of pirate radio, but still get a feel for the community and interactions that you don’t get with commercial radio stations. This inspiration plays a huge part to the audio side of the project where the audio is transmitted by radio waves to nearby receivers whether they be car stereos, mp3 players etc.

I think I should outline and give some details about my upcomming project Pirate Cinema.

What is Pirate Cinema?

Pirate Cinema is the regular event of ‘broadcasting’ mainstream films for free to a public audience using projection and transmission technologies. The video image of the film is projected onto nearby walls, buildings etc. which will attract attention from the nearby public and the audio of the film is transmitted using an FM transmitter - a fairly recent gadget commonly used for mp3 players to play on car stereos.

These events could then be curated and organised using popular social networking sites so that people can anonymously attend (whether with personal mp3 players or car stereos etc) without attracting attention from the authorities, then leave again.

Technical Description:

As mentioned, Pirate Cinema will be using projection and transmission technologies. The project is basically in two parts, the visual and audio. Using a lumen based projector, the visual video part of the film would be projected from a laptop that is playing the film using an adaptor from the laptop to the projector. The audio of the film will then be transmitted at the same time whilst synchronised by using an FM transmitter. The audio can then be received by the viewer with a portable radio, a personal mp3 player or even a car stereo.
A generator can be used to make the system portable which would then allow the projection to be played in a number of places and especially allow the speedy getaway if needed

Target Audiences:

As Pirate Cinema takes place in a public environment, the event is open to anyone to watch, and if they have some sort of FM receiver, the audio too.

The project is mainly aimed at a youngish audience who have no qualms over watching films for free. This would generally be anywhere from 16-30 both male and female but is very open to other ages, but by judging by the general demographic of the age of visitors to the local cinema, most people fall into that age.