The Impact of Kickstarter, Creative Commons & Creators Project | Off Book | PBS Digital Studios

The Impact of Kickstarter, Creative Commons & Creators Project | Off Book | PBS Digital Studios

[MUSIC PLAYING] The internet is this
great, organizing force, brings with it a lot of power
and a lot of opportunity. The internet was encouraging
a wide range of people to create and to share
their creativity. The internet
revolutionized the way that we experience and
interact with artistic work. [MUSIC PLAYING] The internet’s
incredible ability to align people with
similar interests makes it very possible
for normal people to make big things
happen, and that’s something that wasn’t
possible at any other time. We wanted to have a
space that was devoted for people to
explore creativity, to indulge those sorts of ideas
that everyday life make really difficult to follow through on. The hard stuff about
art is to fund it and to find an
audience, and here you get to do both right
from the beginning. We see Kickstarter as being a
medium that is very distinct. It is something where
the backers of a project will benefit from its success
just as much as its creator. It’s something that’s
probably driven more by creative
expression than some sort of commercial interest,
so I think for a creator it has very little risk. It’s a great way to mitigate
a lot of the challenging things about art. Kickstarter projects
have not just found support from
audiences on the internet, but they’ve also found
support in the real world. We’ve had projects
get book deals, land in the Whitney Museum,
get Oscar nominations. 10% of the films that got
into Sundance this year were Kickstarter funded. Over 10% of the films that
got into South by Southwest this year were
Kickstarter funded. So we’re seeing over and
over that the products that find support, they’re not
just these novelty things that manage to find love
from the Internet. They’re things that have gone
on to have real significance in the greater world. There’s a project
called Double Fine, which is by a game
developer named Tim Schafer. Tim is a legendary guy. He’s made a lot of games that
people have really loved. He’s also been the
guy that’s always been on the margins of
the video game industry. Even he has a hard time
getting things he wants made. And so rather fight
against the system as he’s done over and
over and over, here he took the opportunity to
go straight to his fans and give them a chance
to make a game with him, and that raised $1 million
in its first 24 hours. It’s the kind of thing that I
think showed a lot of people the amount of
power and authority they have with their
audiences, and it’s going to lead to a lot more like it. And so at this moment, with
the internet being what it is, this idea of people contributing
to the arts in this kind of way is really able to take
hold and flourish in a way that it never had the
chance to do before. We had a regime of
copyright, and the internet completely flipped the
technical foundation upon which that
regime had been built. Creative Commons is just
a nonprofit corporation, and we’re committed
to only one thing, to make it simple for artists
to choose the freedoms they want their creativity to carry. Copyright law has always
been about I create a work. I don’t want it released or
used or exploited in any way that I don’t control. Fine. Now, shift to the digital world. There’s kids taking
some video images and posting it on YouTube. They don’t care what
you do with the work. Or academics who write
articles, and they want other people to copy and
distribute their articles. I don’t care what
you do with my work. I just want my work out there. So people have come
to recognize that this isn’t a simple black
and white are you for copyright or against it. They begin to recognize the
space between black and white that Creative Commons
is trying to occupy. So what we did is built a series
of free, copyright licenses. You can say take this
work and share it, do whatever you want
with it, but you have to give me attribution. Or like Wikipedia uses our
Attribution ShareAlike licence. What that means is take it,
exploit it commercially, modify it, but if you
modify it, you have to release your modification
under the same free license. Or we have a noncommercial
licence which basically says take it, share it,
do what you want with it, but if you want to
commercially exploit this, then you need to talk to me
about getting permission. These are basic ways to try to
divide the world between those who need and depend
upon their copyright and those who are just
creating for the love of their creativity
and not for the money. If you think about
the value that has been added to the
internet by people voluntarily creating and sharing
creativity, it is huge. Now it’s amazing
to see that artists through new technologies are
able to embrace the internet and actually use it as a
tool to create artworks and artistic experiences. One of the challenges is how
do you showcase those works? How does it continue to live
online and have a long term life that would be similar
to a physical work? One first step in that
experiment was Chris Milk. Chris Milk is a film director. He has collaborated with Arcade
Fire on a number of projects. He developed a physical
installation idea for Arcade Fire. Balls would draw drop
at the end of their set. They’d have LEDs in them. They’d be synced to
go with the crowd. But then what the
challenge is, how do you bring that back online? So we created a site
and a call for people who actually got
those balls to submit their photos and
their stories, and it was so crazy to see the stories
that came in about that. When you extend the life of
a physical project on the web and give people the ability
to be remix that media, they’ll do some really
inventive stuff with it. For the Marina Abramovic
show specifically, the MoMA was putting out portraits
of all the people who sat with Marina
on Flickr, and so just releasing those images struck a
chord with the online community and people started remixing it. And this wasn’t the intention
when they put that out. And I think The
Artist Is Present video game is sort
of an extension of her physical
projects on the web. Rafael Rozendaal
makes works that are for an online consumption. He started the
interesting process of actually creating individual
domain names that are sold. And so they exist
as one work of art. That is, kind of framed
by the domain the way that might frame a painting. The internet is
forcing us to broaden what an artistic
studio should look like and what an artist themselves,
what their language, should be and what language we need
to use to talk about them. My creative utopia is that we
have a huge proportion of all of us creating all the time. There is no
preconcept whatsoever to the kinds of things
that could be made, and I think that’s a very
powerful opportunity. You know, I think
you can hopefully start to see radical
jumps through this sharing of research and
knowledge and see how quickly things progress. [MUSIC PLAYING]

16 thoughts on “The Impact of Kickstarter, Creative Commons & Creators Project | Off Book | PBS Digital Studios”

  1. This is a fantastic series. We ourselves are trying to get our series a float. Very inspirational. Thanks!

  2. The internet is such a great place for a free and uncontrolled exchange of information and knowledge. Which is not unregulated and controlled by corporations but people as a whole. Unfortunately the CEO's of mega corporation want to censor the internet completely under their control so it doesn't dent their profits.

  3. It's amazing what we, the people, can create when we are allowed to without the chains and boundaries of geography and social background. The internet is bringing us together, educating us and showing us what we can be when we are all friends.

  4. As long as the powers to be don't clamp down on the freedom that the internet enables, I'm very hopeful for the future. Amazing times we live in.

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