Not Signed-In
Which clippings match 'Economic Model' keyword pg.1 of 2
10 NOVEMBER 2012

Sita Sings the Blues: audience-distributed animated feature film

"I hereby give Sita Sings the Blues to you. Like all culture, it belongs to you already, but I am making it explicit with a Creative Commons Attribution–Share Alike License. Please distribute, copy, share, archive, and show Sita Sings the Blues. From the shared culture it came, and back into the shared culture it goes.

You don't need my permission to copy, share, publish, archive, show, sell, broadcast, or remix Sita Sings the Blues. Conventional wisdom urges me to demand payment for every use of the film, but then how would people without money get to see it? How widely would the film be disseminated if it were limited by permission and fees? Control offers a false sense of security. The only real security I have is trusting you, trusting culture, and trusting freedom.

That said, my colleagues and I will enforce the Share Alike License. You are not free to copy–restrict ('copyright') or attach Digital Restrictions Management (DRM) to Sita Sings the Blues or its derivative works.

Some of the songs in Sita Sings the Blues are not free, and may never be; copyright law requires you to obey their respective licenses. This is not by my choice; please see our restrictions page for more.

There is the question of how I'll get money from all this. My personal experience confirms audiences are generous and want to support artists. Surely there's a way for this to happen without centrally controlling every transaction. The old business model of coercion and extortion is failing. New models are emerging, and I'm happy to be part of that. But we're still making this up as we go along. You are free to make money with the free content of Sita Sings the Blues, and you are free to share money with me. People have been making money in Free Software for years; it's time for Free Culture to follow. I look forward to your innovations."

(Nina Paley)

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TAGS

attribution-share alike • audience-distributioncoercioncontrol • copy-restrict • copyrightcopyright lawCreative Commonsderivative works • Digital Restrictions Management • disseminationDRMeconomic model • emerging economic models • film fundingfree contentfree culture • free culture movement • free softwarefreedom • making money • Nina Paley • old business model • open distribution • payment • permission • Ramayana • Share Alike License • shared culture • Sita Sings the Blues • support artists

CONTRIBUTOR

Simon Perkins
14 JANUARY 2012

PROTECT IP / SOPA Act Breaks the Internet

This video "discusses the Senate version of the PROTECT IP Act, but the House bill that was introduced TODAY is much much worse.

It'll give the government new powers to block Americans' access websites that corporations don't like. The bill would criminalize posting all sorts of standard web content –– music playing in the background of videos, footage of people dancing, kids playing video games, and posting video of people playing cover songs.

This legislation will stifle free speech and innovation, and even threaten popular web services like Twitter, YouTube, and Facebook.

The bill was just introduced: We need to act now to let our lawmakers know just how terrible it is. Will you fill out the form above to ask your lawmakers to oppose the legislation?"

(Fight for the Future, 2011)

[Another naive effort by government & big media to re–conceptualise their economic models in the face of profound change.]

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TAGS

animated presentation • bad for creativity • big media • censor the net • censors the internet • censorshipcopyright infringementcopyrighted materialcreativitydownloading laweconomic modelentertainment industryethicsFacebookfile sharingillegal behaviourintellectual propertyInternetlawlegislationold media • Online Piracy • open access • open communication • PIPA • PROTECT IP • remix culture • shuts out diverse voices • SOPA • SOPA Act • stifles innovation • Twittervideo sharingYouTube

CONTRIBUTOR

Simon Perkins
09 NOVEMBER 2009

The end of the old print publishing model (not the end of print)

"Beautiful! Actually, you've covered this before: the end of print theme today is like the end of theater 60 years ago when TV was making its baby steps. Today we are talking about the end of the old management along with the publishing model which has been gainfully exploited for far too long. In order to survive and thrive they have to give away more every day, and successful navigating a mag or a paper this pit of freebies and discounts will indicate the future great talent in publishing. You know, since paper and rent is not getting any cheaper and all... But 'end if print?!' Goodness, no!"

(Anton Shmerkin, 1 November 2009, comment on magCulture.com)

TAGS

2009adadvertanimated presentationcampaignconvergenceeconomic changeeconomic modelend of printentrepreneurship • freebie • innovationiPodmagazine • Magazine Publishers of America • magazine subscription • managementmedia landscapeobsolescenceold mediaprintpublishingpublishing modelstatisticssubscriptiontraditiontransformationtrendtweet

CONTRIBUTOR

Simon Perkins
17 OCTOBER 2008

How Bittorent Killed Television

"This talk & presentation at the Australian Film Television and Radio School is a good exploration about how the hyperdistribution techniques of BitTorrent and other technologies have shifted control away from broadcasters and television programme distributors toward the audience. More than just a critique, I provide the assembled TV executives (quite a few in that crowd) with some new techniques to keep up with their audiences in the 21st century."
(Mark D. Pesce, Australian Film Television and Radio School, May 2005)

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TAGS

21st centuryAFTRSBitTorrentbroadcastdigital cultureeconomic modelfile sharing • hyperdistribution • Mark Pescenetworkonline lecturespeer-to-peerpiracy • swarm • television

CONTRIBUTOR

Simon Perkins
29 AUGUST 2005

Design as an Applied Practice

"With the exception of architecture, all other professional design practices were latecomers in the history in the rise of the professions (with some still aspiring for this status). The impetus for design to become an occupation, then professional practice and eventually, a profession, came from the burgeoning industries of the industrial revolution. The passage of 'machinofacture' to mass production, and then to mass consumption and mass communication carried not just an explosion of products to be designed but also the designing of product differentiation, commercial and domestic product environments and all the facets of marketing. Design practice, as it is now understood as a cluster of distinct specialisms, arrived out a particular history.For millennia, design was inscribed in the repetition of forms and appearances of traditions of building and making, while designing was embedded, as artifice, in a variety of craft practices, however, as a consequence of the capitalist division of labour from the late 17th century onward it became developed as an increasingly distinct service of the industrial economy, its means of production, the commodity sphere, urban form and 'modern' culture. In addition to this, design practice also appropriated a number of other skill areas, not least 'decorative arts'. Clearly, this history affirms that a good deal of design intelligence pre–dated the establishment of design as an independent practice. Yet designing prior to, and immediately after, this moment lacked any formally recognised and managed design process (a feature of designing that did not gain recognition until the 20th century). This process was characterised in terms of sequential operations from initial ideas to final specification, and in conceptual stages (like, analysis, synthesis and evaluation). Rationalist and reductive attempts to model this process continually struggled to deal with the intuitive; however, in the momentum to technologically embody the design process there have been concerted efforts to create expert systems to capture functional design processes and even creativity. The rise of design tools that replicate components of design intelligence are effectively blurring the distinction between the professional designer and the general human facility to prefigure. Anyone with the money to buy design software can design a book, boat, vineyard, weekender and so on."
(Tony Fry)

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