Creative Collaboration (KCB202 Week 4 Podcast)

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Week 4 Lecture for KCB202 New Media Technologies in the Creative Industries Faculty at Queensland University of Technology, semester 2/2008.

Week 4 Lecture for KCB202 New Media Technologies in the Creative Industries Faculty at Queensland University of Technology, semester 2/2008.

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Transcript

  • 1. Creative Collaboration Dr Axel Bruns [email_address] KCB202
  • 2. 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
  • 3. 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
  • 4. 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
  • 5. 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
  • 6. 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)
  • 7. 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
  • 8. 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