Creative Industries

Creative Industries : Convergence and Collaboration in Games, Film and Academia by Terrence Masson/ Art, Technology and Business: Trans-disciplinary teams in the arts by Gavin Artz/ MIC Toi Rerehiko: Collective hybrid arts projects by Deborah Leah Lawler-Dormer/ Different point of view on the copyright of artwork between artist and engineer by Jaewon Bang, Suk Chon, Hohyun Lee, and Joonsung Yoon
Wednesday, 21 September, 2011 - 17:00 - 18:20
Chair Person: 
Jill Fantauzzacoffin
Terrence Masson
Gavin Artz
Deborah Lawler-Dormer
Bang Jae-Won
Suk Chon
Hohyun Lee
Joonsung Yoon

Creative Industries : Convergence and Collaboration in Games, Film and Academia

by Terrence Masson

Artists and engineers from every discipline are increasing their collaboration between film and game production around the world. This presentation will illustrate, with images and animation, over 20 years of personal examples in successful game/film collaborations and some exciting recent trends for the future of production and academia.

Based upon Masson's 20 years of interdisciplinary experience working in films and games, and leading the new team-based game program at Northeastern University, this presentation will highlight how a collaborative approach effects the creative process and provides unique insights into the creative process.

The panel will be fun, inspiring and informative for all levels of attendees.

Art, Technology and Business: Trans-disciplinary teams in the arts

by Gavin Artz

For the past two years The Australian Network for Art and Technology (ANAT) has been advocating and developing a model for working commercially with creativity, a model where artists aren’t diminished in their creative work and yet are able to generate a broad range of revenue from their activity. This Ancillary IPs model theorises that, despite myths to the country, artist regularly work in trans-disciplinary teams and this way of working is analogues to the entrepreneurial team found in business. The model predicts that if this trans-disciplinary team is recognised while the relationships and commercialisation processes are managed within specific criteria, artists can successfully commercialise intellectual property embed in their artwork while enhancing their artistic output.

 Through the analysis of research under taken by the Australian Network for Art and Technology and Adelaide Universities ECIC and exploration of the case of Rezon8 the hypotheses proposed by the Ancillary IPs model is tested.

 In 2010 ANAT partnered with Adelaide University’s ECIC to undertaking a preliminary survey into attitudes of artists to commercialisation of IP and the concept of working in trans-disciplinary teams. The survey found that an overwhelming number of respondents where positively disposed to both concepts. Concurrent with the survey this trans-disciplinary way of thinking about art and cultural activity was proved through the development of Rezon8. Rezon8 is a company formed out of the artistic partnership of artist Jimmy McGilchrist and programmer and ICT professional Darryn van Someren. Within a complete ecosystem of trans-disciplinary skills including chip designers, artists, audience, advertising agencies, digital animation, finance and business experts Rezon8 developed a product and business from the IP embed in an artwork, while undertaking significant art projects that open up unique R&D opportunities for the business.

The Rezon8 case proves how this approach can simultaneously unlock new business and artistic opportunities. The paper also finds the initial criteria of the Ancillary IPs model are constraining and that unpredicted extra befits arise for the artistic career of those working in an Ancillary IPs team.


MIC Toi Rerehiko: Collective hybrid arts projects

by Deborah Leah Lawler-Dormer

MIC Toi Rerehiko: Collective hybrid arts projects

MIC Toi Rerehiko is a leading contemporary creative media, interdisciplinary arts and live performance centre in Aotearoa, New Zealand. MIC Toi Rerehiko nurtures innovation through cross-disciplinary collaboration. Our         programme includes exhibitions, live performances, festivals and screenings, residencies, professional and conceptual development opportunities.           

 Our current programming stream is divided in to four key delivery areas that enable hybrid arts practice across multiple platforms:           

MIC Exhibition: a venue based exhibition programme          

MIC Live: technical and physical performance events           

MIC Screen: projection, monitor, website and mobile phone based works           

MIC Learning: workshops, research and education.           

As a public organization and sector leader, MIC Toi Rerehiko’s development has reflected the integration of creative research and the development in emergent technologies with hybrid artistic practices. We engage and promote the interface between artistic practices, communities, education and industry.           

Toi Rerehiko evokes the conceptual heart of MIC Toi Rerehiko where the collective collaborative and discursive energies of both the organization and the practitioners are encapsulated, through the flow of ideas, expressive arts, inspirational thinking, innovation, playful enquiry processes and intercultural engagement.           

This paper will examine a number of interactive and collaborative artistic projects initiated through MIC's programme, shared public community projects and research groups with university partners. Various collaborative projects feature artists working with scientific, cultural and disciplinary communities including artists projects by: Raewyn Turner, the Visualisation Unit, Marcia Lyons. These projects reveals the development of new local artistic practices, especially in the rapidly growing area of practice that roughly follows a path from pure disciplinary practice, through multidisciplinary, transdisciplinary to interdisciplinary (of boundaries between and across disciplines) and, in the more complex work hybridisation (artists working at the precipice of cultural, social, political and scientific frontiers, with emerging technologies). This is often driven by the artists desire to move from individual projects to collaborative and collective projects. In the areas of technical innovation these hybrid art projects are looking at experience design, integration of sensors, rapid prototyping, mobile phones, GPS devices and custom built software. They involve exploratory development of participatory practice, interactivity, experimental and improvisational practices.

Different point of view on the copyright of artwork between artist and engineer

by Jaewon Bang, Suk Chon, Hohyun Lee, and Joonsung Yoon

I am a member of Media art group called PERFORMATIVE. In this group, people from different fields such as liberal arts, science and art together study and produce art works based on technology. As an engineer, I have been taking charge of technical part in collaboration with performers, video artists, and fine artists. 

It is a very interesting process of art works by discussing with them and using various technological elements. However, it is not easy to determine who has the copyright of produced art works.

In 2009, PERFORMATIVE worked on Media Façade Project at Seoul Museum of Art with a team of two artists. The motive of the art work was suggested by them and we focused on the technical part of the project. The project was successful and favorably reviewed by the press and public.

After the exhibition, the artists themselves tried to re-promote the project for another exhibition, but they had a different opinion with us. They insisted that they have the ownership of the art work because other engineers could participate and produce the same output for another exhibition. On the other hand, in our opinion, the art work should be owned by both artists and engineers as the project was progressed together from the beginning.

The problem is this. It happens frequently in Korea. Does engineer have any rights of artwork which was made in collaboration with artists? Could the artists reproduce the same work with other engineers without restraint? On the contrary, what happens the engineers do the same thing in the art works? For example, video on the same technology they created?

Recently, collaboration between the artists and engineers is very common in media art works, and they may think differently on the ownership and right of the produced work. The copyright of the art work will be more important issue as the collaboration between different fields will be increased. I think general interpretation of the copyright may not solve this complex problem. Therefore, I’d like to propose that we should understand the situation and think of the best alternatives on this issue.