Might interest a couple of you. From @dcoeurjo on that platform formerly known as twitter:
"Glad to share with you the major release the Uniform Toolkit Library https://utk-team.github.io/utk (c++/python). If you're interested in point pattern design for Monte Carlo integration (eg estimation of 𝜋 from inside/outside probes of the disk) or MC rendering, check it out!"
It's been 21 years since #BillWillingham launched #Fables, his 110-issue, wide-ranging, delightful and brilliantly crafted author-owned comic series that imagines that the folkloric figures of the world's fairytales are real people, who live in a secret society whose internal struggles and intersections with the mundane world are the source of endless drama.
If you'd like an essay-formatted version of this thread to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:
That's a thorny question. What Willingham really wants here is a #sampling license - a license that allows licensees to take some of the elements of his work, combine them with other parts, and make something new.
But no CC license fits that description. Every CC license applies to whole works. If you want to license the bass-line from your song but not the melody, you have to release the bass-line separately and put a CC license on that.
Der Bundesgerichtshof legt dem Europäischen Gerichtshof Fragen dazu vor, ob #Sampling unter die urheberrechtliche Erlaubnis für #Pastiche fällt. Damit geht der wohl älteste Rechtsstreit des #Urheberrecht, Metall auf Metall, in die nächste Runde. Die Fragen sind so komisch formuliert, dass es danach sicher weitere Instanzenzüge gibt, aber sie erlauben dem EuGH grundsätzliche Ausführungen zu Pastiche zu machen. https://www.bundesgerichtshof.de/SharedDocs/Pressemitteilungen/DE/2023/2023157.html
Zahlen, bitte! Der Amen Break: 6 Sekunden, die die Musik veränderten
Der Amen Break eroberte als meistgenutzter Sample die Tanzflächen und definierte sogar Musikstile. Dabei war sein weltweiter Siegeszug nicht vorherzusehen.
#OTD July 25, 1989
Beastie Boys release their second album, “Paul’s Boutique”
Before this, I was lukewarm on the Beastie Boys. Some of the songs on their first album had some pretty cool rock samples, but for the most part I found them mostly annoying purveyors of jock rap.
That all changed almost immediately the day Paul’s Boutique dropped. I was in college, a radio dj, and working at a record store. Perfect timing. We’d play this album constantly in the store, and over a great sound system, so I got familiar with it quickly.
Groundbreaking use of samples, clever lyrics, and some really cool beats thanks to their new production partners, The Dust Brothers. I was so glad they remastered this back in 2009.
When did you first hear this album? How do you compare it to their other albums?
My usual instinct coming from a #tracker / #MPC background is to sequence everything, but the SP is all about adding effects and re-sampling. In the end I'm using my other gear a lot more to make samples on the fly (and sampling youtube/tiktok straight from the phone of course)
The SP is great because it's very focused – it doesn't try to do everything. I sold my MPC Live because it felt like using a computer and I already have one of those.
Welcome to everyone who's just joining or rejoining Mastodon!
Here's your periodic notice that it is statistically impossible to get a representative sample with a Mastodon poll. The most reliable thing you can find out are absolute numbers ("34 people think Aaron Neville is underrated!").
Please feel free to create, vote in and boost polls for fun. But please don't mislead anyone into thinking that boosting will achieve a "better sample size." It will not!
Müssen Künstler und Autoren für Künstliche Intelligenz entschädigt werden?
Künstliche Intelligenz bedient sich mit Computerprogrammen in großem Stil bei Produkten der menschlichen Kreativität. Künstler, Grafiker oder Autoren fragen sich: Ist das fair? Von J. Edelhoff, E. Özer und T. Soliman.