Creative Collaboration (KCB202 Week 4 Podcast)
-
Upload
axel-bruns -
Category
Business
-
view
1.783 -
download
0
description
Transcript of Creative Collaboration (KCB202 Week 4 Podcast)
c r e a t i v e n d u s t r i e si
creativeindustries.qut.com
Creative Collaboration
Dr Axel [email protected]
KCB202
c r e a t i v e n d u s t r i e si
creativeindustries.qut.com
Why Do You Need to Know This?
‒ Career opportunities:• significant growth in user-generated content• possibilities for new media entrepreneurs• development of new media jobs managing (curating) user content• potential to use creative participation in collaborative creativity as
pathway into industry employment
‒ Major challenges:• need to understand legal rights and responsibilities in dealing with
content of others• need to hold on to (some) rights to own content
∘ e.g. right to attribution, right to use for commercial purposes• need to understand alternatives to standard copyright licences
∘ e.g. Creative Commons licencing
c r e a t i v e n d u s t r i e si
creativeindustries.qut.com
Creative Produsage
‒ New forms of collective art:• shift away from artist as isolated
‘creative genius’• playful, social engagement in
creative activity• building on existing creative ideas,
concepts, stories, characters• rediscovery of / modelled on earlier
forms of “vernacular creativity”∘ e.g. folk songs, fairytales
image by etchasketchist
c r e a t i v e n d u s t r i e si
creativeindustries.qut.com
Forms of Creative Produsage‒ Fan fiction:
• user-generated stories taking place in existing fictional universes∘ e.g. Star Wars, Star Trek, Harry Potter, …
• motivated by very strong fan loyalty to the fiction franchise• faithful to fundamental principles of the fictional universe,• but exploring side stories and alternative possibilities
∘ e.g. Kirk/Spock slash fiction
• often created and critiqued on a collaborative basis• some strong social network communities (e.g. Sugar Quill)
• questionable legal basis:∘ does fan fiction infringe copyright? under what conditions?∘ sometimes prosecuted, sometimes encouraged by copyright holders∘ can also help keep fan enthusiasm alive between official releases
c r e a t i v e n d u s t r i e si
creativeindustries.qut.com
Forms of Creative Produsage‒ Collaborative curation:
• user-led sharing and critiquing of creative works∘ e.g. Flickr photosharing communities (photo
pools)• sometimes based on sharing and remixing
existing images• creative activity may remain individual,• but collaboration takes place in managing
the content∘ e.g. JPG Magazine
• often organised through new IP models:∘ e.g. Creative Commons licencing∘ requires clear understanding of legal
frameworks
c r e a t i v e n d u s t r i e si
creativeindustries.qut.com
Forms of Creative Produsage
‒ Remix culture and distributed collaboration:• very common in many musical styles
∘ riffing on existing musical ideas (e.g. jazz)∘ sample-based musical forms (e.g. hip hop)∘ especially with digital editing technologies
• legal basis often problematic∘ unclear what constitutes legal use∘ belligerent copyright enforcement∘ some artists forced underground
• development of legitimate frameworks for sampling and remixing∘ e.g. ccMixter (Creative Commons)
c r e a t i v e n d u s t r i e si
creativeindustries.qut.com
Forms of Creative Produsage‒ Mash-ups and machinima:
• recombination of existing content in new contexts (usually in image or video formats)
• often satirical or comical effect∘ e.g. ABC “Unleashed: Sledge” mash-up
competition on YouTube for 2007 election• sometimes staged and recorded in 3D online
game environments∘ e.g. restaging film / dance scenes∘ mixing existing scripts, music, and in-game
content with original ideas
• legal basis often problematic∘ satirical uses protected by law in some countries∘ also question of ownership once uploaded to
YouTube and similar sites
c r e a t i v e n d u s t r i e si
creativeindustries.qut.com
New Possibilities‒ Produsage-based models:
• combination of commercial franchises and user-created content∘ e.g. Star Wars, Star Trek fan fiction communities?
• shift from producing creative content to providing platforms for creative communities∘ e.g. multi-user computer games, Spore
‒ New audiences:• strong interest in user-generated content• production values trumped by produsage values (see e.g. YouTube)• potential for commercial harnessing (and exploitation)• opportunities for media workers who can manage content,• and for media entrepreneurs developing new content sharing platforms
‒ Legal challenges:• ownership and legitimacy of user-generated content remains major problem