Creative Collaboration (KCB202 Week 4 Podcast)
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Creative Collaboration (KCB202 Week 4 Podcast)



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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    Creative Collaboration (KCB202 Week 4 Podcast) Creative Collaboration (KCB202 Week 4 Podcast) Presentation Transcript

    • Creative Collaboration Dr Axel Bruns [email_address] KCB202
    • 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
    • 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
    • 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
    • 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
    • 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)
    • 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
    • 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