It is interesting to consider the implications of Annick's comments
and Murat's comments together. Open Source software is in fact an
invention that might have been patented in another time. But the
spirit of sharing depends on wealth in some form - either because the
author(s) live in countries which are wealthy enough to support "a
market place of ideas" , meaning that they will find income (usually
through Universities) that respects the ideas without the need of a
On the other hand, poorer countries do not have this sort of system in
place, and it is difficult for creative thinkers there to imagine
giving away their code.
One challenge that I think that those of us in wealthier countries
face is how to engage our colleagues in less wealthy countries, so
that they can reep some benefits of "open source publishing" . This
would mean attaching some value to giving away their ideas through
sharing. Benefits might include artist residencies, fellowships, guest
As for producing actual objects, I would suggest that the same
principal applies as the intangible object of open source code. It is
the invention that counts, and while the wealthier countries are
touting the benefits of free sharing, we are creating a new digital
divide of those who simply cannot imagine giving away the fruits of
their labor because they will quite literally have nothing to show for
Cynthia Beth Rubin
On Mar 2, 2009, at 3:58 AM, Annick Bureaud wrote:
> Often, when I throw the terms : "artists as inventors" and "patent"
> immediatly come the words : Open Source and Creative Commons.
> This is a new direction, how do you take that into account in the
> overall discussion ?
On Mar 1, 2009, at 10:29 PM, murat germen wrote:
> i would like to add couple of things...
> contemporary conceptual art rests heavily on ideas as we know. it's
> not the craft in the work but the idea usually that makes the work
> valuable these days (i personally value craft as well, in addition
> to "the" idea by the way). art market is an amazingly active market,
> even in the days of economical crisis the amount of sales and
> activity is surprisingly substantial. the simple equation goes like
> this: art depends on idea, art has a market value, then artistic
> idea has a market value too (sometimes millions of dollars) and it
> has to be legally protected somehow.
> i visited paris photo last year, japan was the guest country. there
> is one japanese photographer (among others) that i really like;
> hiroshi sugimoto. he is especially known with some very minimal
> seascapes (http://www.sugimotohiroshi.com/seascape.html). sugimoto
> sells very well, i saw a photo from the seascape series which was
> around 70.000 euros and it had 5 red dots on it. when i was walking
> through thousands of images, one seascape photo caught my attention
> in another booth and it looked very much like a sugimoto photo. i
> approached to see details, saw it was somebody else's and felt
> pretty awkward. this particular style is sugimoto's signature, it is
> in a way a reserved slot in these circles and producing something
> very similar to it, is taking advantage of the commercial potential
> of the particular expression style. yes, everybody can take sea
> photos; but there are tons of other ways to deal with sea and water...
> i am not claiming at all that artistic idea is a more worthwhile
> invention than other "types" of inventions that made our lives more
> easy, pleasant, rich, etc.; but artistic creation, though not
> indispensable and vital, is something that can make our lives
> different, enjoyable, excited at times. since creation is directly
> linked with idea, there should be some sort of a right protection
> process involved within the art world. but i cannot at this moment
> propose a particular protection system since i am not knowledgeable
> at all in law...
> <<< +90 532 473 8970 (gsm mobile)
> <<< firstname.lastname@example.org
> <<< http://www.muratgermen.com
> <<< http://www.flickr.com/photos/muratgermen/
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