[P2P-F] PPL (Peer Production License) Discussion List

Mon Mar 31 21:50:37 CEST 2014

dear Eimhim,

can we publish this in our p2p blog,  as is or in adapted form ?

if you agree, please send it to Kevin for publication,

many many thanks!! this is a great real-life testimony,

Michel

On Mon, Mar 31, 2014 at 2:41 PM, Eimhin David Shortt <
involuteconduit at gmail.com> wrote:

> An anecdotal account on the usefulness of the peer production license from
> an experience in the circus/flow/spinning arts.
>
> My friend Ronan McLoughlin was member 951 of home of poi back in 2003.
> Back then the 'jedi' move, the most difficult move that existed, was the
> 'behind the back weave'. Today there are over 150,000 members of this
> website and, in true networked learning tradition, the art has complexified
> accordingly becoming a practical science of geometric shapes, flow
> patterns, translations, and patterns while developing a global
> supracultural community of practice with festivals, learning events, shops,
> jewelery, fashion, and so on. I was a jedi back in 2003, these days, not so
> much. Ronan on the other hand has maintained his 'jedi' status, and ten
> years later is one of the 'grandfathers' of this collaborative and emergent
> art form.
>
> In 2010 Ronan invented 'contact poi' after a brief encounter with this
> potential in a play session with dancer and contact juggler Ed Adams (a.k.a
> AnimatEd Adams), it was a simple innovation of the structure of the object,
> using rope, a 100mm contact juggling ball, and a juggling club handle.
> Because of Ronans 'Jedi' status as a frontline explorer of the
> possibilities, and the influence he holds in that community by virtue of
> his creative process, 'Contact Poi' became a thing.
>
> The owner of Play Juggling, a maker and online  seller of juggling props,
> contacted Ronan to access the prototypes (admittedly simple) and in a
> subsequent commication breakdown, went on to mass produce and sell the
> model with no benefit accrueing to
> Ronan whatsoever. Ronan is lovely and this doesn't bother him much, but it
> bothers me.
>
> We started together in the practice of object manipulation back in
> university in Galway in 2003. We have been best of friends since, most
> people confuse us as brothers though we are not directly related at all. In
> this last 11 years I have watched him develop this artform, along with many
> others, and the community, a collaborative community, that built up around
> this process. I find it unfair and unjust that a specialised distributor
> should absorb the value created by this man, my friend, and artist, for
> something that he has created, and popularized by his influence, effort,
> and creativity.
>
> Had I known about the peer production license in 2010 I would have
> suggested it to him, but even though I was familiar with the P2P movement,
> and with OS licenses such as the Creative Commons license, I did not fully
> understand the global context of production, value, and the workings
> of capital. Now that I understand this somewhat, the application in this
> case is clear.
>
> Ronan lives outside Timoleague, Clonakilty in West Cork, at the moment he
> is renovating the 'top-cottage' and making nut butters, kombucha, and
> kefir, while attending a course on food production in a nearby town and
> works two days a week at the family speciality food and wine shop The
> Lettercolm Kitchen Project in Clon. I wish for Ronan that he had had his
> efforts honoured by the application of the Peer Production License as it
> fits the kind and heartful person that he is. Instead, others profit by his
> efforts, and he continues creating regardless. Making that which others eat
> and sustain themselves by. Hopefully he will have more luck with the nut
> butters and holy well water kombucha and kefir (his house is beside a holy
> well which provides the house with water).
>
> By writing this I intend to show a few things. First of all, this is a
> clear example of a case for the application of the Peer Production
> License among the global circus arts community. Secondly, I want to show
> our own insularity in the P2P Community, that we do not educate and
> disseminate materials in a way that makes the tools we are developing
> accessible, by way of understanding, to communities outside of this one. I
> point out above that I could not see the reason and use-application of the
> license until I had an adequate understanding of the global function of
> capital and the predatorial capture of value.
>
> In pointing this out again I think it important that we step up our
> collective efforts this summer to bring people together at FLOSFs
> : Free/Libre Open Source Festivals. Where we educate eachother and
> celebrate the value and shared values of our respective collaborative
> communities. To this end I have begun work with programmer Matthew Hart on
> the 'Cake Chart', a simple tool to legibalise resource and role
> distribution in any work. Here the focus of course is OS festival creation.
>  We presented this 'made in three days' mock up at a dance event 'Dance,
> the body and activism' as part of an appeal to that community to explore
> open participatory budgeting in an effort to overcome the divisive effects
> of state funding structures in the arts in Ireland, a process that
> commodifies and makes a competition of what should be a creative process. (
> http://www.bazosoft.com/cake_chart/)
>
> Earlier today, in the Resilient Communities facebook group I cam across
> this article on Open Sourcing Festivals:
> http://www.pixelache.ac/blog/2014/open-sourcing-festivals/#comment-2324
> And this reminded me of an event I created in Pushkar India, where I
> rented a small hotel and ran a Free CoCreative and Participatory festival.
> After a short publicisation of the event in Goa at the Indian juggling
> convention InJuCo in 2011, I opened the doors of the event and began
> cleaning preparing and decorating the venue. Folk asked me (as I hurriedly
> lugged, lifted and loaded) "When does it start?". I explained: "This is a
> 'Free' 'CoCreative' 'Participatory' Festival, it starts when we start it,
> right now I have to prepare the space."
>
> In ten minutes everyone was up and moving and everything subsequently was
> put into place, the venue was decorated, soundsystem set up, workshop wall
> built and populated, and from there it began. There were workshops by day,
> in theatre, dance, choregraphic techniques, darbooka, macarma jewelery,
> belly dance, contact staff, juggling, freestyle rap, acrobatics, we had
> camel rides going, free group meals provided in the evenings cooked up by
> Khalu Ram the Camel Man, musical performance in the evenings with Berlin's
> Ohr Booten followed by group jam sessions and performance. Friendships were
> made, people fell in love, later when I moved back to Europe, to Berlin, it
> happened that I moved to the same street as the Ohr Booten crew who opened
> many doors for me personally in Berlin, I am sure the same happened for
> others. My favourite part was the freestyle rap section where a circle of
> 16 people, none of whom had ever tried it before, were taken through the
> three stages, the Body (beat) Mind (lyrical metre) and Soul (the full flow)
> of freestyle rap. We heard voices rap in French, Arabic, Indian, German,
> English... This was one among many beautiful experiences.
>
> It was a very small festival with only 70 to 100 people, alcohol
> and 'drug' free, over 5 days, but this was the best thing I had ever
> created, experienced, and enjoyed. The aim was to test the premise that
> payment makes way for expectation, passive consumption, and that it
> diminishes creative potential. The test proved beyond doubt that this was
> the case. People loved it, everyone learned, no one made any money off of
> anyone else's back, and so everyone participated, learned, and generated
> immense cultural value. Many of those friendships are still going out there
> in the world.
>
> Imagine, and then lets act on what can be done!
>
>
> http://p2pfoundation.net/Peer_Production_License
> On Tuesday, April 1, 2014, Stacco Troncoso <staccotroncoso at gmail.com>
> wrote:
>
>> Heya Kev, you gotta walk me through the SYMPA-list thing, I really have
>> no idea on how to use it (much less administer it!)
>>
>>
>> On Mon, Mar 31, 2014 at 7:01 PM, Michel Bauwens <michel at p2pfoundation.net
>> > wrote:
>>
>>> thanks kevin, great initiative
>>>
>>>
>>> On Mon, Mar 31, 2014 at 11:36 AM, Kevin Flanagan <kev.flanagan at gmail.com
>>> > wrote:
>>>
>>>> -----BEGIN PGP SIGNED MESSAGE-----
>>>> Hash: SHA512
>>>>
>>>> Hello,
>>>>
>>>> There has been much discussion on the PPL (Peer Production License) in
>>>> recent months. To support the growing interest I've created a public
>>>> discussion list for the PPL. The list can serve both as a place for
>>>> those using the license and for those new to the license to discuss
>>>> and share use cases and experiences.
>>>>
>>>> http://lists.p2pfoundation.net/wws/admin/ppl.discuss
>>>>
>>>> Kevin
>>>>
>>>>
>>>>
>>>>
>>>>
>>>> -----BEGIN PGP SIGNATURE-----
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>>>> =p5iV
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>>>>
>>>
>>>
>>>
>>> --
>>> *Please note an intrusion wiped out my inbox on February 8; I have no
>>> record of previous communication, proposals, etc ..*
>>>
>>> P2P Foundation: http://p2pfoundation.net  -
>>> http://blog.p2pfoundation.net
>>>
>>> <http://lists.ourproject.org/cgi-bin/mailman/listinfo/p2p-foundation>Updates:
>>> http://twitter.com/mbauwens; http://www.facebook.com/mbauwens
>>>
>>> #82 on the (En)Rich list: http://enrichlist.org/the-complete-list/
>>>
>>
>>
>>
>> --
>> - Stacco Troncoso <http://about.me/staccotroncoso>
>>
>>
>
> --
> http://about.me/eimhin
>

-- 
*Please note an intrusion wiped out my inbox on February 8; I have no
record of previous communication, proposals, etc ..*

P2P Foundation: http://p2pfoundation.net  - http://blog.p2pfoundation.net

<http://lists.ourproject.org/cgi-bin/mailman/listinfo/p2p-foundation>Updates:
http://twitter.com/mbauwens; http://www.facebook.com/mbauwens

#82 on the (En)Rich list: http://enrichlist.org/the-complete-list/
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