Michael Forrest has his new album out today. I’m downloading it now, and I commend you to do the same. It reminds me of artists as diverse as Cobra Killer through ATR to Momus and Barry Adamson. This is definitely going out on my ShowCenter.
I’m always interested in the way artists choose to distribute their work – in may cases more so than the work itself. Forrest is notable not least by adding some weight to a casual observation I made about a similar online distribution of a work by Paul Robertson. Forrest distributes the work via the Internet direct to the audience, but this time imposes a time window of 25 days. He also says nothing about any licence.
In the absence of any further information about the license, we must assume it defaults to restrictive copyright. However, I find this an intriguing development not only because Forrest is silent on this point, but also because he invokes the concept of scarcity.
In the digital age, there is copyright and shades of it meditated by CC. There is also the idea that nothing matters as long as its free. I don’t quite know how to deal with scarcity in either context. Perhaps I’m making too much of all this – but my point is that I think those who have championed alternative licensing models may have misjudged the way the public will use (or ignore) the provisions of such schemes. If REM can release videos under a perl licence, “rip, mix, burn” may start to apply to more than just the work itself.