And the sequel, which some think is even better than the original, Fight of the Century:

“This disconnect between the public’s view of copyright and fair use and what should and should not be prosecuted, versus the ‘copyright maximist’ view of the law, is our generation’s Prohibition,” says Ben Huh, CEO and founder of Cheezburger and a loud voice in the recent backlash to SOPA and PIPA, two congressional bills aimed at curbing internet piracy.

Copyright exists to “promote the useful arts” according to the Constitution. But is it still doing that? And should the government protect so-called “intellectual property” in the same way it protects other forms of property? Reason.tv posed these questions to Ben Huh, as well as a professor and a movie studio representative.

Tom Bell, a law professor specializing in property law, has serious reservations about attempts by groups like the Motion Picture Association of America (MPAA) to equate property and copyright through ad campaigns admonishing viewers with messages like, “You wouldn’t steal a car. Downloading pirated movies is stealing.”

“As soon as we start using [the word] ‘copyright’ for ‘property,’ we start taking less seriously our property rights for things like cars and houses,” says Bell. “When you steal a candy bar or a car, you’ve left somebody without something to eat or something to drive.”

President Obama is heading to Colombia this weekend for a summit, and we’d been hearing stories that US officials had been putting tremendous pressure on Colombian officials to pass new, ridiculously draconian copyright laws ahead of that visit. So that’s exactly what the Colombian government did — using an “emergency procedure” to rush through a bad bill that is quite extreme.

Earlier this year, Colombia tried to pass basically the same bill, which was called LesLleras, after Interior Minister German Vargas Lleras (who proposed it). That bill was so extreme that it resulted in SOPA-like protests, following significant concerns raised by the public as well as copyright and free speech experts. So, this time around, the government just claimed it was an emergency and rushed the bill through, despite all of its problems. They seemed to think that the public wouldn’t notice — but they’re wrong.

As is typical of idiotic trade agreements pushed via the USTR — who only seems to listen to Hollywood on these issues — the copyright bill includes all sorts of draconian enforcement techniques and expansions of existing copyright law, and removal of free speech rights. But what it does not include are any exceptions to copyright law — the very important tools that even the US Supreme Court admits are the “safety valves” that stop copyright law from being abusive, oppressive and contrary to freedom of speech

“Creativity shouldn’t be seen as something otherworldly. It shouldn’t be thought of as a process reserved for artists and inventors and other ‘creative types.’ The human mind, after all, has the creative impulse built into its operating system, hard-wired into its most essential programming code,” writes Jonah Lehrer in his new book Imagine.

In his book, Lehrer examines the inner workings of what we call imagination. He looks at the neuroscience behind sudden insights, how the brain solves different kinds of problems and which personal traits help foster creativity. He also shares how external forces factor into the creative process, how to design a workspace to enhance your chances of having an epiphany, why creativity tends to bubble up in certain places and how we can encourage our collective imaginations.

Above all, though, the message of Lehrer’s book is that creativity is not a super power. Anyone can be creative — it just takes hard work. “We should aspire to excessive genius,” says Lehrer, who took some time from his book tour to sit down with Mashable and answer a few questions about the mysteries of how we imagine.

[. . .]

Yo-Yo Ma says his ideal state of creativity is “controlled craziness.” How can we learn to harness that?

What Yo-Yo Ma is referring to is the kind of creativity that occurs when we let ourselves go, allowing the mind to invent without worrying about what it’s inventing. Such creative freedom has inspired some of the most famous works of modern culture, from John Coltrane’s saxophone solos to Jackson Pollock’s drip paintings. It’s Miles Davis playing his trumpet in Kind of Blue — most of the album was recorded on the very first take — and Lenny Bruce inventing jokes at Carnegie Hall. It’s also the kind of creativity that little kids constantly rely on, largely because they have no choice. Because parts of the brain associated with impulse control remain underdeveloped, they are unable to censor their imagination, to hold back their expression. This helps explain the truth in that great Picasso quote: “Every child is an artist. The problem is how to remain an artist once we grow up.”

Music by Jed Whedon, lyrics by Jed Whedon and Felicia Day.

Here you go .. Epic Guild Wars 2 Theme Cover before the game released! Ringtone will be uploaded soon. (i will post the link).
Alright alright , i know i am guilty. I should have uploaded video last month.Really I just study so hard.. Sorry about it.

In 1947, eight theatre groups turned up to perform at the newly formed Edinburgh International Festival, an annual event established to celebrate and enrich postwar European cultural life. The theatre groups had not been invited, and were not part of the official programme. So instead they created a spontaneous festival on the side. Growing year on year, with the theatre groups encouraging others to participate, this alternative to the Edinburgh International Festival eventually established itself, in 1959, as the Festival Fringe Society.

Today, Scotland is home to some of the top cultural events in the world. Many take place in Edinburgh during the August months, attracting high-profile authors, artists, comics and theatre companies from all over the globe. At the heart of this cultural firmament is the Edinburgh Festival Fringe, an event now funded and supported by government and local councils. Yet, in a nasty twist, those very same central and local authorities, currently enjoying the prestige of being associated with a world-renowned festival of culture, are seemingly intent on stifling the spontaneous, do-it-yourself impulse that originally gave birth to the Fringe.

[. . .]

From 1 April 2012, it will become necessary to have a ‘Public Entertainment License’ to undertake any kind of public art in Scotland. Previously a licence was only required for events charging admission. Starting next month, even the smallest local events being run for free — say in a café or a bookshop — will require one, which must be applied for six weeks beforehand. This will include exhibitions in temporary places, gigs in record shops, free film screenings, music in pubs. You know, even really dodgy stuff — like poetry readings to 10 men and a dog.

Apart from the form-filling and curtailment of spontaneity — you cannot just ring around a few friends and suggest a performance at the weekend — this will cost money too. In the past, fees for a ‘public entertainment licence’ have ranged from £120 to £7,500, requiring several months’ notice to be given to the council and three weeks public notice. Nothing will happen without long-term planning. Small venues, like cafes, which support artists and performers by hosting free events, won’t be able to cover the costs. And they shouldn’t have to. Art doesn’t need a licence, and nor do we to enjoy it.

What we are seeing is the hyper-regulation of everyday life where anything we choose to do spontaneously and between ourselves is seen as dangerous or threatening. The authorities want to monitor, codify and regulate the most normal, everyday interactions and behaviour.

This was a performance at Tawse Winery on June 18, 2011 for the winery’s 10th anniversary. Unfortunately, I couldn’t attend, as I was at the opposite end of Lake Ontario that day.

H/T to Dave Nachmanoff, who is performing with Al in this clip.

Now remember kids: always buy your movies and other entertainment items legally. You’ll get this kind of experience:

And here’s the reason you pay for a legal copy, rather than being one of those evil pirates:

Update, 21 March: The actual numbers — “by an actual Copyright Mathematician” — behind the Copyright Math^TM video.

In the days leading up to the clause-by-clause review, many focused on three key issues: no SOPA-style amendments such as website blocking or warrantless disclosure of information, maintaining the fair dealing balance found in the bill, and amending the digital lock provisions. By that standard, the changes could have been a lot worse. The government expanded the enabler provision, though not as broadly as CIMA requested. Virtually all other copyright lobby demands – website blocking, notice-and-takedown, iPod tax, copyright term extension, disclosure of subscriber information – were rejected. Moreover, the provisions supported by consumer and education groups including user generated content protection, time shifting, format shifting, backup copies, Internet provider liability, and statutory damages reform were left untouched. This represents a major victory for the many Canadians and groups such as Open Media that spoke out on these issues.

The fair dealing provision was similarly left unchanged despite a full court press from publishers and copyright collectives who sought elimination of the education category within fair dealing (didn’t happen), inclusion of the Berne three step test in the law (didn’t happen) or a new fair dealing test that overrules the Supreme Court of Canada CCH test (didn’t happen). The expanded fair dealing provision will not cause the horrors claimed by those groups and it is heartening that the government dismissed the misinformation campaign.

The only loss was the least surprising — digital locks. Despite widespread support for compromise legislation and sensible amendments from both the NDP and Liberals, the government rejected any changes. Given the government’s consistent support for digital locks, the ongoing pressure from the U.S., and Prime Minister Harper’s direct intervention on the issue in 2010, amending the digital lock rules presented a major challenge. Government MPs yesterday emphasized the possibility of future new exceptions via regulation but that will be cold comfort in the short term to those with perceptual disabilities, researchers, documentary film makers, consumers, and the many others adversely affected by the restrictive approach. In fact, one NDP MP raised the possibility of constitutional challenges to the bill.