The Illusion of More

Contents00:32 – Tim’s background.03:07 – Political voiceovers.04:31 – Voice acting is acting.06:20 – About NAVA.10:25 – Size of NAVA and the market.12:35 – Experiences on the Hill.17:04 – Economic value of the market.18:53 – Resistance to the cause.21:46 – The challenge does not end with licensing.25:24 – What's resonating on the Hill. 28:55 – No FAKES Act.33:29 – Reasons why this conversation matters.40:15 – AI as a tool for creators.44:50 – Is it too late to respond?48:45 – The climate has changed for Big Tech.55:30 – No FAKES reprise.

Episode Contents02:37 - Why I fight for artists rights.07:22 - The biggest threats facing artists.11:52 - The American Music Fairness Act16:27 - Dying of “exposure.”18:40 - A middle-class face on the cause.24:00 - Spotify’s “big payouts” to artists.30:00 - Support for the TikTok legislation.36:10 - Private equity investment in music catalogs.45:00 - The VanGogh diversion.46:10 - Advice to the next generation.50:11 - The latest album Violent Delights.

Pride month is more than celebratory in a time when book bans are on the rise in the United States, and 26% of the titles banned “have LGBTQ+ characters or themes,” according to PEN America. With politicians like Ron DeSantis determined to make “anti-wokeness” part of the Republican brand, this neologism for hate-speech has taken the form of book and media censorship in school and public libraries around the country. One of these banned books, entitled Worm Loves Worm, was written by a close friend named J. J. Austrian, who joins me for this episode of the podcast. Illustrated by Mike Curato and published by Harper Collins in 2016, Worm Loves Worm is a story for young children about two earthworms getting married and trying to figure out which is the bride and which is the groom while navigating the not-so-helpful advice and opinions of the other bugs and critters in attendance. Show Contents01:22 - How does it feel to be among the banned?03:42 -  The creation of Worm Loves Worm.08:12 - What children get from Worm Loves Worm.09:36 - It’s not about sex. Indoctrination to what?12:23 – Attacks on the transgender community.15:03 – Did you expect the backlash when the book first came out?18:34 -Is it hard not to look at the negative comments?20:19 – The “shotgun wedding.”21:50 - Increase in attacks since it was first published.24:10 - More worried about middle grade and young adult readers.28:10 - Ever criticized for writing about a subject that’s not your subject? (outside your lane)34:45 - Do you have Woke Mind Virus?37:15 – A conversation about satire.44:33 – How banning can affect the author.47:44 - The victim’s narrative.50:15 – Hope for the future?52:44 – The Printing Press and the Internet57:05 – Love is love.

This year’s World IP Day theme celebrates Women and IP: Accelerating Innovation and Creativity, and for that reason as well as the fact that artificial intelligence dominates all topics these days, my guest for this episode is the highly innovative Carla Diana, whom I first interviewed in 2014. Carla is a tech designer, author, and educator. She runs the 4D design program at the Cranbrook Academy of Art in Michigan; she is the lead designer at Diligent Robotics in Austin, Texas; and she is the author of dozens of articles and essays about technology and design. Her most recent book, published in 2021 by Harvard Business Review Press, is My Robot Gets Me: How Social Design Can Make New Products More Human. And we’ll talk about what that means, plus generative AI, driverless cars, ethics in technology, and at least one product I had not imagined was a thing.  Show Contents00:01:24 - Carla’s background.00:05:57 - Why good design is social.00:11:55 - Design modalities & thinking about consumers with disabilities.00:20:27 - That tech should not mimic human behavior.00:28:57 - On avoiding innovation for its own sake.00:36:07 - On ethics in technology.00:45:51 - Generative AI and the arts.01:00:55 - Tech solutions for tech problems (e.g. Glaze for visual artists).01:05:32 - Self-driving vehicles.01:09:30 - Economic & social implications of a driverless world.01:15:26 - Combining design and ethics.

In March 2020, the Supreme Court delivered its opinion in the case Allen v. Cooper. The outcome was not surprising because the Court affirmed precedent ruling from the late 1990s which held that the 11th Amendment bars suing a state or state actors for damages stemming from intellectual property infringement.  Thus far, I’ve explored the murky waters of state sovereign immunity as it relates to Allen v. Cooper and other cases, including author Michael Bynum and photographer Jim Olive’s lawsuits filed in the State of Texas. So far, my focus in this area has been academic. But on February 8th, Rick Allen filed an amended complaint in North Carolina, and after I read that narrative, I wanted to invite Rick back to the podcast to talk more personally about his story, what it means to him, and what it should mean to anyone who hears it.  Show Contents1:15 Becoming an Underwater Cameraman11:06 Queen Anne’s Revenge Opportunity of Lifetime15:06 Wreck Diving and Filming27:19 Personal Investment37:20 Rare Cooperation Between Treasure Hunters and Archeologists43:00 A Near-Fatal Accident48:00 State Infringements59:00 Blackbeard’s Law1:05:00 Suing the State of North Carolina1:16:00 Implications for All Creators1:29:00 Overlap with Censorship

Episode Contents01:47 – Why copyright law?04:40 – Working in public policy.07:30 – Public policy and interest in social justice.08:27 - #BlackTikTokStrike12:07 – copyright in choreography19:52 – copyright & cultural misappropriation24:08 - #BlackTikTokStrike & the Elvis narrative27:29 – Copyright Alliance BIPOC initiative.33:46 – dialogue informing the law.36:06 – responses to the TikTok strike.38:39 – engaging young creators in copyright.

Neil Young pulls his music from Spotify to protest the content on Joe Rogan's podcast, and Joni Mitchell and Crosby, Stills, and Nash follow suit. It's a big story for a week, and some noise about "cancel culture" and Rogan himself lingers, but we've mostly moved on. Meanwhile, the economic model for music streaming is still broken. Songwriters make pennies for millions of streams, and the dynamics of the data-driven market are not quite conducive to the kind of experimentation and risk-taking that dominated the period when artists like Young and his contemporaries rose to fame. So, why don't legacy artists who can command so much attention use that power to advocate for fair compensation for the next generation of artists?  I don't know the answer, but the question prompted me to invite songwriter/columnist Helienne Lindvall to join me for this episode.01:22 – Helienne’s background.04:23 – Cyber-bullied for speaking out.08:05 – Changing views about free music, etc.08:52 – The Spotify Young/Rogan controversy.14:48 – What about big artists using their power on behalf of small artists?17:54 – Streaming is also changing the craft of songwriting.25:23 – Are we losing diversity in the digital age?30;20 – Placing value on the work.34:47 –Data driven creation and what that means.39:51 – Devaluing the music.43:35 – Are we producing variety compared to the past?48:30 – Looking at Billie Eilish.51:36 – Songwriting as a job.54:18 – Reprise hope for big artists to speak out.

01:04 - What the hell is an NFT?04:42 - Neil on ripoffs of visual art at OpenSea et al.08:55 - David on the HitPiece ripoff.14:15 - is it all just fraud?20:20 - environmental impact.22:16 - reasons why NFTs might have come about.26:09 - a solution for artists?32:33 - any legitimacy at all?35:57 - regulation by federal or state agencies.39:11 - there is no there there.44:13 - scope of investment already in NFTs.50:50 - crypto as emergency currency.Read Neil Turkewitz's interview with artist bor, a member of the activist group @NFTTheft, and read his follow-up piece about the scope of fraud on the site OpenSea.Read David Lowery's post about the HitPiece NFT ripoff. Read Aaron Moss's post about HitPiece at CopyrightLately.Check out Molly White's blog Web3 is going just great.

Episode Contents00:00:55 - David Golumbia background.00:03:24 - Facebook loves fascism.00:08:24 - Defining "right" vs. proto-fascism.00:11:36 - Paths to authoritarianism.00:13:50 - mysticism and fascism.00:18:56 - Facebook's astrology  TV spot.00:23:48 - More subtle forces driving division.00:32:02 - Facebook is too good for democracy.00:36:32 - Better/more information is not a solution.00:45:11 - "Educate yourself."00:48:50 - Considering outcomes.00:54:05 - Rapidly changing narratives.00:56:25 - Latent extremism let out of the box.01:00:35 - What do Facebook et al really want?01:07:06 - The Big Tobacco analogy.Read David Golumbia's blog post here.See David Golumbia's university page here.

Piracy of creative works like motion pictures, TV shows, music, and live sports is a vast and growing criminal enterprise. In its latest report, Digital Citizens Alliance estimates the combined advertising and subscription revenue generated by piracy is at least $2.34 billion annually. Meanwhile, in addition to its ill-effects on the creators whose works are pirated and the online advertising ecosystem, piracy plays a key role in fostering other forms of cyber crime.Read "Breaking Bad(s)" report here.Episode Contents1:52 – Breaking Bad(s) Report Overview4:05 – Ad and subscription supported piracy6:49 – The online advertising ecosystem.8:49 – Some successful mitigation since 2014.11:14 – The downsides of piracy for brands.15:10 – Major brands found were Amazon, Facebook, & Google.18:01 – It is possible to do something.19:24 – Advertiser pressure to get ad tech to clean up its act.21:09 – Dangers to the consumer.27:13 – Why aren’t the hazards deterrents?30:30 – Drive-by malware.32:07 – Piracy is a vertical for broader criminal enterprise.33:26 – What about solutions.37:33 – Even if you don’t care about copyright owners…40:30 – Intersection with disinformation campaigns?