We’d played this song a ton on Unhindered by Talent when it was new, and I had no idea there was ever a video for it. A friend of Tom’s just pointed him to it over on Facebook (thanks Devin!) and I had way too much fun watching this several times. So many wonderful images, but I must say the drummer in pearls and the three dudes in lederhosen crack me up every time.

The album this is from was initially released in Australia in 2000, but it’s UK and US releases were delayed as the band worked to sort out sampling clearances, ultimately replacing several of the samples they couldn’t get cleared.

It might also be useful to read the lyrics since Aesop Rock’s verses (which are crucial to our exchange) are tricky to follow and understand. (I totally missed the “Vin Van” reference to Vincent Van Gogh until I read these, for example.)

Now to the exchange:

Tom: Thank you for paying for that [something minor]… For paying for college and so many other things… I feel like I owe you guys more than I could ever pay back…

Nic: DON’T SEND ME AN EAR!

Tom: That was the single best response you could’ve sent :-)

A nice example of why art and music matter. They give us a short-hand language for describing important and difficult concepts. Tom and I had discussed the lyrics to this song at some length when the video came out a few weeks ago, and Tom’s initial text really resembles some of the ideas Aesop is presenting in the song. Because of that conversation, I could respond with could appear as a bit of a non sequitur that would instead carry with it tons of information, and manage to raise a smile at the same time.

I’ll wrap by definitely recommending The Uncluded album. I think “Delicate Cycle” (video above) is a really wonderful song; I listened to it about a zillion times when the video came out. While some of the songs seem to have Kimya and Aesop’s parts kind of pasted together, Perhaps the two most “unified” sounding songs in my opinion are “TV at 10” and “Organs”, both of which are just killer. Tom really likes “Bats” as well. So check it out, and share your thoughts.

The U.S. Department of Energy is featuring a small set of six U.S. colleges and universities that they feel are doing cool things to help us move into a more sustainable future. The second video to be “aired”? The University of Minnesota, Morris :-)

Our computing folks are getting involved in this by building tools that will help provide community members with current (hopefully nearly real-time) information on both energy consumption and production. Down the road we’re hoping to give people some predictive assistance, suggesting possible times when discretionary high-load jobs would take best advantage of things like our wind turbines.

Most (all?) of the photos from Fashion Trashion (about two minutes in) were also taken by yours truly. Thanks to Jess for inviting me to take photos at these extremely cool events.

While it’s really hard to describe and summarize such a complex performance, a section I particularly loved had them doing a somewhat traditional dance to a large chunk of the audio from the video below. The video is of an art installation by Nate Harrison where the viewer listens to the audio on an LP, where Harrison discusses how a drum break from the The Winston’s 1969 B-side “Amen, brother” (often referred to now as the “Amen break”) has been sampled, re-used, and deconstructed in hip-hop and commercial advertising. Harrison’s discussion is a really nice piece of cultural history and analysis, although I confess it was perhaps more compelling with casebolt and smith dancing at the same time.

It would have been interesting in its own right if casebolt and smith had simply danced with Harrison’s commentary. They took it up a notch, however, by following it up with a really interesting dance/discussion of how dancers use and re-appropriate moves and steps they learn in classes and see in performance, effectively “sampling” movements much like a hip-hop artist samples beats. She demonstrated various moves and styles, and he then grilled her about where she learned the moves, and on the appropriateness of re-using these moves without credit or payment. This quickly borders on the absurd, which is of course the point. The courts have allowed labels to charge for re-use of tiny fragments of recordings, where there are no such expectations in dance. Presumably a key piece of this is the ability to record (either on paper or as an audio recording) and distribute music, where dance can’t be recorded and copied in the same way.

In short, it was a cool, funny, intelligent performance. We had a great time, and highly recommend the show.

I found it really interesting to find that the YouTube version of the video above was in fact lifted from Harrison’s web site without his permission, although he says in the comments that he doesn’t care (search for “nkhstudio” in the full comments). So you have Harrison making a commentary on copyright and intellectual property, which is then appropriated by someone else and turned into a YouTube video. Then casebolt and smith use it in their performance, without ever telling us where that audio comes from, as a starting point for a great conversation about intellectual property. And while it’s possible they knew about the Harrison piece before it showed up on YouTube (Harrison was a friend from college for all I know), the odds favor them discovering the piece via YouTube, where it has over 2 million views.

So…

• Now I’ve listened to “Amen, brother” (a song I’d never heard of)
• because of a dance performance
• borrowing parts of an audio track
• which I was able to find via Google
• as a YouTube video
• generated (without permission) from a video by a performance artist commenting on intellectual property and copyright
• using as a springboard the extended and repeated use of a 6 second drum break from The Winston’s “Amen, brother” in hip-hop and advertising

What a wonderful example of how re-appropriation can enrich the world, especially if we worry less about profit and more about gain.

The University of Minnesota Office of Information Technology is proud to announce that the University of Minnesota is soon to become a member of ResearchChannel. ResearchChannel was founded by a consortium of leading research and academic institutions to share the valuable work of their researchers with the public through a cable television distribution network. ResearchChannel is now available to more than 30 million U.S. satellite and cable television subscribers and more than 1.6 million people who visit the ResearchChannel Web site at http://www.researchchannel.com each year. The channel also is available on 70 university and school-based cable systems in the United States…

Cable TV was cool when I was college age a zillion years ago (back in the 80’s), and we thought MTV was pretty darn cool.

That was then, though, and now is different. Sub-Evil’s generation don’t channel surf through the cable offerings, amazed that they have more than 4 options. They just don’t watch TV like we did. They time shift like mad, and cruise through a vastness of on-line offerings that make those early cable days seem positivity puny by comparison.

And now the U decides to get excited and pipe its research out to students on a cable television distribution network?!?

Uh, sorry, but I have my doubts. 30 million U.S. satellite and cable television subscribers?

Ooh.

Ahh.

Yawn.

In fairness, however, they do almost address this, even if in the tone of an afterthought:

…and was recently launched on iTunes U and YouTube.

w00t! YouTube! They get it!

Well, sort of.

You see, a quick look suggests that what they’re providing is honking great collection of lectures. They’re almost all long (mostly on the order of an hour, some closer to two), and seem to be largely academic “talking head” videos. Just what a college student wants to unwind with after a long day of…um…lectures.

Thus it’s hardly surprising that ResearchChannel’s most viewed video on YouTube has only been viewed (as of 2 Mar 08) 1,592 times, and their 10th most viewed has only been viewed 153 times (so a very steep drop in views). For comparison, the video of Sub-Evil’s performance of “Taco Man” at the ASA Talent Show 1.5 years ago has been viewed 1,033 times. It’s 1.5 minutes long, was shot will a cell phone from the audience, and only shows the second half of the song. But it would place a solid fifth in view count amongst the 166 videos that ResearchChannel has on Youtube. To be fair, it doesn’t look like any of the ResearchChannel videos has been up for much more than a month. Sadly, though, I suspect that the fragmentary “Taco Man” video will continue to hold its own against most of these even if we check back in a year or two, even with whatever marketing and promotion ResearchChannel and the associated universities might put into this.

And that video of the cute kid summarizing Star Wars? Almost 4 million views in less than two weeks.

I’m a big fan of serious content vs. sound bites, and I think ResearchChannel has their heart in the right place. There are cool examples of videos generated by university types that really take advantage of the medium and are successful in reaching an audience. I have grave doubts, however, about the likelihood that this simplistic mapping of the old lecture model onto (semi-)new technology is gonna get any traction with our son’s generation. I’m sure that some are quite good, and I can imagine that some might be quite popular/successful. But I’m guessing that those are the exceptions rather than the rule, in large part because this model just doesn’t make a lot of sense.

It’s like TED, but four times as long-winded, with less quality control, and worse production values.

Ought to just pull in droves of kids.

Really.

Droves.