On Feb 26, 2009, at 11:22 AM, William Conger wrote:
This is a ridiculous argument from Miller. Theft is theft, period. Peple have a right to legal protection of their property, which includes their words, actions, images they create. Why does Miller think museums should not protect their rights to their property? At any rate this discussion among ourselves is pointless because it engages legalities regarding the various divisions between private property and public domain that only legal scholars and specialized lawyers can answer.
I share your revulsion at Miller's position. Which, as far as I can determine, is: "I'm entitled to anything of [aesthetic] value because I have high aesthetic standards, and I want to see what is behind that door." His is the claim of a person who recognizes no boundary between his own interest in availing himself of something and anyone else's interest in preserving the privacy of how own property.
He writes, "And his [i.e., my] concern for an "accurate reproduction" should be dismissed as well -- at least as involving anything other than the reputation of the original writer or artist. Because alterations can be better, or worse, or just different from the original -- so no harm is necessarily done by making them."
This is the anthem of the buttinsky, the creative failure who, rather than producing a complete work of his own, modifies someone else's. It's the life of the remora, eating the crumbs from the effort of others.
There is an entire industry of "sharing all relevant input" in groups, in group activities, in group-think. It's the blurred boundaries of facilitator-speak, expecting that everyone will "reframe" someone's statement in an effort to "capture" something and add to it. Fuck that nonsense.
A writer writes; I read it. I like it or not, but I don't take it upon myself to rewrite, amend, bowdlerize, eviscerate, and eventually improve it. I see a painting in a gallery. I like it or not. I don't whip out a pencil or cray-pas and "tweak" it. As for my own work, I paint up to the edge of the canvas. You get the space beyond the canvas. If you pick up a brush to adjust my painting, I'll break your fingers.
All of this about "alterations, better, worse, or just different" is rude, impolite, and gutless. I'll let William defend the genuine and proper property rights of the matter, while I rail against the craven cowardice of it all.
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