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AGNULA Libre Music - Free Software for Free Music

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AGNULA Libre Music - Free Software for Free Music AGNULA Libre Music - Free Software for Free Music Davide FUGAZZA and Andrea GLORIOSO Media Innovation Unit - Firenze Tecnologia Borgo degli Albizi 15 50122 Firenze Italy d.fugazza@miu.firenzetecnologia.it, a.glorioso@miu.firenzetecnologia.it Abstract Nicola Bernardini organized a workshop in AGNULA Libre Music is a part of the larger AG- Firenze, Italy at the beginning of June 2001, NULA project, whose goal as a european–funded inviting an ever–growing group of support- (until April 2004) and as mixed private–volunteer ers and contributors (including: Marco Tre- driven (until today) project was to spread Free Soft- visani, G¨unter Geiger, Dave Phillips, Paul ware in the professional audio and sound domains; Davis, Fran¸coisD´echelle, Georg Greve, Stanko specifically, AGNULA Libre Music (ALM from now Juzbasic, Giampiero Salvi, Maurizio Umberto on) is a web–based datase of music pieces licensed 1 Puxeddu and Gabriel Maldonado). That was under a “libre content” license. In this paper An- the occasion to start the first concrete DeMuDi drea Glorioso (former technical manager of the AG- NULA project) and Davide Fugazza (developer and distribution, the venerable 0.0 alpha which was maintainer of AGNULA Libre Music) will show the then quickly assembled by G¨unter Geiger with technical infrastructure that powers ALM, its rela- help from Marco Trevisani. A bootable CD- tionship with other, similar, initiatives, and the so- version was then burned just in time for the cial, political and legal issues that have motivated ICMC 2001 held in La Habana, Cuba, where the birth of ALM and are driving its current devel- G¨unter Geiger and Nicola Bernardini held a tu- opment. torial workshop showing features, uses and ad- vantages of DeMuDi(D´echelle et al., 2001). Keywords On November 26, 2001 the European Com- AGNULA, libre content, libre music, Creative Com- mission awarded the AGNULA Consortium — mons composed by the Centro Tempo Reale, IR- CAM, the IUA-MTG at the Universitat Pom- 1 The AGNULA project — a bit of peu Fabra, the Free Software Foundation Eu- history rope, KTH and Red Hat France — with con- In 1998 the situation of sound/music Free Soft- sistent funding for an accompanying measure ware applications had already reached what lasting 24 months (IST-2001-34879). This ac- could be considered well beyond initial pio- companying measure, which was terminated on neeristic stage. At that time, the biggest prob- March 31st 2004, gave considerable thrust to lem was that all these applications were dis- the AGNULA/DeMuDi project providing sci- persed over the Internet: there was no common entific applications previously unreleased in bi- operational framework and each and every ap- nary form and the possibility to pay professional plication was a case-study by itself. personnel to work on the distribution. But when Marco Trevisani proposed (this After the funded period, Media Innovation time to Nicola Bernardini, G¨unter Geiger, Unit, a component of Firenze Tecnologia (itself Dave Phillips and Maurizio De Cecco) to build a technological agency of the Chamber of Com- DeMuDi (Debian Multimedia Distribution) an merce of Firenze) has decided to partly fund unofficial Debian-based binary distribution of further AGNULA/DeMuDi developments. Free sound/music Free Software, something hap- Ekanayaka2 is the current maintainer of the dis- pened. tribution. 1 AGNULA has constituted a major step in the This paper is Copyright °c 2005 Fugazza, Glo- direction of creating a full-blown Free Software rioso and Copyright °c 2005 Firenze Tecnologia. It is licensed under a Creative Commons BY- infrastructure devoted to audio, sound and mu- SA 2.0 License (see http://creativecommons.org/li- censes/by-sa/2.0/legalcode). [email protected] LAC2005 141 sic, but there’s much more to it: it is the first proval,6 the zeitgeist was ripe with the “Com- example of a European-funded project to clearly mons”. specify the complete adherence of its results to A number of relevant academic authors from the Free Software paradigm in the project con- different disciplines had launched a counter– tract, thus becoming an important precedent for attack against what was to be known as the similar projects in the future (Bernardini et al., “new enclosure movement”, (Boyle, 2003): the 2004). attempt of a restricted handful of multinational enterprises to lobby (quite succesfully) for new 2 AGNULA Libre Music: copyright extension and a stricter application of sociopolitics neighbouring rights. On February 2003 Andrea Glorioso was ap- The result of this strategy on behalf of the pointed as the new technical manager of the multinational enterprises of the music business AGNULA project, replacing Marco Trevisani was twofold: on the one hand, annoying tens who had previously served in that position of thousands of mostly law–abiding consumers with silly lawsuits that had no chance of stand- but was unable to continue contributing to the 7 8 project due to personal reasons. ing in the court ; on the other hand, motivat- This is not the place to explain in detail how ing even more authors to escape the vicious cir- the new technical manager of the AGNULA cle of senseless privatization that this system project tackled the several issues which had to had taken to its extremes. be handled in the transition, mainly because of It seemed like a good moment to prove that the novelty of the concept of “Free Software” AGNULA really wanted to provide a service for the European Commission (a novelty which to its community, and that it really had its sometimes resulted in difficulties to “speak a roots (and its leaves, too) in the sort of “peer- common language” on project management is- to-peer mass production” (Benkler, 2002) that sues) and of the high profile of the project itself, Free Software allowed and, some would argue, both inside the Free Software audio community called for. After investing a major part of its — for being the first project completely based human and financial resources on creating the on Free Software and funded with european project management infrastructure for working money — and in the European Commission — on the two GNU/Linux distributions the project for being the first project completely based aimed to produce, it was decided that a web– on Free Software and funded with european accessible database of music would be created, money (Glorioso, ). and the music it hosted would be shared and made completely open for the community at The interesting point of the whole story — large. and the reason why it is cited here — is that the new Technical Manager, in agreement with Davide Fugazza was hired as the chief archi- tect and lead developer of AGNULA Libre Mu- the Project Coordinator (Nicola Bernardini, at 9 the time research director of Centro Tempo sic, which saw its light in February 2004. Reale) decided to put more attention on the 2.1 Libre Content vs Libre Software “social” value of project, making the life of What might be missing in the short history of the project more open to the reference com- ALM is that the decision to allow for the Eu- munity (i.e. the group of users and devel- ropean Commission funding to be spent on this opers gravitating around the so called LA* 3 mailing lists: linux-audio-announce, linux- 6 4 5 The reader should remember that AGNULA, being audio-users, linux-audio-dev ) as well as creat- a publicly financed project, had significant constraints ing an AGNULA community per se. on what could or could be done during its funded life- In September 2003, when the first idea of AG- time — the final decision and responsibility towards the European Commission rested in the hands of the Project NULA Libre Music was proposed to the Project Coordinator. Coordinator by the Technical Manager for ap- 7http://www.groklaw.net/article.php?story=- 20040205005057966 3 http://www.music.columbia.edu/mailman/list- 8In fact, it can be argued that the real strategic rea- info/linux-audio-announce son of these lawsuits had a marketing/PR reason rather 4http://www.music.columbia.edu/mailman/list- than substantial grounds, which does not make them less info/linux-audio-announce effective in the short term. 5http://www.music.columbia.edu/mailman/list- 9See http://lists.agnula.org/pipermail/a- info/linux-audio-announce nnounce/2004-February/000041.html LAC2005 142 sub–project of the main AGNULA project was of assuring data integrity and the validation of not an easy one, for several reasons: all information according to the given specifica- tions. • The European Commission, as all large po- Registration is free (as in free speech and in litical bodies, is under daily pressure by free beer) and anonymous — the only request is 10 several different lobbies; the “all rights a valid e-mail address, to be used for automatic reserved” lobby, which is pressuring for and service communications. an extension of copyright length and of In the spirit of libre content promotion, no the scope of neighbouring rights, was par- separation of functionalities between “simple ticularly aggressive at the time the ALM users” and “authors” has been implemented: project was launched (and still is, by the both classes of users can benefit from the same way). This made financing a project, whose features: primary goal was to distribute content with flexible copyright policies, questionable in • Uploading and publishing of audio files the eyes of the EC (to say the least); with automatic metatag handling; • Software is not content in the eyes of the • Real–time download statistics; European Commission, which maintains • Creation of personalized playlist, to be ex- a very strict separation between the two 11 ported in the .pls and .m3u formats, them- fields in its financing programmes.
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