The Creative Animal Goes Online (Part B)

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Delivered as a guest lecture at the Perc Tucker Regional Gallery (Townsville Australia) and at Aarhus University, (Aarhus Denmark) in 2009.

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The Creative Animal Goes Online (Part B)

  1. 1. The Creative Animal Goes Online 2.0 Mitch Goodwin NM1102 New Media & the Creative Economy James Cook University | Townsville School of Creative Arts 15 05 09 ExpressionHistory Meaning Venue
  2. 2. The Creative Animal Goes Online 2.0 Mitch Goodwin NM1102 New Media & the Creative Economy James Cook University | Townsville School of Creative Arts “This is the golden age of tactical media, open to issues of aesthetics, experimenting with alternative forms of story telling. However, these liberating techno practices did not immediately translate into visible social movements. Rather, they symbolized the celebration of media freedom, in itself a great political goal. Gert Lovink & Florien Schneider, | A Virtual World is Possible : From Tactical Media to Digital Multitudes | Public Netbase: Non Stop Future, New Practices in Art and Media | Revolver | Berlin
  3. 3. The Creative Animal Goes Online 2.0 Mitch Goodwin NM1102 New Media & the Creative Economy James Cook University | Townsville School of Creative Arts “Commonly shared was a feeling that politically motivated activities, be they art or research or advocacy work, were no longer part of a politically correct ghetto and could intervene in pop culture™ without necessarily having to compromise with the system™. With everything up for negotiation, new coalitions could be formed. The current movements, worldwide, cannot be understood outside of the very personal and diverse cry for the digital freedom of expression.” Gert Lovink & Florien Schneider, | A Virtual World is Possible : From Tactical Media to Digital Multitudes | Public Netbase: Non Stop Future, New Practices in Art and Media | Revolver | Berlin
  4. 4. Screening Room The Political Animal Civil Counter Reconnaissance System 77 | April, 2009 | Vienna Netbase t0 Institute For New Cultural Technologies | 2006 | Vienna
  5. 5. The Creative Animal Goes Online 2.0 Mitch Goodwin NM1102 New Media & the Creative Economy James Cook University | Townsville School of Creative Arts Nomadic Information Databases, Algorithms and Content Portals For Your References Cool Stuff to Chew ↑ Your Bandwidth Impermanence| Goodwin | Gold Coast | 2000 Remixology The Remix, The Mash-Up & Web 2.0 “Art Is Product” Debate Reward, passion, politics and hunger This Is Civilisation Documentary Screening in DA302-016 @ 11:15am
  6. 6. Remixology The Remix, The Mash-Up & Web 2.0
  7. 7. Sound Lounge The Remix Animal Ray of Gob| Go Home Productions Madonna vs The Sex Pistols | 2004 Barak Obama | The Audacity of Hope Audio Samples | April Winchell | 05-02-09
  8. 8. Ist Principles of the Remix We re-write the rules, society invented the remix The ethos of the remix is as old as the cultural artefact itself : • The Wandjina ancestral figures of Australian rock art • The reconfiguration of the Old Testament, the Qur’an and the Torah from pagan myth • The emergence of cut’n paste scrapbook (1800s) • The African-American Delta Blues template (early 1900s) • The Trojan Sound System (1950s) • Shepherd Fairey’s Hope / Progress posters (2008) The Creative Animal Goes Online 2.0 Mitch Goodwin 150509 NM1102 New Media & the Creative Economy James Cook University | Townsville School of Creative Arts Remixology The Remix, The Mash-Up & Cut’n Paste Culture Wandjini | North-West Victoria | Australia
  9. 9. Ist Principles of the Remix We re-write the rules, society invented the remix Important dates and names you should know : • 1967 - Arthur “the Duke” Reid & Ruddy Redwood (Rough Trade Records, Kingston Jamaica) • 1972 - David Mancuso (The Loft, New York City) • 1973 - Tom Moulton (The Sandpiper, Fire Island) • 1979 - Clive Campbell (aka KOOL HERC) • 1981 - Joseph Saddler (aka Grandmaster Flash) • 1982 - Afrika Bambaataa (aka BAM) The Creative Animal Goes Online 2.0 Mitch Goodwin 150509 NM1102 New Media & the Creative Economy James Cook University | Townsville School of Creative Arts Remixology The Remix, The Mash-Up & Cut’n Paste Culture The Trojan Sound System | Arthur “The Duke” Reid
  10. 10. Ist Principles of the Remix We re-write the rules, society invented the remix • The remix, the mash-up, the cut’n paste, the montage and the pastiche all depend on the same principles. • The pinch, the snip - the isolating perspective • The manipulation, the interrelation - re-imagining • For the Duke it was the version (the instrumental dub track) • For Moulton it was the tape splicing re-edit (the extended disco mix) • For Flash it was Quick Mix Theory (Hip-Hop and scratching) The Creative Animal Goes Online 2.0 Mitch Goodwin 150509 NM1102 New Media & the Creative Economy James Cook University | Townsville School of Creative Arts Remixology The Remix, The Mash-Up & Cut’n Paste Culture The Adventures of Grandmaster Flash on the Wheels of Steel | Grandmaster Flash & the Furious Five | Sugar Hill Records | 1981
  11. 11. NM1102 New Media & the Creative Economy James Cook University | Townsville School of Creative Arts The Creative Animal Goes Online 2.0 Mitch Goodwin 150509 Ist Principles of the Remix We re-write the rules, society invented the remix Remixology The Remix, The Mash-Up & Cut’n Paste Culture 2003 20062004 20072003 2006
  12. 12. Hope vs Progress The Shepard Fairey incident • Shepherd Fairey is an American street artist who works with stickers, stencils and image manipulation tools such as Photoshop. • He came to prominence in 1989, while still at University in New York, with his ubiquitous poster campaign of Andre the Giant. • He has since travelled extensively, with Andre popping up in Russia, Japan, and the UK. In 1995 the poster was adapted to “Obey Andre”. • His work has expanded to include screen printing and a clothing company. He established an ad agency to fund his artistic exploits and his clients include Levis, the Smashing Pumpkins and Sunkist. The Creative Animal Goes Online 2.0 Mitch Goodwin 150509 NM1102 New Media & the Creative Economy James Cook University | Townsville School of Creative Arts Remixology The Remix, The Mash-Up & Cut’n Paste Culture Andre the Giant Has a Posse | Shepherd Fairey | 1989 | USA
  13. 13. The Creative Animal Goes Online 2.0 Mitch Goodwin 150509 NM1102 New Media & the Creative Economy James Cook University | Townsville School of Creative Arts Remixology The Remix, The Mash-Up & Cut’n Paste Culture Peace Bomber | 2009 No… I’m Vegetarian | 2007 Make Art Not War | 2005 Obey | 2005
  14. 14. The Creative Animal Goes Online 2.0 Mitch Goodwin 150509 NM1102 New Media & the Creative Economy James Cook University | Townsville School of Creative Arts Remixology The Remix, The Mash-Up & Cut’n Paste Culture Hope | Shepard Fairey | 2008 | USAPanel on Dafur | Mannie Garcia | Associated Press | 2006 | USA
  15. 15. The Creative Animal Goes Online 2.0 Mitch Goodwin 150509 NM1102 New Media & the Creative Economy James Cook University | Townsville School of Creative Arts Remixology The Remix, The Mash-Up & Cut’n Paste Culture Hope | Shepard Fairey | 2008 | USA “My Obama poster variations of “HOPE” and “PROGRESS” were obviously not intended to report the news. I created them to generate support for Obama; the point was to capture and synthesize the qualities that made him a leader. The point of the poster is to convince and inspire. It’s a political statement. My Obama poster does not compete with the intent of, or the market for the reference photo.” Shepard Fairey, 2009 Hope vs Progress The Shepard Fairey incident
  16. 16. Nomadic Information Databases, Algorithms and Content Portals
  17. 17. The Creative Animal Goes Online 2.0 Mitch Goodwin 150509 NM1102 New Media & the Creative Economy James Cook University | Townsville School of Creative Arts Nomadic Information Databases, Algorithms and Content Portals Gene Pool | http://pool.org.au/ | Australian Broadcast Commission | 2009 Information as Content Development • If we think of the web as a resource we can make the analogy of the “web space” as an artist’s studio (and his/her community). • As in a studio where brushes, oils, pastels, canvasses, wood blocks and easels enable the artist to create meaning, Web 2.0 technologies provide a similar function : • Softwareplatforms • Decoding and encoding tools • Search algorithms • Database statistics • Relational content • Comment, critique and guidance
  18. 18. The Creative Animal Goes Online 2.0 Mitch Goodwin 150509 NM1102 New Media & the Creative Economy James Cook University | Townsville School of Creative Arts Nomadic Information Databases, Algorithms and Content Portals Information as Content Development • “Comment, critique and guidance” … • This last point becomes vital as the artists moves from the act of creation to the mode of promoter, distributorand educator. • Work which is generated or finished in the digital realm is attached to the network. • The artist and their work become a node • By linking their work to other portals, detailing their process on a blog, or posting updates to Facebook, MySpace and/or Twitter the artist is then facilitating a promotional network. Small Box | Social Media Optimization | 2009
  19. 19. Information as Content Development NM1102 New Media & the Creative Economy James Cook University | Townsville School of Creative Arts The Creative Animal Goes Online 2.0 Mitch Goodwin 150509 Nomadic Information Databases, Algorithms and Content Portals
  20. 20. Information as Content Development • Analogue artists, programmers, technologists, theorists and new media artists are using information directly off the web to create content. • By accessing databases of information using information rich portals like eBay or Google to generate data sets they are visualising information and creating a new aesthetic. • This is being developed either as activist art, for purely aesthetic purposes, digital dreaming, objectification of data, scientific investigation or perhaps more importantly as a natural development of our increasing reliance on visual signs as language. The Creative Animal Goes Online 2.0 Mitch Goodwin 150509 NM1102 New Media & the Creative Economy James Cook University | Townsville School of Creative Arts Nomadic Information Databases, Algorithms and Content Portals We Feel Fine | http://www.wefeelfine.org | Jonathan Harris and Sep Kamvar | May 2006
  21. 21. Screening Room The Ambient Animal We Feel Fine | http://www.wefeelfine.org | Jonathan Harris and Sep Kamvar | May 2006 Web 2DNA Art Project | baekdal.com | 2008
  22. 22. Hans Bernhard • Hans Bernhard is anew net artist, media activist, programmer and blogger. • His works use information rich portals like eBay, Amazon & Google to generate media art. • He hosts his works and thoughts at Psychotropic Drug Karaoke. • The project which brought him to the attention of the world – ie the CIA, the FBI and CNN via a 27min expose on “Burden of Proof” – was [V]ote-Auction which offered US citizens the chance to sell their votes online to the highest bidder in the 2000 (and again in the 2004) US elections. The Creative Animal Goes Online 2.0 Mitch Goodwin 150509 NM1102 New Media & the Creative Economy James Cook University | Townsville School of Creative Arts Nomadic Information Databases, Algorithms and Content Portals Burden of Proof | Hans Bernhard | CNN | 2000
  23. 23. Hans Bernhard “We(3) are the children of the 1980s, We are the first internet-pop- generation. We grew up with radical Michael Milken [The King of Junk Bonds] and mythical Michael Jackson [The King of Junk Pop]. Hans Bernhard is loaded with 10 years of internet & tech [digital cocaine], mass media hacking, underground techno, hardcore [illegal] drugs, rock&roll lifestyle and net.art jet set [etoy]. His neuronal networks and brain structures are similar to the global synthetic network he helped build up and maintained subversive activity within. And now they are "infected" by a manic-depression [WHO ICD-10, F31.1.] (1), both Hans Bernhard and The "Network" are infected by this structural disorder. Waves of mania and depression are running through these technical, social and economic structures. “ Hans Bernhard The Creative Animal Goes Online 2.0 Mitch Goodwin 150509 NM1102 New Media & the Creative Economy James Cook University | Townsville School of Creative Arts Nomadic Information Databases, Algorithms and Content Portals Self Portarit | Hans Bernhard | 2002 | Station 4B, Department of Psychiatry, General Hospital | Vienna
  24. 24. eToy CORPORATION • Hans Bernhard first established the eToy CORPORATION in 1994, as a “global internet investment identity”. • Playing with notions of “shareholder value”, “globalisation” and the 24 hour global economy, eToy produces net art works which satirise the economic philosophies of the “New World Order” (see George Bush Snr). • The central argument of the site, is not to reject “global markets, economic exchange, culture, individuals and politics”, but to subvert it through net activism. The Creative Animal Goes Online 2.0 Mitch Goodwin 150509 NM1102 New Media & the Creative Economy James Cook University | Townsville School of Creative Arts Nomadic Information Databases, Algorithms and Content Portals eToy Corporation | Hans Bernhard | Est. 1994
  25. 25. eToy CORPORATION (a manifesto) • etoy.CORPORATION seeks to explore social, cultural and financial value. • etoy.SHAREHOLDERS invest time, knowledge, and ideas (or simply finance) - • etoy.OPERATIONS which focus on the overlap of entertainment, cultural, social and economic values. • etoy.SHAREHOLDERS participate in a dynamic artwork that takes place 24 hours a day in the middle of society -- on and offline. The Creative Animal Goes Online 2.0 Mitch Goodwin 150509 NM1102 New Media & the Creative Economy James Cook University | Townsville School of Creative Arts Nomadic Information Databases, Algorithms and Content Portals eToy Corporation | Hans Bernhard | Est. 1994
  26. 26. eToy Corporation (Agents) • “eToy is a typical early mover (online since 1994) and developed rapidly into a market leader in the field of contemporary art. “ • Actions and services like the digital hijack (1996), etoy.TIMEZONE (1998), TOYWAR (1999/2000), etoy.DAYCARE (since 2002) and the etoy.TANKS (since 1998) are classics of digital art. • eToy.AGENTS is an ongoing initiative which “employs” artists, programmers and technicians to facilitate their endeavours. • Mission Eternity was started in 2005 and continues today as an “ultra long term project that allows pioneers of the informationage to travel space and time forever...” The Creative Animal Goes Online 2.0 Mitch Goodwin 150509 NM1102 New Media & the Creative Economy James Cook University | Townsville School of Creative Arts Nomadic Information Databases, Algorithms and Content Portals eToy Corporation | Hans Bernhard | Est. 1994
  27. 27. Ubermorgen • Hans Bernhard then went on to form his most famous and prolific creation Ubermorgen with another media artist Lizvlx, in 1999. • Ubermorgen means “the day after tomorrow” or “super tomorrow”. • The [V]ote-Auction project was a natural extension of the eToy manifesto. (The 2004 incarnation won the Ars Electroinica award in 2005). • However, as the web grew into a new global economic playground, so did Bernhard’s sights shift from US styled global economics to the web’s major corporations. The Creative Animal Goes Online 2.0 Mitch Goodwin 150509 NM1102 New Media & the Creative Economy James Cook University | Townsville School of Creative Arts Nomadic Information Databases, Algorithms and Content Portals [V]ote-Auction | Hans Bernhard | 2000 & 2004
  28. 28. Screening Room The Uber Animal Sounds of eBay | Hans Bernhard | Ubermorgen.com | 2009 Amazon Noir | Hans Bernhard | Ubermorgen.com | 2004 Google Will Eat Itself | Hans Bernhard | Ubermorgen.com | 2007
  29. 29. Visual Representation (a riff) “We live in a period where art, as the former monopolist of the representative image, has abandoned this representative obligation. Yet science, in contrast, fully embraces the options which technical machine-based images offer for the representation of reality. The Creative Animal Goes Online 2.0 Mitch Goodwin 150509 NM1102 New Media & the Creative Economy James Cook University | Townsville School of Creative Arts Nomadic Information Databases, Algorithms and Content Portals The White Website | Hans Bernhard | Ubermorgen.com | 2002
  30. 30. Visual Representation (a riff) Therefore, it could be the case that mankind will find the images of science more necessary than the images of art. To be able to maintain its significance up against the sciences and their picture-producing procedures, art must look for a position beyond the crisis of representation and beyond the image wars straight into the blind spaces of the black black and the white.“ Hans Bernhard im Gespräch mit Hans-Ulrich Obrist, November 2002 The Creative Animal Goes Online 2.0 Mitch Goodwin 150509 NM1102 New Media & the Creative Economy James Cook University | Townsville School of Creative Arts Nomadic Information Databases, Algorithms and Content Portals The Black Website | Hans Bernhard | Ubermorgen.com | 2002
  31. 31. Screening Room The Quantitative Animal Seeker | Leon Cmielewski & Josephine Starrs | Australian Centre for the Moving Image | Melbourne | 2006 The Oracle of Elsewhere | Ian Wojtowicz | Sculptural Interface | 2008
  32. 32. Barrett Lyon | The Opte Project | Video | 2003 • Opte.org develops visual representations of the internet. This is achieved data collected from ISPs, domains or geographical territory. • This example shows the class A allocation of ISP space from global territories. • Image capture date : Nov 22, 2003 Red Asia Pacific Green Europe / Central Asia Blue North America Yellow Latin America White Unknown The Opte Project by Barrett Lyon The Creative Animal Goes Online 2.0 Mitch Goodwin 150509 NM1102 New Media & the Creative Economy James Cook University | Townsville School of Creative Arts Nomadic Information Databases, Algorithms and Content Portals
  33. 33. Christophe Bruno | The Dadameter | Out of Enunciation – Decay of the Symbolic | 2008 • Web artist Christophe Bruno uses massive amounts of Google data to generate colour coded topographic maps of language on the internet • “The first steps consist in extracting massive amount of information from Google and analyzing it in terms of semantics and homophony. From this complex and time- consuming procedure we get some geometrical description of language, considered here as the hypergraph of words and pages that is stored in Google's database.” (Bruno, 2008) • Homophony (n) the same pronunciation for words of different origins The Dadameter by Christopher Bruno The Creative Animal Goes Online 2.0 Mitch Goodwin 150509 NM1102 New Media & the Creative Economy James Cook University | Townsville School of Creative Arts Nomadic Information Databases, Algorithms and Content Portals
  34. 34. “…And then came the grandest idea of all! We actually made a map of the country, on the scale of a mile to the mile!” “Have you used it much?” I enquired. “It has never been spread out, yet,” said Mein Herr: “the farmers objected: they said it would cover the whole country, and shut out the sunlight! So we now use the country itself, as its own map, and I assure you it does nearly as well…” — Lewis Carroll. The complete Sylvie and Bruno. 1893. San Francisco: Mercury House, c1991. pg. 265 The Senseable City Lab (MIT) The Creative Animal Goes Online 2.0 Mitch Goodwin 150509 NM1102 New Media & the Creative Economy James Cook University | Townsville School of Creative Arts Nomadic Information Databases, Algorithms and Content Portals Real Time Rome | The Senseable City Lab | MIT | Venice Biennale | 2006
  35. 35. • MIT runs a number of technology enabling laboratories which explore the nexus of science, technology, media and art. • The Senseable City Lab seeks to study communication behaviours within urban environments by visually representing these activities via software and network technology. • However, these projects don’t reside in laboratories or written up in science journals, they are published online and exhibited in media art festivals across Europe and the United States. • Scientific visualisation of data as art. The Senseable City Lab (MIT) The Creative Animal Goes Online 2.0 Mitch Goodwin 150509 NM1102 New Media & the Creative Economy James Cook University | Townsville School of Creative Arts Nomadic Information Databases, Algorithms and Content Portals The World’s Eyes | The Senseable City Lab | MIT | 2007
  36. 36. Familiar urban images which make-up much of the contemporary western sprawl are “transformed by computer extrapolations into built environments that are representative of reality, but at the same time seem hyper-real. “ The user shapes interactions of the city's major components: landscape, roads, building lots, architectural components, and vehicles. Each user controls a vortex of automobiles that looks like a tornado of cars, continually spewing copies of themselves into the atmosphere.” The Scalable City by Sheldon Brown (UCA San Diego) Developed at the University of California in conjunction with the Experimental Games Lab by artist Sheldon Brown, Scalable City is both game and doomsday machine. The Creative Animal Goes Online 2.0 Mitch Goodwin 150509 NM1102 New Media & the Creative Economy James Cook University | Townsville School of Creative Arts Nomadic Information Databases, Algorithms and Content Portals The Scalable City | Sheldon Brown | UCA San Diego | 2008
  37. 37. By applying computational processes to design decisions, it becomes easy to see how development can produce unintended effects after much iteration. Even the smallest design decision today to build a road can lead, at the extreme, to drastic changes in the built environment that were probably neither intended nor wanted.“ Sheldon Brown The project is exhibited as a game in a contemporary arts environment at such venues as Ars Electronica in Austria, the Museum of Contemporary Art in Shanghai, FILE 2008 in Sao Paulo, Brazil, and SIGGRAPH 2007. The Scalable City by Sheldon Brown (UCA San Diego) "Scalable City places responsibility for the new landscape on each user, whose activities are simultaneously constructive and destructive. The Creative Animal Goes Online 2.0 Mitch Goodwin 150509 NM1102 New Media & the Creative Economy James Cook University | Townsville School of Creative Arts Nomadic Information Databases, Algorithms and Content Portals The Scalable City | Sheldon Brown | UCA San Diego | 2008
  38. 38. Electric Sheep | Scott Draves | Android Dreaming | 2007 Electric Sheep (Screensaver) by Scott Draves The Creative Animal Goes Online 2.0 Mitch Goodwin 150509 NM1102 New Media & the Creative Economy James Cook University | Townsville School of Creative Arts Nomadic Information Databases, Algorithms and Content Portals • “When these computers "sleep", the screen saver comes on and the computers communicate with each other by the internet to share the work of creating morphing abstract animations known as "sheep". • The result is a collective "android dream", a homage to Philip K. Dick's novel Do Androids Dream of Electric Sheep?. • The more popular sheep live longer and reproduce according to a genetic algorithm with mutation and cross- over. Hence the flock evolves to please its global audience. You can also design your own sheep and submit them to the gene pool. “
  39. 39. Electric Sheep by Scott Draves The Creative Animal Goes Online 2.0 Mitch Goodwin 150509 NM1102 New Media & the Creative Economy James Cook University | Townsville School of Creative Arts Nomadic Information Databases, Algorithms and Content Portals
  40. 40. For Your Reference Cool Stuff to Chew ↑ Your Bandwidth
  41. 41. For Future Reference Cool Stuff to Chew ↑ Your Bandwidth The Creative Animal Goes Online 2.0 Mitch Goodwin 150509 NM1102 New Media & the Creative Economy James Cook University | Townsville School of Creative Arts “This is a blog about the media. However, with other blogs on television, film, and the media in general, we wanted to carve out a specific niche. So our blog will focus primarily on the extratextuals that surround the media. By this, we mean everything but the show itself: previews, merchandising, industry buzz, branding, interviews, posters, spatial context, temporal context, related websites, ARGs, spinoffs, spoilers, schedules, bonus materials, transmedia extras, games, YouTube clips, etc. But we’re interested in these things not to be arcane or eccentric; rather, we believe that the extratextuals often make the show what it is. Hence this blog is about the mediation of media.” The ExtraTextuals | Blog | Ivan Askwith, Jonathan Gray, and Derek Johnson | 2007
  42. 42. Gears Of War | Game Trailer | Epic Games | 2006 Mad World | Song | Gary Jules and Michael Andrews | 2003 Screening Room The Playful Animal Molleindustria |McDonald’s Video Game| 2006
  43. 43. Screening Room The Futurist Animal Future in 2019 | Microsoft Office Labs | 2009Microsoft Office 10 | Software Trailer | Microsoft | 2009
  44. 44. For Future Reference Cool Stuff to Chew ↑ Your Bandwidth The Creative Animal Goes Online 2.0 Mitch Goodwin 150509 NM1102 New Media & the Creative Economy James Cook University | Townsville School of Creative Arts The Dark Knight | Bus Stop Promo Poster Nolan | Warner Brothers | 2008 Cloverfield | Promo Poster | Abrams | Bad Robot | 2008
  45. 45. For Future Reference Cool Stuff to Chew ↑ Your Bandwidth Digicult Online Arts Magazine Go Home Productions Music(hall) Mash-Ups Netbase t10 Institute For New Cultural Technologies Free Bitflows Exhibition & Conference Site Non Stop Future New Practices In Art & Media Phlow Magazine Online Music Site CCC Convergence Culture Consortium (MIT) TED Ideas Worth Spreading Robin Eley Illustrator Coded Cultures Exploring Creative Emergences System77 Civil Counter Reconnaissance Location One Virtual Residency Program Chumby Cool Thing The Creative Animal Goes Online 2.0 Mitch Goodwin 150509 NM1102 New Media & the Creative Economy James Cook University | Townsville School of Creative Arts
  46. 46. “Art Is Product” Debate Reward, Politics, Passion & Hunger
  47. 47. The Rules of Engagement • Each class will be delegated a position - for or against. 1. Sue’s Tute Group (For) Versus Jak’s Tute Group (Against) 2. Ron’s Tute Group (For) Versus Mitch’s Tute Group (Against) • Following this division each group should spend 30 minutes constructing a list of examples and reasoned arguments to support their position. • Sue & Ron’s Tute Groups will host the debates with both teams expected to use some form of visual aids. • Each team has 10 minutes each to present their case. The Creative Animal Goes Online 2.0 Mitch Goodwin 150509 NM1102 New Media & the Creative Economy James Cook University | Townsville School of Creative Arts “Art Is Product” Reward, passion, politics and hunger Steve Barrett | Thirst | It’s Art eZine | 2009
  48. 48. The Rules of Engagement You may choose to use the following questions as starting points : • How do we define product? What is constitutes art? • What gives a work of art intrinsic value? • When do we choose to pay a price for art – DVDs, exhibition fees, books, CDs, concert performances, games … ? • And what do we pay with – money, bandwidth, time … ? • Art exists in the public sphere, online, on bookshelves, on walls in parks and in foyers - who pays for it? How does it get made? The Creative Animal Goes Online 2.0 Mitch Goodwin 150509 NM1102 New Media & the Creative Economy James Cook University | Townsville School of Creative Arts “Art Is Product” Reward, passion, politics and hunger Tim Burton & Friend | 2007

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