Simon Yuill's text entangles stories of artistic practices and experimental projects, such as the Scratch Orchestra, Black Artists’ Group, livecoding, and Logo Labs, as well as a story of UNIX and FLOSS to provide routes out of the contemporary dilemma of the ‘capitalisation of creativity’. By extracting value from the practices whose very aim was to build alternatives to capitalist systems of ownership, power and legitimation, Yuill suggests a new form of cultural critique towards this urgent problematic.