The picture above is a visual representation of the “nationality” of traffic on the internet, created by the University of California’s Co-operative Association for Internet Data Analysis: America is in pink, Britain in dark blue, Italy in pale blue, Sweden in green and unknown countries in white. The image and explanation comes from a well argued piece in The Economist about the present state of the Net and the forces conspiring to change, deliberately or not, its architecture, purpose, and capabilities.  Click here to read the piece. JNOMICS

The picture above is a visual representation of the “nationality” of traffic on the internet, created by the University of California’s Co-operative Association for Internet Data Analysis: America is in pink, Britain in dark blue, Italy in pale blue, Sweden in green and unknown countries in white.

The image and explanation comes from a well argued piece in The Economist about the present state of the Net and the forces conspiring to change, deliberately or not, its architecture, purpose, and capabilities.  Click here to read the piece.

JNOMICS

JNOMICS: THE CREATIVE ECONOMY OF KANYE WEST IN COLLABORATION W/ MURAKAMI, KAWS, LOUIS VUITTON, MARC JACOBS, NIKE & BAPE

(Click on either image to see larger versions)

(Click here to see all artworks, advertisements and images in their full, original forms)

This post represents the first in a series outlining, what I am terming, the “Creative Economies” of artists. We live in a period where…

More good work from the JNomics team!

CREATIVE COMMONS | GLIMPSING A MORE ADAPTIVE FUTURE FOR COPYRIGHT | Given a recent Harvard/University of Kansas study that shows file-sharing to be socially beneficial, coupled with the idea that too-strong-copyright has come to stymie creativity and innovation in the arts, business and the sciences, the license system/structure developed by the Creative Commons is more pertinent than ever.  While many of us know of CC (in large part due to their partnership with Flickr which constitutes a significant percentage of the +350 million licenses currently in use), I’m not sure we accurately understand the distinctions between their products.  Their licensing approach provides a glimpse of the form a more adaptive IP regime might take.  This chart displays the core components of the system and correlates them to the applicable licenses (click on the chart to see a larger version). JNomics

CREATIVE COMMONS | GLIMPSING A MORE ADAPTIVE FUTURE FOR COPYRIGHT |

Given a recent Harvard/University of Kansas study that shows file-sharing to be socially beneficial, coupled with the idea that too-strong-copyright has come to stymie creativity and innovation in the arts, business and the sciences, the license system/structure developed by the Creative Commons is more pertinent than ever.  While many of us know of CC (in large part due to their partnership with Flickr which constitutes a significant percentage of the +350 million licenses currently in use), I’m not sure we accurately understand the distinctions between their products.  Their licensing approach provides a glimpse of the form a more adaptive IP regime might take.  This chart displays the core components of the system and correlates them to the applicable licenses (click on the chart to see a larger version).

JNomics

As many who read this may well know, the “Keep Calm and Carry On” poster was a propaganda piece, produced by the British government (but never used, as it was intended for use only if the Nazis successfully invaded Britain) in 1939.  A copy of the poster was discovered by a second hand bookstore (Barter Books) in 2000.  Since its copyright, which stipulated protection for 50 years, had expired, the work was part of the Public Domain (this wiki from the Creative Commons is great place to start if you don’t understand the concept of the Public Domain).  As a result many derivative forms of the poster were generated by artists and publishers.   I created this chart to illustrate the importance of the Public Domain within artistic communities.  As I stipulated in a previous, related, post, my comments are made solely in terms of the creator’s motivations and process.  The business and consumer side of this equation require an entirely different set of considerations, which I’m sure I’ll touch on at some point.  In the meantime, hope you dig.  It was fun to put together. -J|B|Nomics  As always, good work.

As many who read this may well know, the “Keep Calm and Carry On” poster was a propaganda piece, produced by the British government (but never used, as it was intended for use only if the Nazis successfully invaded Britain) in 1939.  A copy of the poster was discovered by a second hand bookstore (Barter Books) in 2000.  Since its copyright, which stipulated protection for 50 years, had expired, the work was part of the Public Domain (this wiki from the Creative Commons is great place to start if you don’t understand the concept of the Public Domain).  As a result many derivative forms of the poster were generated by artists and publishers.  

I created this chart to illustrate the importance of the Public Domain within artistic communities.  As I stipulated in a previous, related, post, my comments are made solely in terms of the creator’s motivations and process.  The business and consumer side of this equation require an entirely different set of considerations, which I’m sure I’ll touch on at some point.  In the meantime, hope you dig.  It was fun to put together.

-J|B|Nomics 

As always, good work.

JNOMICS: Music Busines = Burgeoning (as the creative markets self-correct)

The generic debate over the state of the music business that centers on the triangular confrontation between artists, executives and pirates is boring. The antithetical complaints launched against piracy as a battle of good verses evil is boring. Most importantly, the words espoused by all sides…

Another great, chart-filled, article by JNomics