February 19, 2006
(Thanks, Paul!)
David Bollier and Laurie Racine write, in Christian Science Monitor, on the differences between the music, fashion, and film industries when it comes to controlling creativity:
Is it possible that the fashion industry, long patronized as a realm of the ephemeral and insubstantial, is the real bellwether for future ideas of "ownership" of creative content?
Through fashion we have a ringside seat on the ecology of creativity in a world of networked communication. Ideas arise, evolve through collaboration, gain currency through exposure, mutate in new directions, and diffuse through imitation. The constant borrowing, repurposing, and transformation of prior work are as integral to creativity in music and film as they are to fashion.
Although the music and film industries acknowledge the cultural commons as a source of inspiration, they then turn around and try to claim exclusive ownership of the results. The Disney Company, for example, has "taken private" dozens of folk stories and literary classics while contributing nothing to the public domain. Such one-way privatization of our culture makes it difficult for new creators to build from works that were themselves derivative at an earlier point.
Creativity can endure only so much private control before it careens into a downward spiral of sterile involution. If it is to be fresh, passionate, and transformative, creativity must have the room to breathe and grow, "unfettered and alive."
The legendary designer Coco Chanel understood this reality. She once said, "Fashion is not something that exists in dresses only; fashion is something in the air. It's the wind that blows in the new fashion; you feel it coming, you smell it ... in the sky, in the street; fashion has to do with ideas, the way we live, what is happening."
The fashion world recognizes that creativity cannot be bridled and controlled and that obsessive quests to do so will only diminish its vitality. Other content industries would do well to heed this wisdom.
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Michael Parenti has created an installation piece for the exhibition "bensiz" ("without me") at address istanbul, titled "paiksiz" ("without paik"), in tribute to the death of video artist Nam June Paik. Pictures HERE.
The piece is comprised of an old macintosh g4 laptop in a plexiglass case, with an riff on paik's original installation piece, "ego machine" (1974). The desktop picture has the words "paik, paik paik....etc" as the original, with a few differences: the words are struck through, symbolizing paik's death, and static video snow has been added. The laptop is also running a 7 minute film in continuous loop, which is projected on a semi transparent curtain in the middle of the 35 meter long space. The film was created in grid pro, using original footage of paik in his coffin, which Todd Thille filmed at the memorial service on Saturday, February 4th, in New York City, This original footage is mixed with close up shots of fingers on a typewriter keyboard as if Paik's ego is still typing his name - even in death, and is seperated into the three channels of video color space - R, G, and B - symbolizing the color space which paik worked in, and is accompanied the song "Death is not the end" a cover version by the austrian band, "Der Scheitel". The surround soundsystem in the glass enclosed space was courteously provided by Bang & Olufsen
Featured Project
Berkeley Conference: Online Video and the Future of Television - Friday, September 30, 2005
This one-day conference brings together archivists, educators, technologists, entrepreneurs, producers, legal experts, and investors to explore the enormous promise offered by the availability of online video and television content. Demonstrations and interactive panel discussions will highlight new video technologies, services, legal issues, and economic models. Participants from diverse – and until now, largely disconnected – specialties will be especially encouraged to interact.
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unmediated is a group blog that tracks the tools, processes,
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