Sheep's Parade II, the Big Sheep

Wednesday, May 17, 2006

Concept

by Isabel Saij

Context:

1-How has humanity learned since centuries? Any progress was based on previous discoveries and on the avalaibility of documents, researches,...

2-Recently (second half of the 20th centur) more and more discoveries, products, creations are "protected" with patents, copyrights,...

3-The reaction to the protection on softwares was the "open source" launched in the mid 80's.

4-The mid 90's saw two other phenomenons: the apparition of internet and the growing number of people having their own pc at home. It means now that information is widely avalaible, knowledge is easy to share, communication is possible through out the world,...

5-But it is not so obvious because the majority of what can be found on internet is either patented or copyrighted. In a way or another it is protected.

6-The response to that point came in 2000 with the creation of new licenses (creative commons, free art license,...) in order to allow the transmission and diffusion of knowledge and culture. In other words to come back to the roots (see point 1 above) and be active as artists, writers, musicians,...in this movement.

Statement:

The decision to work in the frame of a copyleft license has many implications. As said above such a website contributes in its way to the diffusion and sharing of culture. Each participant comes with his/her own ideas, with philosophical, political, social, economical, aesthetical,... motivations. It’s worth to underline that the current technology allows to work together independently from any national or cultural distinctions. The decentralized process contains/carries a subversive matter: the loss of power...

Principles of the "Free Art License":

With this Free Art License, you are authorised to copy, distribute and freely transform the work of art while respecting the rights of the originator.

Far from ignoring the author's rights, this license recognises them and protects them. It reformulates their principle while making it possible for the public to make creative use of the works of art. Whereas curren tliterary and artistic property rights result in restriction of the public's access to works of art, the goal of the Free Art License is to encourage such access.

The intention is to make work accessible and to authorise the use of its resources by the greatest number of people: to use it in order to increase its use, to create new conditions for creation in order to multiply the possibilities of creation, while respecting the originators in according them recognition and defending their moral rights.

In fact, with the arrival of the digital age, the invention of the Internet and free software, a new approach to creation and production has made its appearance. It also encourages a continuation of the process of experimentation undertaken by many contemporary artists.

Knowledge and creativity are resources which, to be true to themselves, must remain free, i.e. remain a fundamental search which is not directly related to a concrete application. Creating means discovering the unknown, means inventing a reality without any heed to realism. Thus, the object(ive) of art is not equivalent to the finished and defined art object.

This is the basic aim of this Free Art License: to promote and protect artistic practice freed from the rules of the market economy.

FAQ:

Who can participate?

Well, everybody can participate: there is absolutely no condition of eligibility!

What should I know before participating?

The copyleft movement is perfectly legal: it is based on a license whichdescribes precisely in which legal frame it is working.
The main idea is to transfer some of your "rights" to others (see above theprinciples), "rights" you get automatically as soon as you've have made a creation.
More information:
http://artlibre.org/licence.php/lalgb.html

What are the rules to participate:

-only something (drawing, photo, text, music,...) on which you have thef ully copyright can be put under a copyleft license.

-you can make a work, write a text or compose music,... and put it under the"Free Art License". Then you have an original work which is now copylefted.

-you can modify a work, add a comment to a text, arrange a music which is already under the "Free Art License". The result of your adaptation is a derivative work. The derivative work MUST also be placed under the same license.

-you can also use a derivative work and bring your own touch. You produce another derivative work which must also be placed under the same license.

What is forbidden?

For instance you can't:

-download a photo, a picture from internet or from any search machine (like Google) and put it under copyleft or add it to a copyleft work if you have no idea of the legal status of the photo, picture,...Even without indication the work is automatically protected by a copyright.

-use a song of the "Beatles" (or any other band) to illustrate a copyleft work.

-make your own a copyleft work (in other words to put a copyright on a copyleft creation)

For the project "Sheep's parade" which came just before "Big Sheep", Miguel Jimenez "Zenón" sent a diashow. It was a composition of 3 pictures starting from the famous painting "Las Meninas" by Velázquez. Miguel Jimenez made a modification to the original reproduction of the work and he gave us his agreement to put his creation under copyleft. It shoudn't be a problem because the painting is since a long time in the public domain. But it is a problem because now the photos of the painting are copyrighted! A scan from a book, a download from internet is not allowed until you ask for permission! The only solution would be to do yourself a photo or to get an authorization! In order to avoid any problem or to wait for an hypothetic agreement, we have decided that Miguel Jimenez' s work should not be placed under copyleft.

How can I enter the "Big Sheep" project?

-add an original work to our collection of sheep

-modify one of the original work (located here: http://arteonline.arq.br/blog/images.htm ) and send it back to us at arteonline@arteonline.arq.br, subject > BIG SHEEP.

-modify a derivative work (located here: http://bigsheep.blogspot.com/ -click the images to enlarge them ) and send it back to us at

-participate in the blog Big Sheep (http://bigsheep.blogspot.com ) with comments and texts.

- the remixed works can be images, animations, movies, texts, whatever you imagine... but they have to measure 640 X 480 pixels and have not more than 300 kb.

SEE COMMENTS ABOUT THIS BLOG HERE (page 07).


Tuesday, April 18, 2006

Alguns Comentários / Some Comments


1- Português:
Eis aqui os meus primeiros dois comentários a respeito dos trabalhos que estou clonando e criando "remixes".
I)- "De Velázquez y Ovejas" / "Refranero español"...

Todos devem conhecer a famosa pintura de Diego Velázquez - que, embora universalmente conhecida como "Las Meninas", possuía inicialmente o título "A Família". Posteriormente, salvo de um incêndio no palácio real em 1750, e levado para o Museu do Prado em 1819, o quadro se tornou conhecido pelo seu atual nome. É uma pintura sobre a qual já muito se escreveu, e que mereceu inclusive a atenção de Michel Foucault em "Les Mots et les choses"(As Palavras e as Coisas).
Existem também releituras de "As Meninas" de Velázquez, entre elas uma série de Picasso, que bem demonstra que o gênio espanhol também considerava que a partir de uma obra de arte, muitas outras obras poderiam e deveriam ser criadas. Essa é exatamente a base da Arte Livre , a qual estamos defendendo através do Projeto "Big Sheep". Por isso escolhemos "De Velázquez y Ovejas" de Miguel Jimenez "Zenón" para iniciarmos os comentários dessa "clonagem in progress Big Sheep". Uma obra de arte não é um compartimento estanque, o que faz com que ela seja uma obra de arte é justamente todos os significados, pensamentos e criações que são acrescidos a ela através do tempo.
Jimenez "Zenón" , enviou para o Sheep's Parade (1) uma obra muito divertida chamada: "De Velázquez y Ovejas" ou também "Refranero español"... Nessa obra as meninas de Velázquez foram retiradas do quadro e vão aparecendo num misteriosos fundo escuro com imaginativas cabeças de ovelhas. Há também uma outra ovelha que surge inusitada entre as saias da infanta Margarida, a qual aparece no quadro, ladeada pelas damas. Ao observar o trabalho, a primeira sensação é de estranhamento e logo depois acontece o riso.
Explica Jimenez "Zenón":
"En realidad churras y merinas son dos tipos de ovejas, parecidas pero distintas que no deben mezclarse...el chiste, o la gracia, es que hay gente "culta" que aplica el dicho de esta manera : no juntar las churras con las meninas"
É que existe um dito popular espanhol que afirma que não se devem juntar as churras com as merinas, sendo que CHURRAS E MERINAS são duas raças parecidas porém distintas de ovelhas. Contudo há muita gente "culta" para qual o dito popular é " no se deben juntar las churras con las meninas"
Na margem esquerda da peça "De Velázquez y Ovejas", Jimenez "Zenón" escreveu:
-"Velázquez juntaba las churras com las meninas"

As Meninas" em sua versão original é uma obra prima que faz falar, que faz escrever, mantendo ao mesmo tempo um silêncio irredutível. A mídia de Jimenez "Zenón" diverte a quem quer que a observe mesmo que se mantenha em silêncio para os que não conheçam o dito espanhol sobre as ovelhas churras e merinas.

Para o Projeto "Big Sheep" Miguel Jimenez nos enviou uma outra imagem. (Ver "Primeiro Remix, publicado em 17 / 06 / 2005)
II)- Ovelha Negra fui
ovelha negra fui
entre ovelhas virgens brancas
"pastoriei-as" em campos do céu
se se perderam entre nuvens
não sei"

Assim canta a poesia de Raymundo Amado Gonçalves tendo como fundo o desenho de Astréa El-Jaick.
A poesia, de excelente qualidade, instala, através de uma síntese perfeita,um triplo sentido ao substantivo ovelha.
E o magnífico desenho de Astréa El-Jaick acompanha esse jogo poético.
O Autor estará cantando ovelhas, seres humanos, nuvens?
Quem será a ovelha negra que guarda as ovelhas virgens brancas em campos do céu?
Uma ovelha negra mesmo, um pastor (a) de má índole como tradicionalmente está implícito na expressão ovelha negra, uma nuvem negra?
A desenho da ovelha-nuvem negra, repete-se num esmaecido céu azul esbranquiçado que não revela as ovelhas virgens brancas que se perderam entre nuvens.
E a ovelha negra, completamente imbuída de sua tradicional personalidade, não se importa nem um pouco com isso...
É tão fácil para uma ovelha se perder entre nuvens!
Quem sabe esse se perder entre nuvens não indique mesmo a perda da pureza, afinal, não eram ovelhas virgens brancas?
Não existirá uma conotação religiosa nesses versos? Não seria ela um tipo de crítica?
E o texto desenho de Astréa El-Jaick acompanha o ritmo do poema e simula o vento que carrega as nuvens e faz desaparecer as ovelhas nos campos do céu.

Um trabalho magnífico e muito bem elaborado pelo duo Raymundo Amado Gonçalves e Astréa el-Jaick. Ambos os Autores com extensa produção artística no cenário brasileiro, ele no campo da poesia e ela nas artes plásticas e gráficas.

http://arteonline.arq.br/sheep/index.htm (Clique em Astréa & Raymundo para ver o trabalho.)

!%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
2-English:
Here you have my two first comments on the works I am cloning and remixing.

I)- "De Velázquez y Ovejas" / "Refranero español"...

Everybody should know the famous Diego Velázquez painting - which, although, universally known as "Las Meninas" (The girls) owned initially the title "The Family". After being safe from a fire in the real palace (1750) and carried to Museum of Prado, in 1819, the picture became well-known under its current name. It is a painting about which many people have already written, and that deserved the attention of Michel Foulcault ("Les Mots et les choses" - The Order of Things).
Also there are re- readings of this Velázquez painting, among them a series by Picasso, what also demonstrates that the well known Spanish genius considered that starting from a work of Art, many other works could and should be done. This is exactly the basis of the Free Art , which we are defending through the Project "Big Sheep". It was because of this that we choose "De Velázquez y Ovejas" by Miguel Jimenez "Zenón" to start the comments of this "cloning in progress Big Sheep". A work of art is not a tight compartment, what makes a work of art be a work of art is exactly all the meaning, thoughts and creations which are added to it through the times.
Jimenez "Zenón", sent to Sheep's Parade (1) a very funny work called ""De Velázquez y Ovejas" or "Refranero español"... His work shows the Velázquez girls out of the traditional scene, they appear on a mysterious dark background with imaginative heads - sheep heads. Also there is another sheep head which appear among the skirts of the little Princess Margarida... When observing his work, the first sensation is unfamiliarity and soon after the laugh happens.
Jimenez "Zenón" told us:
"En realidad churras y merinas son dos tipos de ovejas, parecidas pero distintas que no deben mezclarse...el chiste, o la gracia, es que hay gente "culta" que aplica el dicho de esta manera : no juntar las churras con las meninas"
Actually churras e merinas are two races of sheep, they are similar but distinct and they should not be mixed. the funny is that there are very "cultured" people that apply the sentence in this way: not to mix the churras with the meninas (girls).
At the left margin of his piece Jimenez "Zenón" wrote:
--"Velázquez juntaba las churras com las meninas." (Velázquez joined the churras with the girls.)
"Las Meninas" (The Girls) in its original version is a masterpiece which makes to talk and to write, keeping at the same time an unyielding silence. Jimenez "Zenón" media amuses to whoever observes it even though it keeps in silence for the ones that do not know the Spanish sentence on the race of sheep "churras" and "merinas".
To the project "Big Sheep" Miguel Jimenez sent us another image. (Look for , the First Remix, published on June 17 th 2005)

II)- Black Sheep I Was

"black sheep I was
among white virgin sheep
I shepherded them in the sky's fields
if they were lost among clouds
I do not know"

The poetry of Raymundo Amado Gonçalves sings on the drawing of Astréa El-Jaick.
The excellent quality poetry suggests, through a perfect synthesis, a triple sense to the noun "sheep".
And the magnificent drawing of Astréa El-Jaick accompanies that poetic game.
The Author will be singing sheep, human beings, clouds?
Who will be the black sheep that shepherds the white virgin sheep in the sky's fields?
The real black sheep, a pastor of bad nature as it is traditionally implicit in the black sheep expression, a black cloud?
The black cloud sheep's draw appears many times on a faded whitish blue sky which does not reveal the white virgin sheep that were lost among clouds.
It is so easy for a sheep to be lost among clouds!
Who knows if to be lost among clouds does not indicate the loss of purity, after all, were they not white "virgin" sheep?
Is there not a religious connotation in this verse?
Would not it be a kind of criticism?
And the drawing text of Astréa El-Jaick accompanies the rhythm of the poem and simulates the wind that loads the clouds and makes disappear the sheep inthe sky's fields.

A magnificent work and also very well elaborated by the duo Raymundo Amado Gonçalves and Astréa el-Jaick. Both Authors with widespread artistic production in the Brazilian scenery, he in the field of poetry and she in the fine and graphic arts.

http://arteonline.arq.br/sheep/index.htm (Click on Astréa & Raymundo to open the work.)

Clones

“All the creations on this page are under a copyleft license according to the terms of the “Free Art License

"Todas as criações nessa página estão sob uma licença copyleft de acordo com os termos da "Licença de Arte Livre"

(Click on the images to enlarge them / Clique nas imagens para aumentá-las.)




Free Art

2005 - Regina Célia Pinto - Sem título / Este trabalho foi derivado das criações copyleft originais de Alexandre Venera, Astréa El-Jaick & Raymundo Amado Gonçalves, Miguel Jimenez " Zenón"

2005 - Regina Célia Pinto - No title / This derivative work is made from the original copyleft creations by Alexandre Venera, Astréa El-Jaick & Raymundo Amado Gonçalves, Miguel Jimenezz "Zenón"


Free Art

2005 - Regina Célia Pinto - Sem título / Este trabalho foi derivado das criações copyleft originais de Alexandre Venera, Astréa El-Jaick & Raymundo Amado Gonçalves, Miguel Jimenez " Zenón"

2005 - Regina Célia Pinto - No title / This derivative work is made from the original copyleft creationsby Alexandre Venera, Astréa El-Jaick & Raymundo Amado Gonçalves, Miguel Jimenez "Zenón"




Free Art

2005 - Regina Célia Pinto - Sem título / Este trabalho foi derivado das criações copyleft originais de Alexandre Venera, Astréa El-Jaick & Raymundo Amado Gonçalves, Miguel Jimenez " Zenón"

2005 - Regina Célia Pinto - No title / This derivative work is made from the original copyleft creationsby Alexandre Venera, Astréa El-Jaick & Raymundo Amado Gonçalves, Miguel Jimenez "Zenón"



Free Art

2005 - Isabel Saij - Leadersheep / Este trabalho foi derivado das criações copyleft originais de Christina Orensztajn, João Pedro, Joesér Alvarez , Paulo Villela

2005 - Isabel Saij - Leadersheep / This derivative work is made from the original copyleft creations by Christina Orensztajn, João Pedro, Joesér Alvarez , Paulo Villela




Free Art

2005 - Isabel Saij - Grannie / Este trabalho foi derivado das criações copyleft originais de Miguel Jimenez "Zenón"

2005 - Isabel Saij- Grannie / This derivative work is made from the original copyleft creations by Miguel Jimenez "Zenón"





Free Art

2005 - Isabel Saij - Thoughts / Este trabalho foi derivado das criações copyleft originais de Colino & Babel & Joesér Alvarez

2005 - Isabel Saij - Thougths / This derivative work is made from the original copyleft creations by Colino & Babel & Joesér Alvarez




Free Art


2005 - Isabel Saij - Sweet Dreams /Este trabalho foi derivado das criações copyleft originais de Isabel Saij, Isabel Aranda - Yto , Muriel Frega

2005 - Isabel Saij - Sweet Dreams / This derivative work is made from the original copyleft creations by Isabel Saij, Isabel Aranda - Yto , Muriel Frega




Free Art

2005 - Isabel Saij - Mouton Nuage / Este trabalho foi derivado das criação copyleft original de Edward Picot, Christina Orensztajn

2005 - Isabel Saij - Mouton Nuage / This derivative work is made from the original copyleft creation by
Edward Picot, Christina Orensztajn



Free Art

2005 - Isabel Saij - If you don't agree... / Este trabalho foi derivado das criações copyleft originais de Lia Belart , Regina Célia Pinto

2005 - Isabel Saij - If you don't agree.../ This derivative work is made from the original copyleft creations by Lia Belart, Regina Célia Pinto




Free Art


2005 - Isabel Saij - Fresco / Este trabalho foi derivado da criação copyleft original de Déa Junqueira

2005 - Isabel Saij - Fresco / This derivative work is made from the original copyleft creation by Déa Junqueira




Free Art

2005 - Isabel Saij - Bubbling Brains / Este trabalho foi derivado da criação copyleft original de JudSon/PlasmaStudy

2005 - Isabel Saij - Bubbling Brains / This derivative work is made from the original copyleft creation by JudSon/PlasmaStudy




Free Art

2005 - Isabel Saij - Moutons Cage / Este trabalho foi derivado das criação copyleft original de Edward Picot , Christina Orensztajn

2005 - Isabel Saij - Moutons Nuage / This derivative work is made from the original copyleft creation by Edward Picot, Christina Orensztajn




Free Art

2005 - Babel- Sem título / Este trabalho foi derivado da criação copyleft original de Edward Picot

2005 -Babel- No title / This derivative work is made from the original copyleft creation by Edward Picot


Free Art

2005 - Isabel Saij e Regina Célia Pinto- Sem título / Este trabalho foi derivado das criações copyleft originais de Isabel Saij , Regina Célia Pinto

2005 -Isabel Saij and Regina Célia Pinto- No title / This derivative work is made from the original copyleft creations by Isabel Saij , Regina célia Pinto




Free Art

2005 - Lia Belart - Sem título / Este trabalho foi derivado das criações copyleft originais de Lia Belart; João Pedro

2005 -Lia Belart - No title / This derivative work is made from the original copyleft creations by Lia Belart; João Pedro




Free Art

2005 - Lia Belart - Sem título / Este trabalho foi derivado das criações copyleft originais de Lia Belart; João Pedro

2005 -Lia Belart - No title / This derivative work is made from the original copyleft creations by Lia Belart; João Pedro




Free Art

2005 - Isabel Saij - Sem título / Este trabalho foi derivado da criação copyleft derivada de Babel; Edward Picot

2005 -Isabel Saij- No title / This derivative work is made from the derivative copyleft creation by Babel; Edward Picot




Free Art

2005 - Regina Célia Pinto- Sem título / Este trabalho foi derivado da criação copyleft original de David Daniels

2005 - Regina Célia Pinto- No title / This derivative work is made from the original copyleft creation by David Daniels




Free Art

2005 - Antoine Moreau- antomoromouton1 / Este trabalho foi derivado das criação copyleft original de Isabel Saij .

2005 - Antoine Moreau- antomoromouton1/ This derivative work is made from the original copyleft creation by Isabel Saij .




Free Art

2005 - Antoine Moreau- antomoromouton2/ Este trabalho foi derivado das criação copyleft original de Regina Célia Pinto

2005 - Antoine Moreau- antomoromouton2/ This derivative work is made from the original copyleft creation by Regina Célia Pinto




Free Art

2005 - Isabel Saij - "Sheepishly his heart was beating" / Este trabalho foi derivado da criação copyleft original de Jeremy Hight

2005 - Isabel Saij - "Sheepishly his heart was beating" / This derivative work is made from the original copyleft creation by Jeremy Hight




Free Art


2005 - Babel - "Shepherd house (Inter Ethyl) " / Este trabalho foi derivado da criação copyleft original de Jeremy Hight


2005 - Babel - "Shepherd house (Inter Ethyl) " / This derivative work is made from the original copyleft creation by Jeremy Hight




Free Art

2005 - Millie Niss and Martha Deed - "Sheep Apnea" / Este trabalho foi derivado da criação copyleft original de Muriel Frega


2005 - Millie Niss and Martha Deed- "Sheep apnea" / This derivative work is made from the original copyleft creation by

Muriel Frega




Free Art

2005 - Regina Célia Pinto- sem título / Este trabalho foi derivado das criações copyleft originais de Muriel Frega; Babel


2005 - Regina Célia Pinto - no title / This derivative work is made from the original copyleft creations by

Muriel Frega; Babel



Free Art

2005 - Denis Charmot- sem título / Este trabalho foi derivado da criação copyleft original de Isabel Saij

2005 - Denis Charmot- no title / This derivative work is made from the original copyleft creation by Isabel Saij


Free Art

2005 - Regina Célia Pinto- "A Alma da Ovelha" / Este trabalho foi derivado das criações copyleft originais de Robert Cottet ; Regina Célia Pinto


2005 - Regina Célia Pinto - The Sheep's Soul / This derivative work is made from the original copyleft creations by Robert Cottet ; Regina Célia Pinto


Free Art

2005 - Evelin Stermitz - Lost Sheep / Este trabalho foi derivado da criação copyleft original de Christina Orensztajn .


2005 -Evelin Stermitz - Lost Sheep / This derivative work is made from the original copyleft creation by Christina Orensztajn .


Free Art

2005 - Isabel Saij - "La Morale de la Fable" / Este trabalho foi derivado da criação copyleft original de Miguel Jimenez - "Zenón".


2005 -Evelin Stermitz - "La Morale de la Fable" / This derivative work is made from the original copyleft creation by Miguel Jimenez - "Zenón" .



Free Art

2005 - Regina Célia Pinto- "La Bergère Danse" / Este trabalho foi derivado da criação copyleft original de Jiji .


2005 - Regina Célia Pinto - "La Bergère Danse" / This derivative work is made from the original copyleft creation by Jiji .