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29 MAY 2010

The Creative Industries KTN: the future of digital content

"This document has been created to help people understand the radical transformation digital content will have on the creative industries, and to provide businesses with outline areas of opportunity where innovation is most likely to occur.

In the past decade, digital content has become a part of everyday life for all. Yet the changes that will occur in the next 5-10 years will be profound. They have the power to alter the way we live, work, play, learn and help us to live longer, more fulfilling lives. These changes will substantially alter existing business models and markets.

Many historical innovations such as new recording formats, more powerful consoles and new advertising media were incremental. They changed formats and created new opportunities, but they did not alter the industrial landscape. The changes taking place now are paradigm shifts that challenge the value chain as a whole.

These changes represent huge opportunities, or threats if not understood. For games designers, it may mean the migration from console platforms to cloud based applications and casual gaming communities. For TV programmes it may mean the end of broadcast, where their content must be found and consumed on numerous devices. For publishers it may mean the migration to new consumption platforms that radically alter distribution channels. For industrial designers, it may mean the need to move from object creation to experience creation. For all it means the need to radically shift their thinking.

The following pages outline the key areas highlighted by a project that has engaged with hundreds of key stakeholders across the creative industries and technology industries seeking to map the landscape of the future of digital content."

(Kelechi Amadi, March 2010)

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TAGS

2010 • advertising media • Beacons for Innovation • broadcastingbusiness modelscasual gaming • casual gaming communities • cloud based applications • cloud computingconsoleconsumptionconsumption platformsconvergencecreative economycreative industriesCreative Industries Knowledge Transfer Networkdigital contentdistributioneconomic changeexperience creationformat • games consoles • historical innovations • industrial landscape • innovationKnowledge Transfer Networkknowledge-based economyKTNmarketsnew mediaold mediaparadigm shiftplatformsproduct designrecordingtechnology • technology industries • Technology Strategy Boardthe future of digital contenttransformation • TSB • TVUKvalue chain

CONTRIBUTOR

Simon Perkins
09 MARCH 2010

Acquiring new media works

"Museologists face a new reality in our fast-changing high-tech world. Works with technological components pose unfamiliar challenges and require acquisition procedures that differ from traditional practices. Primarily, this means giving careful consideration to the notions of copyright (intellectual property), conservation and artist collaboration prior to the purchase of media-based art.

The Survey of New Media Cataloguing Practices report, produced by the DOCAM Cataloguing Structure Committee, indicates that few museum institutions have established a specific policy for acquiring new media works. Yet a policy of this sort is an important tool: used to assess the characteristics and short-, medium- and long-term conservation and exhibition needs of such works, it can help museums make informed choices when envisaging additions to their collections."

(DOCAM)

TAGS

acquisition procedures • acquisitionsadded value • artist collaboration • arts and innovationarts fundingcommercialismconservationcopyrightcreative capitalcreative entrepreneurshipcreative industries • DOCAM • DOCAM Cataloguing Structure Committee • entrepreneurexhibitionfunding • high-tech world • intellectual propertymarket failuremarkets • media-based art • museologymuseumnew media • new media works • patronpolicysocial gainsponsorship • Survey of New Media Cataloguing Practices • value of art

CONTRIBUTOR

David Rogerson
02 MARCH 2010

Reading ban on leaked Harry Potter

"Fourteen fans bought Harry Potter and the Half-Blood Prince from The Real Canadian Superstore in Coquitlam on the west coast of Canada before managers realised their mistake [selling books that were under embargo]. But readers will be unable to share their knowledge after Raincoast Books, the book’s Canadian publisher, was granted a 'John Doe' injunction prohibiting the buyers from even reading their copies before the publication date.

The supreme court of British Columbia issued a court order preventing anyone from 'displaying, reading, offering for sale, selling or exhibiting in public' their books. J. K. Rowling’s legal advisers said that the author was entitled to prevent buyers from reading their own books even though they had not broken the law.

'The fact is that this is property that should not have been in their possession,' said Neil Blair, a legal specialist for Christopher Little, the author’s literary agent. 'Copyright holders are entitled to protect their work. If the content of the book is confidential until July 16, which it is, why shouldn’t someone who has the physical book be prevented from reading it and thereby obtaining the confidential information? How they came to have access to the book is immaterial'."

(The Times Online)

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TAGS

added valuearts and innovationarts fundingauthorbookBritish ColumbiaCanadacommercialismconfidentialcopyright • Coquitlam • creative capitalcreative entrepreneurshipcreative industries • embargo • entrepreneurfundingHarry Potter • Harry Potter and the Half Blood Prince • JK Rowlingmarket failuremarketspatron • Raincoast Books • social gainsponsorship • The Real Canadian Superstore • value of art

CONTRIBUTOR

David Rogerson
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)

CONTRIBUTOR

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, Eyebeam.org)

CONTRIBUTOR

David Rogerson
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