Wednesday, June 4, 2003  [!]
Lessig answers the criticism that the "Promote the Public Domain" petition (have you read? have you signed?) is a compromise, and by golly, Lessig, you should never ever ever compromise:
We should never compromise. But we must take first steps. We are where we are because most people don�t believe in the public domain. Most people don�t even understand it. We live in a time when the public domain is more than 75 years old. Yet for most of our history, the public domain was no more than 30 years old. If ordinary people could see the creativity that would be inspired if the 1960s were in the public domain, they would understand again the importance of limiting the regulation that copyright law has become.

He offers another petition to reclaim Copyright Law. It's less of a compromise.

We believe it is right for the law to protect "Authors." But corporations are not "Authors."

We believe it is right for the law to ban knock-off pirates. But transformative work is not "piracy."

And we believe it is right to grant a copyright for "limited times." But a term lasting more than a century is not a "limited time[]."

6/4/03; 1:54:18 PM | Current Events | Discuss | # | |

You mean to tell me that the outtaprint The QuickTime VR Book is a (gulp!) scholarly work? yikes!

6/4/03; 10:34:31 AM | Blog Buddies | Discuss | # | |

Found a bunch of great "behind the scenes at Pixar" links on Michael Hanscom's The Long Letter (he enjoyed the Mine!-yelling seagulls, too). His finds:

Inspired by that, I searched for some more (what a collection of fish/sea metaphors in those headlines!) and found these:

Adam Summers , Consulting Ichthyologyst to Finding Nemo is from UCI,

Soon after, Summers was hired as an adviser. He arranged lectures on everything from the behavior of light in water to the movement of waves. He led a field trip to the California Academy of Sciences, where "every character was there in jars." One artist climbed around inside a dead whale to see its baleen. "They were willing to do anything," Summers says.

Computer Graphics World gives an overall backgrounder on Finding Nemo.

The movie took four years to complete, and much of that time was spent trying to get the look of the water right.

Stanton said he and the key members of his team watched endless hours of footage from the Discovery Channel. They read books about the physics of water. They spoke to wave experts. And they convinced their bosses that it was necessary for all of them to get certified in scuba diving and fly to Hawaii for "research."

"That was the nicest field trip ever," a smiling Stanton says with no apologies.

Damn! I'm jealous!

USA Today: Behind the Microphone interviews with Albert Brooks, Ellen Degeneres, Willem Dafoe, Stephen Root, Alexander Gould (the 9-year old who played Nemo)

National Geographic: Animators Dove Into Fish Study

The animators had to learn the difference between "flappers" and "rowers." Clown fish are rowers who propel themselves by moving their pectoral fins horizontally, wiggling their entire body. Blue tangs are flappers, who flap their fins up and down to move and almost never wiggle their entire body.

"In most animated films with fish, the characters move back and forth with no visible propulsive device, and that really offends the eye," said Summers. "You don't need to be an ichthyologist to know there's something wrong with that kind of locomotion. It would be like watching a horse trot with two of its legs still. In Nemo, they're not acting in air. When they flap around, it has consequences for their whole bodies."

The Voice of Nemo gets a cause

''The Marine Aquarium Council makes sure aquarium fish are captured in a kind manner,'' Alexander explains. ''MAC does this to protect the coral reef, because if the coral is gone, the fish will be gone. The whole world depends on coral and fish, and they depend on each other.''

6/4/03; 10:08:57 AM | Art | Discuss (1 response) | # | |

Keanu Reeves helps make it happen for Matrix special-effectors; he gives away $80 million from his profit-share of Matrix II and III to the sequel's special effects crew. [whole slew of stories ] That's a little over $3 million apiece. [via boingBoing]

6/4/03; 9:27:33 AM | Art | Discuss | # | |


6/4/03; 9:11:50 AM | Food | Discuss | # | |