Tag Archives: marketing

Free And Open Culture Mind Map

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My passion: to empower some free-culture advocating, network-neutrality loving, FLOSS using, empathy having, critical thinking art students. Today we did a bit of brainstorming about what influences/passions can guide us as a group toward a collaborative project.

Keeping in mind the concepts of free and open culture, between now and the next session each individual will be color coding inter-student connections, rather than focusing internally.

Keep an eye on the Mindmeister mind map below to watch our project develop. You’ll probably have the best user experience if you click on the little box at the bottom of the interface controls to open the mind map in a new window.

Making History: Free And Open Culture

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Basic black & white cartoon computer. Image contains computer monitor and base/case.

You can create art and beauty on a computer.

FREE AND OPEN CULTURE

Making and Meaning – Making History Project
San Francisco Art Institute, Fall, 2010
Workshop Leader: Pete Ippel

Summary: Free and Open Culture refers to a wide variety of advocates who value free access, open information, and the sharing of knowledge. As a rapidly developing movement, Free and Open Culture has its roots in computer programming and hacker ethic from the 1950s-1960s.

Illustrates the path of software creation from source code to machine code.

Illustrates the path of software creation from source code to machine code.


Developments include Creative Commons licensing, FLOSS (Free/Libre Open Source Software), Network Neutrality, Open Government, and Copyleft.

Free Culture proponents are marked by acceptance of some general principles: (http://en.wikipedia.org/wiki/Hacker_ethic#The_hacker_ethics)

  • Sharing
  • Openness
  • Decentralization
  • Free access to computers
  • World Improvement

Cultural Figures: Linus Torvalds (programmer, Linux), Richard Stallman (programmer, GNU), Lawrence Lessig (academic, Creative Commons), Jon Phillips (developer, Sharism, Fabricatorz), Femke Snelting (artist/designer, LGM), Simona Lodi (arts administrator, To Share Festival), Nina Paley (animator, Sita Sings The Blues), Negativeland (music), Ant Farm (art), Adbusters (magazine), The Yes Men (art)

Project:  Students will spend the first sessions studying the history and techniques of the Free and Open Culture advocates and artists. There will be tutorials on a variety of software, as well as an off campus outing to practice employing the Hands-On Imperative.

“…essential lessons can be learned about the systems—about the world—from taking things apart, seeing how they work, and using this knowledge to create new and more interesting things.”
- Steven Levy

Students will pursue the following questions:

In the remaining sessions, students will be challenged to create with only the materials they have on hand – please bring an open mind and your own PORTABLE creation tools of choice to each session (mobile phone, laptop, sketchbook, notebook, watercolor, pencils, video camera, still camera, etc.).

We will be developing a collaborative community-centric studio (less) art practice out in the environment. The group will create their own art pieces in any media with strong consideration of Free and Open Culture. The end result will be an on-line repository (Mediawiki) documenting the projects. It is expected that the participants in this class will license their work under Creative Commons, and investigate the following issues:

  • I create everywhere because I have the network in my pocket.
  • If it’s not on the Internet, it doesn’t exist.
  • Objects are not important, information is.
  • I don’t need to know it if I know how to find it.
  • Online, nothing disappears, and everything is gone.
  • I feed the network, it feeds me.

The Experience Economy

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There are three main basics in economies of the past, let’s say 70 years ago (these are estimates scrawled on the back of an envelope paraphrased from The Experience Economy).

1. Commodity (3%)
2. Goods (17%)
3. Services (80%)

Now there is a fourth.

4. Experience

Here’s how it plays out with Starbucks (again estimated on the back of an envelope).

1. Commodity – bean (pennies)
2. Goods – coffee ($.05 – $.20)
3. Services – paying employees ($.50 – $1.00)
4. Experience – sitting and reading, listening to music, comfy chair ($2.00 – $5.00)

Something to ponder the next time you sit down to the Venti double non-fat-soy-latte. Also are people buying art because they want to talk to the artist? This is what Damien Hirst is banking on.

Check out the book Experience Economy, or wikipedia

Hirst hopes to revolutionise art market with ‘Golden Calf’

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Hirst hopes to revolutionise art market with ‘Golden Calf’ – News, Art & Architecture – The Independent

a collection of previously unseen work by Damien Hirst that will be auctioned off this summer in a move that could revolutionise the sale of contemporary art.

A living artist has never before put a collection of brand new work straight on to the open market. Such pieces are usually sold through galleries and art dealers, usually to buyers who are known to them.

This method gives more control to the artist and opens up the sale to a much wider group of prospective buyers. Yesterday, art experts were predicting that the auction – the highlight of which is the gold calf, Hirst’s largest ever formaldehyde work – could mark a turning point in the way artists sell their work. Indeed, Hirst himself hinted that “the world’s changing – ultimately I need to see where this road leads”, adding that such an auction “[felt] like a natural evolution for contemporary art”.

GAAA! 12 million pounds to a single artist…how does Hirst get that market up so high? A true artrockstar, oh how I want to play these games…How about the goal of making the worlds most expensive piece of art…100 million dollars for the platinum skull covered in diamonds? Is it the fact that it’s produced by Hirst, the fact that it’s got material (diamonds and platinum) worth, or branding and marketing, a status symbol to own the most expensive and luxurious object…or is it as Tom Marioni has defined the artist as an individual “getting away with something”?