Not Signed-In
Which clippings match 'Arts Funding' keyword pg.2 of 3
02 MARCH 2010

Did You Say “Intellectual Property”? It's a Seductive Mirage

"It has become fashionable to toss copyright, patents, and trademarks–three separate and different entities involving three separate and different sets of laws–into one pot and call it 'intellectual property'. The distorting and confusing term did not arise by accident. Companies that gain from the confusion promoted it. The clearest way out of the confusion is to reject the term entirely."

(Richard M. Stallman)


David Rogerson
02 MARCH 2010

Freedom as in what? a debate on open source vs. free culture

"What do we mean by 'freedom'? Should Free/Libre/Open Source Software (FLOSS) necessarily be powered by radical politics of ownership and collaboration? Or is the latching of 'Free Software' ideological baggage limiting the full transformative power of 'Open Source'. How are these questions informed by licenses? Are some licenses more open than others? More ethical than others? This emotional debate has been in the heart of FLOSS from its early days and has created camps and animosities within the community.

We will examine the strong ideological differences through a provocative panel discussion with Gabriella Coleman and Zachary Lieberman."

(Gabriella Coleman and Zachary Lieberman,


David Rogerson
01 MARCH 2010

Obliquity: Why our goals are best achieved indirectly

"Strange as it may seem, overcoming geographic obstacles, winning decisive battles or meeting global business targets are the type of goals often best achieved when pursued indirectly. This is the idea of Obliquity. Oblique approaches are most effective in difficult terrain, or where outcomes depend on interactions with other people.

If you want to go in one direction, the best route may involve going in the other. Paradoxical as it sounds, goals are more likely to be achieved when pursued indirectly. So the most profitable companies are not the most profit–oriented, and the happiest people are not those who make happiness their main aim. The name of this idea? Obliquity"

(John Kay)


David Rogerson
09 NOVEMBER 2009

Expanding the narrow definitions of documentary animation

"The term 'animated documentary' can still upset a truth–seeking purist. But over the last few years our understanding of what a documentary is has expanded from the narrow direct cinema/cinema vérité definition of the 1970s and the 1980s. A more inclusive definition with room for both classic documentaries like the European city symphonies of the 1920s and the personal film essays of the 1990s and the 2000s is now gaining support.

There was a close connection between animation and documentary filmmaking in Europe in the 1920s (Walter Ruttman, Hans Richter, Dziga Vertov) and in the UK in the 1930s (John Grierson, Len Lye, Norman McLaren). This close connection continued at the National Film Board of Canada after World War II and through to this day. Even Hollywood's Academy of Motion Picture Arts and Sciences accepted the animated documentary as documentary proper by giving the Oscar to McLaren (Neighbours, 1952) and Saul Bass (Why Man Creates, 1968). The direct cinema/cinema vérité movements and the total dominance of TV documentaries closely based on journalism have dominated the documentary tradition since the 1960s. But postmodernist thinking combined with more individual/personal artistic filmmaking have brought the artistic elements of the European documentaries of the 1920s and 1930s back. And this scene has also opened up for the modern animated documentary.

At the NFB the filmmakers never stopped making animated documentaries, and a similar tradition has been kept alive in the Scandinavian countries of Denmark, Sweden and Norway. I believe a major reason for this is the social democratic political thinking that lies behind both the ideology of the NFB and the film politics in Scandinavia. The film industry deserves state funding because the films play a vital role in our democracy."

(Gunnar Strøm, March 2005, 'How Swede It Is ...and Danish and Norwegian: Scandinavian documentary animation', p.13,

Fig.1 Monika Forsberg & Susie Sparrow 2006, We Believe in Happy Endings



Simon Perkins
01 JULY 2009

No Logo = No Cash

"The Fitzwilliam Museum has refused to display the logo of the Art Fund next to an artwork which they were seeking a £80,000 grant towards. The Director of the Museum, Dr Timothy Potts explained his stand on the issue. 'The Fitzwilliam Museum is being pressurised by the Art Fund on a highly controversial issue with which it strongly disagrees... Logos are the currency of marketing and commerce and this introduces a promotional element into the galleries that we regard as an unnecessary and unacceptable distraction – no matter how worthy the object of promotion... Needless to say the Fitzwilliam does, like all museums, provide a credit line for each object, in which the Art Fund would have been listed along with any other supporters of the acquisition.'"
(Museum Marketing)



David Rogerson

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