Case Studies/Filter Magazine
We believe artwork is created to be shared not owned and hence we aim to use a licence we felt would offer options for future and further use of work, whilst ensuring correct acknowledgments are made to the creator. — Amanda Matulick, Managing Editor Filter Magazine
The Australian Network for Art and Technology (ANAT) is a non-profit organisation based in Adelaide, South Australia. Incorporated in 1988, ANAT is Australia’s peak advocacy body for artists working with science and technology, promoting emerging and experimental media, and audio and art-science practices across mobile and portable platforms both locally and globally. The organisation fosters collaboration, innovation and enterprise, presenting new opportunities for its members to engage with their audiences and industry, and to sustain their cutting-edge creativity.
ANAT publishes Filter Magazine three times a year as an essential guide to art and technology projects and current trends in new media creativity. Each issue contains feature articles, reviews, listings of professional development activities, in addition to members’ profiles. It is provided free to ANAT members and is distributed to selected arts agencies across Australia. Filter’s current managing editor Amanda Matulick.
ANAT is funded by the Australian Government through OZCO, the Australia Council, by the South Australian Government through Arts SA, and is further assisted through the Visual Arts and Craft Strategy, an initiative of the Australian, State and Territory Governments. ANAT organises residencies, master classes and summer schools, and provides financial support to its members through the Professional Development Travel Fund.
Filter Magazine is licensed under Creative Commons Attribution-NonCommercial Share Alike 2.5 Australia, unless otherwise noted. Issue 61, covering the period from November 2005 – January 2006, was dedicated to an examination of the ‘Creative Commons Revolution,’ and was guest-edited by Elliott Bledsoe from CCau. The issue featured articles by Andrew Garton on the creation of an Australasian commons, Mia Garlick on opening up creative dialogue, and Nic Suzor, with ‘Remix, Reuse, Recycle.’ Elliott writes in his editorial,
- ‘Creative Commons is about choice. It has turned the blanket ban tradition of copyright on its head. It takes the concept of “all rights reserved” and splices it into manageable parts in order to create a “some rights reserved” system.’
Filter began using a Creative Commons licence on a permanent basis during the publication of Issue 65: This is not open source, themed around open source culture, information sharing and interaction between networks. The publication discussed the intrinsic elements of the growth of the cultural movement of sharing. At this time, it seemed natural to move to a Creative Commons Share-Alike licence. After trialling the No-Derivatives licence, Filter implemented Creative Commons Attribution-NonCommercial-Share Alike 2.5 as the best fit with its needs and aims.
The thematic basis for Issue 65 emerged from the 2007 ANAT still/open labs, a series of workshops that were held in Melbourne, Brisbane and Perth as part of the organisation’s emerging technology labs program. Facilitators Alessandro Ludovico, Andy Nicholson, Beatriz da Costa, and Elliott Bledsoe from CCau discussed with audiences the practice and theory of open source culture and its application through networked art, software development, print and online publishing and in the scientific arena. After many discussions with Elliott on the topic of open source and free culture, ANAT staff made a move to use Creative Commons licences as widely as they could.
ANAT’s initiatives emphasise connection and collaboration, enrichment and inspiration, and research and development across art, culture, science and technology. When asked about ANAT’s motivations to employ Creative Commons licensing for Filter by Rachel Cobcroft from Creative Commons Australia, Managing Editor Amanda Matulick responded:
- ‘We believe artwork is created to be shared not owned and hence we aim to use a licence we felt would offer options for future and further use of work, whilst ensuring correct acknowledgments are made to the creator. We hope that by using a licence that is protective yet encouraging, we may increase the functionality of the work, generate future use and dialogue around the works.’
Amanda notes further that open source culture raises many opinions and questions including: How open is open source culture? Is it user friendly or financially beneficial? How might artists make use of this cultural movement? Andrew Lowenthal writes in his article 'Free Beer,' featured in Issue 65,
- ‘The one-to-many model is being usurped by the many-to-many, the masses are being replaced by the network, command by collaboration.’
It is in a collaborative framework that ANAT continues to operate, hoping that the discussion about open source and free culture continues well into the future.
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