Woi Woi

Carson, Don
Environmental Storytelling: Creating Immersive 3D Worlds Using Lessons Learned from the Theme Park Industry (01.03.2010)

Definition “environmental storytelling”: “One of the trade secrets behind the design of entertaining themed environments is that the story element is infused into the physical space a guest walks or rides through. In many respects, it is the physical space that does much of the work of conveying the story the designers are trying to tell. Color, lighting and even the texture of a place can fill an audience with excitement or dread.
Much of this is done by manipulating an audience’s expectations, which they have based on their own experiences of the physical world. Armed only with their own knowledge of the world, and those visions collected from movies and books, the audience is ripe to be dropped into your adventure. The trick is to play on those memories and expectations to heighten the thrill of venturing into your created universe.” Quoted in Jenkins, H ~ Game Design as Narrative Architecture

“When I say story I am not talking about a linear “once upon a time” type story. I am talking about an all encompassing notion, a “big picture” idea of the world that is being creating. A set of rules that will guide, the design and the project team to a common goal. It is this first step that will insure the created world will be seamless.”

“Self discovery can be even more enjoyable than having the story spelled out for you in the opening credits.”

He calls story chunks “story elements.” Jenkins calls them “micronarratives.”

“One of the most successful methods for pulling your audience into your story environment is through the use of “cause and effect” vignettes. These are staged areas that lead the game player to come to their own conclusions about a previous event or to suggest a potential danger just up ahead. [...] Whether you create notes scattered throughout your environments, or have the game player follow the destructive path of some dangerous creature, “cause and effect” elements will only heighten the drama of the story you are trying to tell!”

“The design mantra “Less Is More” applies. [...] One trick is to save your most decorative elements for areas you wish to draw your audience to. Rather than cluttering an unimportant corridor with gorgeous ornamentation, simply save one detailed element for the end of the hallway and let it draw your audience, like a dangling carrot, into the next space.”

“Though it is you who has orchestrated the environment, when it is done right, the game player has the illusion that they are in complete control of their character’s destiny.”

“If you must create a long expanse of repeating pillars, or some such element, make one unique among the rest. Nudge it out slightly, or knock the thing right over, it will only add life to an otherwise mathematically perfect, but boring, environment.”

“Above all, make the game playable, but use your knowledge and Story to support the enjoyment of your game rather than confusing it.”

Jenkins, Henry
Game Design as Narrative Architecture
2004

121
“I want to introduce an important third term into this discussion – spatiality – and argue for an understanding of game designers less as storytellers and more as narrative architects.”

122f
Definition “environmental storytelling”: see Carson, D ~ Environmental Storytelling. I think Jenkins calls this “embedded storytelling”, p128?

124
“Increasingly, we inhabit a world of transmedia storytelling, one that depends less on each individual work being self-sufficient than on each work contributing to a larger narrative economy.”
“One can imagine games taking their place within a larger narrative system with story information communicated through books, film, television, comics, and other media, each doing what it does best, each a relatively autonomous experience, but the richest understanding of the story world coming to those who follow the narrative across the various channels. In such a system, what games do best will almost certainly center around their ability to give concrete shape to our memories and imaginings of the storyworld, creating an immersive environment we can wander through and interact with.”
“Spatial stories are not badly constructed stories; rather, they are stories that respond to alternative aesthetic principles, privileging spatial exploration over plot development.”

125
“Eisenstein used the word “attractions” broadly to describe any element within a work that produces a profound emotional impact, and theorized that the themes of the work could be communicated across and through these discrete elements.” Jenkins calls these elements “micronarratives”. A story can consist of story chunks that consumers put together themselves in their own minds.

126
“As inexperienced storytellers, [game designers] often fall back on rather mechanical exposition through cut scenes, much as early filmmakers were sometimes overly reliant on intertitles rather than learning the skills of visual storytelling. Yet, as with any other aesthetic tradition, game designers are apt to develop craft through a process of experimentation and refinement of basic narrative devices, becoming better at shaping narrative experiences without unduly constraining the space for improvisation within the game.”
“Russian formalist critics make a useful distinction between plot (or syuzhet) that refers to, in Kristen Thompson’s (1988) terms, “the structured set of all causal events as we see and hear them presented in the film itself,” and story (or fabula), which refers to the viewer’s mental construction of the chronology of those events (Thompson 1988, 39-40).”
“Read in this light, a story is less a temporal structure than a body of information.”
The “classical Hollywood narrative [...] the law of three suggests that any essential plot point needs to be communicated in at least three ways.”

129
Kevin Lynch (1960, The Image of the City, p116) describes city planning as “the deliberate manipulation of the world for sensuous ends.” City planning is like storyworld/-bible building!
“In each of these cases, choices about the design and organization of game spaces have narratological consequences. In the case of evoked narratives, spatial design can either enhance our sense of immersion within a familiar world or communicate a fresh perspective on that story through the altering of established details. In the case of enacted narratives, the story itself may be structured around the character’s movement through space and the features of the environment may retard or accelerate that plot trajectory. In the case of embedded narratives, the game space becomes a memory palace whose contents must be deciphered as the player tries to reconstruct the plot. And in the case of emergent narratives, game spaces are designed to be rich with narrative potential, enabling the story-constructing activity of players. In each case, it makes sense to think of game designers less as storytellers than as narrative architects.“

Wilson, Fred
My Favorite Business Model (17.02.2010)

He asked for suggestions for a name for a business model that has existed for a long time, but hadn’t been named. In the comments one person suggested “Freemium” and it stuck.

Chris Anderson popularised the term in Free (2009)?

Jenkins, Henry
Convergence Culture: Where Old and New Media Collide
2006

2f
Definiton convergence: “By convergence, I mean the flow of content across multiple media platforms, the cooperation between multiple media industries, and the migratory behavior of media audiences who will go almost anywhere in search of the kinds of entertainment experiences they want. Convergence is a word that manages to describe technological, industrial,cultural, and social changes depending on who’s speaking and what they think they are talking about.”

20f
“Transmedia storytelling refers to a new aesthetic that has emerged in response to media convergence – one that places new demands on consumers and depends on the active participation of knowledge communities. Transmedia storytelling is the art of world making. To fully experience any fictional world, consumers must assume the role of hunters and gatherers, chasing down bits of the story across media channels, comparing notes with each other via online discussion groups, and collaborating to ensure that everyone who invests time and effort will come away with a richer entertainment experience.”

Pratten, Robert
18.12.2009
Moving Filmmakers to a Transmedia Business Model

Not bad article, but still film-centred: the ultimate aim is to make a film.

4 interesting graphics.

“Remember that it’s not all for free! Free is your loss-leader to generate the money. Even if it’s “real content” you might still effectively look at it as a marketing cost – it can help to position it in this way to investors. And note that what’s free and what’s paid will be in flux – maybe changing over time and from media to media.”

“Indies that follow this transmedia model will be offering an evolving service rather than a one-off product and that means audiences become customers that need to be listened to, responded to, cared for and managed”

“If you perfect this evolving transmedia ecosystem you may ask yourself if you still want to make a feature after all.” Good point, but he might not believe it himself.

“Don’t expect anyone to delve deeply into your storyworld looking for brilliance. You have to provide “satellite media” that orbits the core: it’s easy to digest and looks cool or fun. Celebrity cast or crew and genre are going to get attention and convey credibility – just as they always have.”

“To summarize then, filmmakers will move to transmedia storytelling because it’s going to be the way you build audiences.” His final point, and it’s wrong! Transmedia won’t be there to sell a film, but to sell the transmedia. And film can be part of it.

Moving Filmmakers to a Transmedia Business Model (05.01.2010)

Boyd, Brian
2009
On the Origin of Stories: Evolution, cognition, and fiction

4
“Like some human arts, dolphin air art involves design but not representation. Without representation, fiction—and indeed much song and dance or painting and sculpture—would be impossible.”

7
“As we will see, unique aspects of human parent-child interaction, a special instance of our species’ singular capacity to share attention, hold a major key to the origin of art. Here the father engages his son’s attention to change his mood. He thereby affects the mood of others, whose appreciation in turn alters his own mood. The feedback of action, attention, reaction, and the refinement of action to shape further attention and reaction provide an exclusively human basis for art.” An entarch allows for that kind of feedback, broadcast doesn’t.
“in our own species the impulse to art develops reliably in all normal individuals.”

10
“That is what I want to explain in evolutionary terms: our impulse to appeal to our own minds and reach out to others for the sheer pleasure of sensing what we can share even in an unprecedented new move.”

11
“I’ll believe that computers can think not when they can beat a Kasparov at chess, with its rapidly proliferating but after all calculable permutations, but when they can be fed something as unexpected as the photograph of “Ralph, come back, it was only a Rash” daubed on a wall, and can read the words, deduce the story, then laugh at the joke they have recognized for themselves.”

14f
“Humans uniquely inhabit “the cognitive niche”: we gain most of our advantages from intelligence. We therefore have an appetite for information, and especially for pattern, information that falls into meaningful arrays from which we can make rich inferences. Information can be costly to obtain and analyze, but because it offers an invaluable basis for action, nature evolves senses and minds to gather and process information appropriate to particular modes of life. Like other species, humans can assimilate information through the rapid processing that specialized pattern recognition allows, but unlike other species we also seek, shape, and share information in an open-ended way. Since pattern makes data swiftly intelligible, we actively pursue patterns, especially those that yield the richest inferences to our minds, in our most valuable information systems, the senses of sight and sound, and in our most crucial domain, social information.”

15
“We can define art as cognitive play with pattern. Just as play refines behavioral options over time by being self-rewarding, so art increases cognitive skills, repertoires, and sensitivities. A work of art acts like a playground for the mind, a swing or a slide or a merry-go-round of visual or aural or social pattern. Like play, art succeeds by engaging and rewarding attention, since the more frequent and intense our response, the more powerful the neural consequences. Art’s appeal to our preferences for pattern ensures that we expose ourselves to high concentrations of humanly appropriate information eagerly enough that over time we strengthen the neural pathways that process key patterns in open-ended ways.”

19
“our minds and behavior are always shaped by the interaction of nature and nurture, or genes and environment, including the cultural environment.”

23
orature = oral literature
“The extent of human cultural differences has been made possible by the evolution of the mind. Without the complex shared architecture of the mind, culture could not exist. Because of that shared design, there are many universals across cultures: there is a human nature.”

25
culture = “the nongenetic transmission of behavior, including local customs and even fashions”
“Evolution has allowed humans to develop our singular capacity for culture because culture helps us track changes in the environment more rapidly than genes do.”

27
“”We have not escaped evolution [because we humans have a culture], as so commonly assumed. We experience evolution in hyperdrive.”" Culture is faster evolution.

28
“any group can compete more effectively against other groups by minimizing within-group fitness defferences.”

32
“if there is inheritance, and we know there is [...]; if there is variation, and we know there is [...]; if some variations are more successful than others, and we know they are [...], then in a world of limited resources and competing interests, not all will be equally successful in producing offspring that themselves produce reproductively viable offspring.”

33
“”Darwinism is not a theory of random chance. It is a theory of random mutation plus non-random cumulative natural selection.”"

34
“Genetic drift – chance changes in frequency in genes not under strong selection pressure – can have consequences, especially in small, isolated populations, but drift is directionless, as much back or sideways as forward, unlike the steady compounding of advantages under selection pressure.” The film industry was drifting for many years and now there is selection pressure.

36
“an adaptation need not be perfect to establish itself; it needs only to perform better on average than the available competition. If further variation can generate a still better refinement, this will in turn predominate, so that design may continue to improve.”

40
“We come into this world prepared especially to learn from and share with each other [...]” Children can imitate a smile already an hour after birth. They know subconsciously which muscles to use for example. Nobody taught them. Evolution put that knowledge in their DNA. The DNA of all living things is the immense memory of evolution/the world.
This is evolutionary psychology in the broadest sense?

47
“In the severely limited space of working memory, we process information not unconsciously or implicitly, but consciously or “explicitly,” and not in parallel but in series [...]” When consumers see entertainment content that they feel they know already, they process it in the backs of their minds and can do other things at the same time. If they see something they think is new, it becomes their main and only thing to think about. Perhaps kids today feel like they’ve seen everything that’s on TV or the Internet and that’s why they watch TV, surf the net, and text at the same time. If we gave them something new, would it become their sole occupation? I don’t think this reasoning can be extended that far.

50
“By developing our ability to think beyond the here and now, storytelling helps us not to override the given, but to be less restricted by it, to cope with it more flexibly and on something more like our own terms.”

52
“”Selfishness beats altruism within single groups. Altruistic groups beat selfish groups.“”

53
“although genetic mutations can spread only over generations, cultural changes with significant effects on the relative fitness of groups can spread within a single generation.”

56
“even in the most cooperative of relationships competition is inevitable, [this is] why the powerful emotions engendered by family loyalty and conflict saturate stories from Genesis to The Sopranos.”

57f
“For altruism to work robustly a whole suite of motivations has to be in place: sympathy, so that I am inclined to help another; trust, so that I can offer help now and expect it will be somehow repaid later; gratitude, to incline me, when I have been helped, to return the favor; shame, to prompt me to repay when I still owe a debt; a sense of fairness, so that I can intuitively gauge an adequate share or repayment; indignation, to spur me to break off cooperation with or even inflict punishment on a cheat; and guilt, a displeasure at myself and fear of exposure and reprisal to deter me from seeking the short-term advantages of cheating. [...] Rather than merely taking these emotions as givens, we can account for them as natural selection’s way of motivating widespread cooperation in highly social species.” In the end we are egoistic/selfish, we only cooperate because it helps ourselves in the end.

62
“We have evolved not to be “rational individuals,” profit maximizers, but social animals, holding others to fair dealings even at our own cost.” The dictator game: a “dictator” gets 100$ to distribute between himself and another person. If that person accepts its share, both can keep the money. If the distribution is not perceived fair by the other person, that person won’t accept the money, and they both won’t get anything. In different societies “dictators” offer different amount: between 15% and 58%, on average 50% -> this depends on the level of trust in the cultures.

63
“free-riding, taking benefits without paying the full cost, persists as the fundamental problem of social life.” -> Black Book
“The social monitoring already intense elsewhere in the primate line becomes still more intense for humans – and a powerful prompt for storytelling.” A LOT of good stories are based on a sense of un/fairness!

63f
“In small-scale societies, uncooperative acts were often punished through personal revenge, motivated by an evolved sense of outrage but often leading to destructive cycles of vengeance. Especially in larger societies, better means were needed. Centralized systems of justice, and eventually a police force, could detect transgressions, assess charges, and administer punishment. Depersonalizing justice could dampen incendiary emotions and diminish vendettas.” This system worked fine as long as societies/cultures lived relatively separately from each other. Now they interact A LOT but there is no institution in the world that represents the depersonalised justice. That’s why we have so many wars and “cultural vendettas”! -> Black fucking Book!

65f
“Evolution offers a much more complex and nuanced view of the social world than the artificial model of the rational individual of economics, or the romantic idea, common since Rousseau, of good people perverted by evil systems, or the paranoid Nietzschean or Foucauldian suspicion that all moral claims mask a lust for power.”

70
“Some philosophers of art claim that other times and cultures cannot have art because they lack “our” Western notion of art, the distinction drawn in eighteenth-century Europe between fine art for detached contemplation and mere craft. But the very concept that there is no non-Western art is a Western one [...].”
“if audiences appreciate, artists appropriate.”

78f
“the very flexibility of human behavior suggests that sexual selection has been an extra gear for art, not the engine itself.” Kind of a summary of the whole chapter, p69-79.

So what is it that this movie is about? In all honesty – I don’t know. I for sure watched it. And I did not fall asleep like in Avatar. OK, I didn’t fall asleep in Avatar. But I did in Up in the Air. OK, I didn’t do that either. But I hope by now you’re with me when I say: this movie has confused me. Unfortunately not in a David Lynch way though, but in a different way. Perhaps even in a new way. Which then would be good. So let’s hope so.

The story is said to be complex. I’d say it is fairly simple. Ryan Bingham’s (George Clooney) job is to fire employees whose bosses don’t have the balls to do it themselves, which makes them walking embarrassments to our race (that includes all human beings and is actually beside the point, but I felt like telling them something: you guys are low, so low that I hope cockroaches will spit on you before they squash you with their ugly little shit-covered feet). The job includes travelling across the USA – a lot. So much in fact that the only place he really feels at home is on the move. And since the way he moves is by airplane, his home is airports. He’s told he leads a very isolated life, but he himself is happy being surrounded by lots of strangers. Then three things happen. First, he meets a woman (Vera Farmiga) he might actually like. Second, his boss tells him to take a young ambitious employee (Anna Kendrick) along and teach her the basics. Third, his company plans to ground him, which means he would have to stay in Omaha, Nebraska.

George Clooney’s performance most definitely is noteworthy. What’s more, there was not a single untalented supporting actor and particularly the beginning had some snappy editing. The movie had its happy-moments while touching on some very sombre topics. And that’s where my problems begin: Up in the Air starts off as a romantic comedy but quickly you notice it might not actually be one. Perhaps my +1 having told me we were in for a cheesy chick flick added to my overall confusion. Whatever it was, this flick needs a category of its own. Which might be a good thing. Think The Godfather, Apocalypse Now, Inglourious Basterds, Sin City, or any Ingmar Bergman or David Lynch film; they all are in categories of their own. I’m just not sure this movie is even the same fucking sport. But I might be changing my mind already.

In German I would say this film looks at life and its problems with a smiling and a crying eye, which is exactly what my face tried to do on my way out of the cinema. Turns out my face wasn’t made for that and consequently I looked a bit stupid – just as stupid as our perverse little world. Perhaps that’s what the filmmakers wanted.

Up in the Air
(2009)

Director: Jason Reitman
Screenplay: Jason Reitman, Sheldon Turner, Walter Kirn (novel)
Cinematography: Eric Steelberg
Editing: Dana E. Glauberman
Score: Rolfe Kent
Cast: George Clooney, Vera Farmiga, Anna Kendrick, Jason Bateman.

Boyd, Boyd
2008
The Art of Literature and the Science of Literature (20.12.2009)

“For both artists and audiences, art’s capacity to ensnare attention is crucial: for the artist, to accrue status; for the audience, to motivate engagement.”

“engagement in the activity—matters before meaning”

“Repetition is the simplest form of elaboration, but since pure repetition holds little interest, repetition of a bold idea with variation offers him the best prospects of holding the attention of listeners with the imaginative resources he has.”

“Yet if we normally engage in art simply because it can command our attention, meaning, in academic contexts, elbows its way to the fore, because the propositional nature of meaning makes it so much easier to expound, circulate, regurgitate, or challenge than the fluid dynamics of attention.” Academia analyses meaning in art, because attention is fluid and dynamic and difficult to hold still and analyse.

“The average shot length in Hollywood movies has been shrinking as viewers have learned to assimilate film faster and to cope with the information rush of the modern world. Nabokov has influenced writers from acclaimed oldsters (Italo Calvino, W. G. Sebald, Salman Rushdie, Martin Amis, Orhan Pamuk) to feisty youngsters (Zadie Smith, Marisha Pessl) by introducing into fiction something akin to modern film’s reduction in shot length, its rapidity of changes of subject or perspective.”

“Character is one kind of pattern particularly significant for social animals: identifying individuals and discerning consistent differences of personality”

“Character clues come thick and fast in fiction.”

“At a more general level, humans are extraordinary open-ended pattern detectors, because we so compulsively inhabit the cognitive niche. Art plays with cognitive patterns at high intensity. The pleasure this generates is an essential part of what it is to be human and matters both at the individual level, for audiences and artists, and at the social level, for the patterns we share (in design, music, dance, and story). The pleasure art’s intense play with patterns affords compels our engagement again and again and helps shape our capacity to create and process pattern more swiftly. Perhaps it even helps explain the so-called Flynn effect, the fact—and it seems to be one—that IQs have risen with each of the last few generations”

“And with their high intensity of pattern and their fixed form, works of art should provide ideal controlled replicable experiments for the study of both rapid and gradual pattern recognition in the mind.”

Carroll, Joseph
2006
The human revolution and the adaptive function of literature

33
EP = Evolutionary Psychology
EACA = Evolutionary Anthropology and Cognitive Archaeology

34
“These relative spans are important because they establish which set of environments and conditions defined the adaptive problems the mind was shaped to cope with: Pleistocene conditions, rather than modern conditions.”

35
“The EP model of human evolution is a model not of change but of stasis.”

39
“the originating force in the revolution is some crucial development in the capacity for language.”
“In the EP model, all the adaptive structures that had developed in the course of hominid evolution stabilized during the Pleistocene, and they stabilized in adaptive adjustment to a specific ecology, that of hunter-gatherers. The hunting and gathering way of life provided the regularities against which natural selection shaped the human motivational and cognitive system. In the EACA model, in contrast, human evolution did not stabilize in a structure of adaptations genetically molded to the hunter-gatherer way of life.”
“Hominids in the direct lineage of modern humans accumulated an ever-expanding repertory of adaptations designed to provide them with the capacity for flexible response to unstable ecological and demographic conditions, and that capacity for flexible response culminated in the Human Revolution.”
“The Human Revolution produced an exponential increase in the human capacity to manipulate its own ecology, including its social organization, and that revolutionary alteration in human power rendered the total human environment still more unstable, more variable and complex, more rapidly changing, than it had ever been before. The pace of change fuelled by technology keeps increasing, but so far, human motivational and cognitive structures have kept pace marvelously well with those changes.”

41
“The arts, including the oral antecedents of literature, would serve a vital adaptive function—that of organizing human motives and thus ultimately regulating behavior.”

42
“”There was not enough time for human heredity to cope with the vastness of new contingent possibilities revealed by high intelligence. . . . The arts filled the gap.“”
“”With fiction unleashing our reactions to potential lives and realities, we feel more richly and adaptively about what we have not actually experienced.“”

43
“The experience of reading—or the auditory equivalent in the oral antecedents to literature—has some parallel with the experience of dreaming and also with the experience of “virtual reality” simulators. It is an experience of subjective absorption within an imaginary world, a world in which motives, situations, persons, and events operate dramatically, in narrative sequence. Unlike dreams, most literary works have a strong component of conscious conceptual order—a “thematic” order. But like dreams, and unlike other forms of conscious conceptual order—science, philosophy, scholarship—literature taps directly into the elemental response systems activated by emotion. Works of literature thus form a point of intersection between the most emotional, subjective parts of the mind and the most abstract and cerebral. This feature of literature is not incidental to its adaptive function. Literature provides imaginative structures within which people can integrate the ancient, conserved elements of their nature—elements conserved from pre-mammalian systems of approach/avoidance, mammalian affectional systems, and systems of primate sociality—with the conceptual, thematic structures through which they make abstract, theoretical sense of the world in which they live.”

43f
“Given that literature is a human universal, more particular evidence can be derived, in almost limitless quantity and diversity, from every culture on earth, for the way literature enters into the total motivational life of individuals, shaping and directing their belief systems and their behavior.”

44
“literature has a profound impact on the emotions and ideas of its consumers.”
“The distinguishing characteristic of literature is that it creates an imaginative order in which simulated experience can take place. None of the secondary purposes [like to make money, to impress people, and perhaps sometimes even to attract sexual partners] has any particular affinity with that characteristic, and as a result none accounts for the profound psychological and cultural effects of literature. In seeking to identify adaptive benefits for literature as a universal and reliably developing human behavior, we should not let secondary purposes draw our attention away from the distinguishing characteristics that can help us to identify the primary adaptive functions of the behavior.”

45
“Writers are people, and people construct imaginative scenarios in order to satisfy their own psychological needs. The most general such need is the need to articulate and affirm the writer’s own characteristic stances or ways of coping with the world—his or her own beliefs, values, and attitudes. The total set of these beliefs, values, and attitudes constitutes a “point of view,” a certain perspective on the world. In this broad sense, there is a distinct point of view implicit in all literary art. Characters in a literary representation, like people in real life, need to affirm their own distinct points of view, but the author mediates among all represented points of view and encompasses them within a single, comprehensive interpretation. The ultimate shaping force behind any imaginative construct is thus the individual identity of the writer. It is for this reason, as Henry James declares, that “the deepest quality of a work of art will always be the quality of the mind of the producer.“” The pieces of an entarch may vary in style, point of view, etc, but the entarch has to unify them into a whole.
“All individual identities are shaped partly by innate characteristics—the elements of human nature that vary within the range of individual differences—and partly by the conditions of experience.”

45f
“Collective and public conditions include climate and physical ecology, the forms of social organization, the modes of production, and collective imaginative structures such as religions, political ideologies, moral doctrines, philosophical ideas, and literary traditions. The total set of such collective imaginative structures is a chief part of what we commonly call “culture.””

46
“every literary text constitutes a distinct arrangement of the symbolic meanings available within a given cultural order, including its literary traditions.” An entarch has to be based in a culture if it want to appeal to people from this culture.
“all individual writers introduce some element of individual uniqueness or creativity into the symbolic order of their own cultures.” Especially the first entarchs will introduce VERY new elements.

Quiggin, John
2008
Amateur content production, networked innovation and innovation policy

“Traditional models [of innovation] based on a distinction between publicly funded pure research and commercial development based on patents and other forms of intellectual property no longer appear relevant to the needs of a networked economy depending heavily on amateur production.”

“The 19th century model of cultural innovation“: The individual inventive genius (Faraday).

“The 20th century model of technical innovation“: Large scale research institutions (universities) + (private) industrial research laboratories.

The 21st century model of innovation: amateur collaborative innovation

“In most sectors of the economy, the rate of technological progress has slowed substantially [in the 21st century].” (Boeing 747, fridge)

“motives [for amateur collaborative innovation] like these do not co-exist well with a profit motive.”

“amateur innovation is unlikely to be promoted by policies that sharpen financial incentives. On the contrary, the greater the potential for well-informed market participants to extract profits from a given activity, the less willing amateurs will be to make uncompensated contributions.”

“Any correlation between the capacity of a site to capture AdSense revenue and the value of the site to its users is indirect and tangential at best.”

“innovation in a network economy typically requires contributions from widely distributed sources and yields benefits that are diffuse and hard to capture. There is no easy way of relating the rewards of innovation to the value of individual contributions.”

“The vast majority of market returns from internet services are tied to advertising.”

“Amateurs have little or nothing to gain from intellectual property rights and are correspondingly unwilling, and often unable, to pay others for the right to use patented or copyright items that derive much of their value from the collective contributions that make up the network.”

First step in policy for networked innovation: “it is necessary to encourage creativity in all its forms. Since the outcomes of creativity cannot be prescribed in advance, policies to encourage creativity must rely on providing space for creativity, including access to the necessary resources, free time for creative workers to pursue their own projects and the communications networks necessary to facilitate creative collaborations.”

“technical and cultural innovations are increasingly intertwined”