You have given me an idea. I'm going to reissue Beethoven's Fifth as Pollard's First Symphony.
Boy, the acclaim I would get after people had finished laughing. (Acclaim for my hutzpah.)
Or, I'll take a Wright design and sell it to LA City Council!
Trouble is the job of an architect is to transport the conception to reality.
If you hire Pollard to build your bridge because he is cheap, then maybe you would hear: "Sorry about that - but I was sure tinfoil and plastic would work. I know I built it ten feet short of the other bank, but anyone can make a mistake."
You don't hire the idea. You hire the person who can produce a material result from that idea. It's a total concept. Heck, everyone uses the same notes. What makes one arrangement of them somehow better than others?
I would love you to get all the money you deserve. On second thoughts, no I don't. New York couldn't afford it - I mean, New York State.
The problem is that artists have had to depend on handouts from the aristos, or from the state. That I don't like. How much better is your story of Iowa and some 1,300 opera houses. (I hope I got that right.)
But, the point is made, I think. The arts should be supported by the 1,300 opera house mentality, not by the mentalities of the dispensers of privilege, whether they be private, or public.
So, I'm old-fashioned. That isn't altogether a bad place to be.
Harry
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Ray wrote:
So Harry, are you saying that it would be alright for a rich man to hire a composer to write something or painter to draw something and then to put his own name on that product as the Creator of it? Glockenspiel's fifth symphony or Beethoven's. Same music, different name. How about the authority that goes with having written it in the first place. Perhaps some University hires Glockenspiel to teach its children. Or maybe we could take an original design for a bridge developed by Frank Lloyd Wright and then hire someone else to design the same bridge elsewhere. Except, unlike fashion, the bridge has to "work" as a whole, a coherent design and aesthetic work. We usually say that the second bridge was a rip-off or the work not of Creators but Craftsmen. It's a good system since Craftsmen can even improve upon an original in certain areas, like Wrights cantilever for Falling Water that is falling for instance. But the Art belongs to Wright. What you people are quibbling over is inheritance. You turned it to fraud which is a good thing to do but then you equivocated. Which was not a good thing to do. The New Criterion folks would have you as dinner at their hate fests.REH ----- Original Message ----- From: "Harry Pollard" <[EMAIL PROTECTED]> To: "Ray Evans Harrell" <[EMAIL PROTECTED]>; "Tanya Campbell" <[EMAIL PROTECTED]>; <[EMAIL PROTECTED]>; <[EMAIL PROTECTED]>; <[EMAIL PROTECTED]> Sent: Thursday, January 23, 2003 11:28 AM Subject: Re: [Futurework] globalizing and privatizing R and D > Ray, > > Lessig is quoted as saying: > > "commercial enterprises have evolved that are closely linked with specific > images and stories; . . " > > As you know, I am opposed to both patents and copyrights. > > However, I am also opposed to someone taking another persons name. > Pretending to be that person is fraud. So, my name and/or trademark is mine > and belongs to me. So, the Mickey Mouse trademark belongs to Disney and > anyone using it is pretending to be Disney - a simple case of fraud. > > Within the last couple of days, the Terminator has brought suit against an > ad that has his picture with the words "Arnold says . . . . ". It > pretends that Arnold has recommended the product - a simple case of > stealing his name. > > In similar fashion, anyone should be able to copy your material, but they > can't put Ray Evans Harrell on it. If people want a Harrell - it will have > your name on it. Will people go for the cheaper version. Some will, but > most will prefer the real thing. > > Ballantine tried an experiment some years ago. They published hardbacks and > paperbacks at the same time. Enough people preferred to buy the hardback to > keep the experiment going for quite some time. Maybe they still do it - or > another publisher does. I bet Brian knows. > > Harry
****************************** Harry Pollard Henry George School of LA Box 655 Tujunga CA 91042 [EMAIL PROTECTED] Tel: (818) 352-4141 Fax: (818) 353-2242 *******************************
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