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Mirrored from Infotropism. You can comment there or here.

In re: yesterday’s post about saving Australian music from obscurity, I have now set up the saveaussiemusic mailing list so we can start discussing the project.

I posted the following in my welcome message, laying out the shape and scope of the project as I see it, and I’m including them here for easy reference (and so this post is more than a paragraph long).

1. The scope of this project is “independent and hard-to-find Australian music”. (My current personal interests are in the indie/alternative/punk/post-punk/etc sort of genres, but I see no reason to limit it to that.)

2. The goal is to make information about this music, and (eventually/hopefully/ideally) the music itself available as freely and openly as possible, to maximise the possibility of people being able to spread the love. To this end we will release everything we can under open source and open content licenses — ideally CC-0 for content and a permissive open source license for any code we create.

3. I want us to use existing infrastructure where possible, rather than creating our own. To that end, I think we should be putting structured data into repositories like MusicBrainz, encyclopedic content into Wikipedia, digital archive material into the Internet Archive, etc. We should give strong preference to data/content repositories that are run by long-term stable non-profits, whose data/content is accessible via open APIs, and whose data/content is widely used by third parties. This will make our material more accessible to the world at large, and won’t wear out our volunteers on maintaining our own servers and databases.

4. This project needs to work within the bounds of copyright law as it currently exists. I personally think said copyright law is deeply deeply flawed, but I also don’t want to be sued into oblivion. So when it comes to media archives, we need to think innovatively and come up with legal ways to do it.

5. We should partner, where possible, with other projects and organisations with similar goals. This can range from public libraries and archives, to groups like Creative Commons, to (just a blue-sky example) crowdfunding organisations like pozible.com.au. Partnering will get us more exposure and awareness of our project, and also save us from reinventing the wheel.

6. We need to involve people from a range of backgrounds: musicians, fans, librarians and archivists, coders, journalists and zinesters, everyone. I want us to share knowledge/skills and make this something that all sorts of people can take part in, regardless of technical background, profession, or degree of indie cred.

Another thing I would say, as a sort of high-level description of the project, is this: librarians talk a lot about preservation and access. This project needs to consider both of those, plus awareness. We should be making people aware of Australian music, and of the set of issues that prompted this project in the first place.

Anyway, if that sounds interesting to you, please join the saveaussiemusic mailing list.

ObRandomPhoto: stencil art on the sidewalk near my house in the Mission District, San Francisco. I was wearing exactly the right sneakers that day.

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Mirrored from Infotropism. You can comment there or here.

A few weeks ago I asked around for recommendations of twitter people to follow who were at the intersection of tech and music. Consider this a set of “people to follow” recommendations if you’re interested in the same thing, as well as some highlights of recent things I’ve found via them.

(As an aside, can anyone suggest a good way to read a twitter list such as this one in such a way that it includes new-style retweets? It seems like Twitter itself screws this up, unfortunately.)

Wendy Hsu (@wendyfhsu) on LA’s Chinatown, the punk wars, and race:

I’m strangely attracted to this topic. But I’m not sure what my attraction entails. I know that it’s definitely related to my fascination with LA and excitement for moving to LA. I also think that this could be a seed for a new digital project. The KCET’s project can be a start of what I conceived as an in-depth interactive investigation of the interconnections between music of the “underground,” immigrant communities, and place, to unfurl the hidden discourses behind the often-times white-centered punk rock narratives.

Via @debcha, Unhearit:

Got a song stuck in your head? Unhearit promises to unstick it for you. The catch? It does so by replacing it with something equally sticky. A Faustian bargain if I’ve ever heard one.

Deb also asks, who will gather type specimens of music, as the Internet Archive is now doing for books? Good question.

Brewster decided that he should keep a copy of every book they scan so that somewhere in the world there was at least one physical copy to represent the millions of digital copies. That safeguarded random book would become the type specimen of that work. If anyone ever wondered if the digital book’s text had become corrupted or altered, they could refer back to the physical type that was archived somewhere safe.

From @theleadingzero, a video tutorial she made about audio processing with Python (the beginning includes a good intro to digital audio for laypeople, too):

And to wrap it up, have a death metal parrot:

September 2014

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