TEDxUSC
Johanna Blakley: Lessons from fashion's free culture
喬漢娜布萊克利: 學習時尚界的自由文化
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違反智慧財產權的例子在電影工業, 音樂界與軟體產業裡層出不窮, 但在時尚界卻鮮有所聞. 時尚界卻能在創意與利潤兩者皆取得成功. 喬漢那布萊克利在TEDxUSC 2010 所發表的演講中, 談論所有創意產業能向時尚界的自由文化借鏡的地方
Johanna Blakley - Media maven
Johanna Blakley studies the impact of mass media and entertainment on our world. Full bio
Johanna Blakley studies the impact of mass media and entertainment on our world. Full bio
Double-click the English transcript below to play the video.
00:16
I heard this amazing story about Miuccia Prada.
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我曾聽過一則關於Miucha Prada 的有趣故事
00:18
She's an Italian fashion designer.
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她是位義大利籍的時裝設計師
00:20
She goes to this vintage store in Paris
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她曾與她的一票朋友
00:22
with a friend of hers.
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到巴黎的一間古著店
00:24
She's rooting around, she finds this one jacket by Balenciaga --
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逛著逛著, 她發現了一件巴黎世家的夾克外套
00:28
she loves it.
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她很喜歡
00:30
She's turning it inside out.
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她把夾克翻到反面
00:32
She's looking at the seams. She's looking at the construction.
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她看了看夾克的車工縫線, 整件衣服的剪裁
00:35
Her friend says, "Buy it already."
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她的朋友說: 就買下它吧
00:37
She said, "I'll buy it, but I'm also going to replicate it."
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她說: 我會買, 而且我還要把它複製出來
00:42
Now, the academics in this audience may think,
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現在坐在觀眾席,身為知識分子的你們也許會想
00:45
"Well, that sounds like plagiarism."
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『嗯, 這看起來似乎是一種抄襲行為』
00:47
But to a fashionista, what it really is
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但對一個時尚達人來說
00:49
is a sign of Prada's genius:
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這正是Prada真正厲害的地方
00:51
that she can root through the history of fashion
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她可以在不同年代的流行當中
00:53
and pick the one jacket
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選中一件夾克
00:55
that doesn't need to be changed by one iota,
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甚至不需怎麼修改
00:57
and to be current and to be now.
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就可以讓這件骨董夾克變成入時且時髦的
01:00
You might also be asking whether it's possible
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有人也許會問她這麼做
01:03
that this is illegal for her to do this.
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是否是違法的
01:06
Well, it turns out that it's actually not illegal.
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其實, 這的確不犯法
01:09
In the fashion industry, there's very little
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在時尚業界裡
01:11
intellectual property protection.
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並沒有什麼智慧財產權的保護
01:14
They have trademark protection,
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他們有商標保護法
01:16
but no copyright protection
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但並沒有保護版權的規範
01:18
and no patent protection to speak of.
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也沒有專利保護的法則
01:21
All they have, really, is trademark protection,
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時尚產業只擁有商標的法律規範
01:23
and so it means that anybody
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所以這也就意味著任何人
01:25
could copy any garment
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都可以模仿在場的人
01:27
on any person in this room
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身上穿的任一服裝款式
01:29
and sell it as their own design.
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當做自己的設計將其生產販賣
01:31
The only thing that they can't copy
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唯一不能抄襲的
01:33
is the actual trademark label
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就是縫在衣服內裡的
01:35
within that piece of apparel.
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品牌商標
01:37
That's one reason that you see logos
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這也是為什麼你們會看到許多商品上
01:39
splattered all over these products.
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佈滿了品牌標誌
01:41
It's because it's a lot harder for knock-off artists
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是因為這樣對仿冒商來說
01:43
to knock off these designs
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要仿冒這些設計更為困難
01:45
because they can't knock off the logo.
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因為他們不能仿冒品牌標誌
01:48
But if you go to Santee Alley, yeah.
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但如果你到聖提街
01:51
(Laughter) Well, yeah.
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沒錯
01:53
Canal Street, I know.
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還有運河街, 我知道
01:55
And sometimes these are fun, right?
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這其實還蠻有趣的, 對吧
01:57
Now, the reason for this, the reason that the fashion industry
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現在, 要來解釋時尚界
02:00
doesn't have any copyright protection
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沒有任何版權保護法的原因
02:02
is because the courts decided long ago
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是因為在很久以前法院就決定
02:05
that apparel is too utilitarian
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由於服裝款式應用範圍太廣
02:07
to qualify for copyright protection.
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所以無法以版權保護來界定
02:09
They didn't want a handful of designers
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他們不想讓一群設計師
02:11
owning the seminal building blocks of our clothing.
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對服裝產業擁有太多影響力
02:14
And then everybody else would have to license this cuff or this sleeve
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不然大家可能得跑去申請某一袖口樣式
02:17
because Joe Blow owns it.
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只因為此樣式為Joe Blow所擁有
02:21
But too utilitarian? I mean is that the way you think of fashion?
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但真的太過實用嗎? 我是指這就是你們對時尚產業的觀感嗎?
02:24
This is Vivienne Westwood. No!
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這是Vivienne Westwood. 喔不
02:27
We think of it as maybe too silly,
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我們覺得這也許太愚蠢
02:29
too unnecessary.
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太不必要了
02:31
Now, those of you who are familiar with the logic
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現在,熟悉版權保護的
02:33
behind copyright protection --
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背後操作邏輯的你們
02:35
which is that without ownership, there is no incentive to innovate --
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也就是認為沒有擁有權,就不會有創新的動機
02:38
might be really surprised
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可能會很驚訝
02:40
by both the critical success of the fashion industry
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時尚產業的巨大成功
02:43
and the economic success of this industry.
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與極大的經濟效益
02:46
What I'm going to argue today is that
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今天我在這裡所要討論的是
02:48
because there's no copyright protection
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由於在時尚產業中
02:50
in the fashion industry,
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並無版權保護規範
02:52
fashion designers have actually been able to elevate
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時裝設計師其實已經在把
02:55
utilitarian design,
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我們穿戴在身上的
02:57
things to cover our naked bodies,
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大眾服裝設計
02:59
into something that we consider art.
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提升到較高的藝術層面
03:01
Because there's no copyright protection
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因為在時尚圈
03:03
in this industry,
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並沒有版權保護
03:05
there's a very open and creative
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所以這個圈子非常的開放,極具創意性
03:07
ecology of creativity.
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是創意的孕育箱
03:09
Unlike their creative brothers and sisters,
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不像其他的藝術型產業
03:11
who are sculptors or photographers
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利如雕塑或攝影
03:14
or filmmakers or musicians,
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電影或音樂
03:17
fashion designers can sample
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時尚設計師可以向其他同儕設計師
03:19
from all their peers' designs.
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取樣其設計
03:21
They can take any element from any garment
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他們可以取樣流行史上任一服裝款式
03:23
from the history of fashion
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的一項元素
03:25
and incorporate it into their own design.
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並加以融合成自己的設計
03:27
They're also notorious for riffing off of the zeitgeist.
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他們也喜歡加入當代風潮
03:30
And here, I suspect,
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這個, 我猜
03:32
they were influenced by the costumes in Avatar.
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是受到電影阿凡達裡的服裝造型所影響
03:35
Maybe just a little.
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也許影響不大
03:37
Can't copyright a costume either.
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電影裡的戲服同樣也不受版權保護
03:39
Now, fashion designers have
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現在, 服裝設計師擁有
03:41
the broadest palette imaginable
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最大的想像空間
03:43
in this creative industry.
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在這個創意產業裡揮灑自如
03:45
This wedding dress here
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這件新娘禮服
03:47
is actually made of sporks,
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其實是用塑膠叉子所做成的
03:50
and this dress is actually made of aluminum.
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而這件洋裝的材質則是用鋁所製的
03:53
I've heard this dress actually sort of sounds like wind chimes
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當這件洋裝擺動時
03:55
as they walk through.
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聽起來就像風鈴的聲音
03:57
So, one of the magical side effects
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所以模仿文化的
03:59
of having a culture of copying,
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其中一項神奇附加效應
04:01
which is really what it is,
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其實也就是
04:03
is the establishment of trends.
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流行風潮的建立
04:05
People think this is a magical thing. How does it happen?
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大家都覺得這真的很神奇. 這是怎麼發生的呢?
04:07
Well, it's because it's legal for people to copy one another.
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嗯, 這是因為人們可以合法的相互抄襲
04:10
Some people believe that
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有些人相信
04:12
there are a few people at the top of the fashion food chain
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在時尚產業的頂端有幾個人
04:15
who sort of dictate to us what we're all going to wear,
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將獨裁決定大眾的穿衣規則
04:18
but if you talk to any designer at any level,
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但如果你跟任一階層的服裝設計師聊過
04:20
including these high-end designers,
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包括那些知名大牌服裝設計師
04:22
they always say
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他們總會說
04:24
their main inspiration comes from the street:
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他們的主要靈感來源是來自於街頭
04:26
where people like you and me remix and match
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也就是出現在大街上像你我的普羅大眾混搭出
04:28
our own fashion looks.
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屬於自己的獨特風格
04:30
And that's where they really get a lot of their
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正是他們得到許多靈感
04:32
creative inspiration,
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的地方
04:35
so it's both a top-down and a bottom-up kind of industry.
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所以這其實是個由上到下,從細部到全體都相互關聯的產業
04:39
Now, the fast fashion giants have
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現在, 就屬平價流行服飾大廠
04:41
probably benefited the most
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受惠最多
04:43
from the lack of copyright protection in the fashion industry.
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由於時尚產業並無版權保護的關係
04:46
They are notorious for knocking off high-end designs
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他們經常抄襲各大精品品牌的設計
04:49
and selling them at very low prices.
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然後以非常低的售價銷售
04:51
And they've been faced with a lot of lawsuits,
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他們曾面臨許多法律訴訟
04:54
but those lawsuits are usually not won by fashion designers.
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但這些案件都跟服裝設計師無關
04:57
The courts have said over and over again, "You don't need
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法院總不停得重申:
04:59
any more intellectual property protection."
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你們並不需任何額外的版權保護
05:02
When you look at copies like this,
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當你看到像這樣的仿冒品
05:05
you wonder: How do the luxury high-end brands
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你可能會想, 那那些精品名牌
05:07
remain in business?
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該怎麼生存下去呢?
05:09
If you can get it for 200 bucks, why pay a thousand?
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如果可以花200元買到, 誰會願意花1000元去買?
05:12
Well, that's one reason we had a conference here at USC a few years ago.
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事實上,這也是為什麼我們幾年前在U.S.C.這裡舉辦研討會
05:15
We invited Tom Ford to come --
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我們邀請Tom Ford與會
05:17
the conference was called, "Ready to Share:
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此研討會稱作:『 與您分享:
05:19
Fashion and the Ownership of Creativity" --
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時尚與創意擁有權的兩三事』
05:22
and we asked him exactly this question.
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我們很直接的問他這個問題
05:24
Here's what he had to say.
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而這是他的回答
05:26
He had just come off a successful stint as the lead designer at Gucci,
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他那時才剛從古馳光榮地卸下設計總監一職
05:29
in case you didn't know.
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如果你們不知道的話
05:31
Tom Ford: And we found after much research
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經過許多研究
05:34
that -- actually not much research, quite simple research --
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其實沒有太多的研究, 是非常簡單的調查
05:36
that the counterfeit customer was not our customer.
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我們發現那些購買仿冒品的民眾並不是我們的客戶群
05:39
Johanna Blakley: Imagine that.
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請想像一下
05:41
The people on Santee Alley
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在聖提街逛街的人們
05:43
are not the ones who shop at Gucci.
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並不是在古馳店裡消費的人
05:45
(Laughter)
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(笑聲)
05:48
This is a very different demographic.
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這是非常截然不同的消費族群
05:52
And, you know, a knock-off is never the same
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而且你知道的, 仿冒品
05:55
as an original high-end design,
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永遠不可能跟真品一樣
05:58
at least in terms of the materials; they're always made of cheaper materials.
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至少在材料的部份. 仿冒品都是用較為廉價的材質所製
06:01
But even sometimes a cheaper version
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但有時平價版本
06:04
can actually have some charming aspects,
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反而有更多的好處
06:06
can breathe a little extra life into a dying trend.
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可以為欲振乏力的時尚圈帶來一點額外的生機
06:10
There's lots of virtues of copying.
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抄襲還有許多的優點
06:12
One that a lot of cultural critics have pointed to
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其中一個是許多文化評論家曾舉出的
06:15
is that we now have
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就是我們現在
06:17
a much broader palette
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擁有較多元的設計款式
06:19
of design choices to choose from than we ever have before,
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可供選擇, 比起從前還要來得多
06:22
and this is mainly because of the fast fashion industry, actually.
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這主要也是因為平價流行產業崛起的原因
06:25
And this is a good thing. We need lots of options.
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這真得很好. 我們需要許多不同的選擇
06:27
Fashion, whether you like it or not,
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時尚, 不管你喜不喜歡
06:29
helps you project who you are to the world.
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都是幫助你向外展現自己的工具
06:33
Because of fast fashion,
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由於平價流行服飾
06:35
global trends actually get established much more quickly than they used to.
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全球流行風潮的形成比以前要來得更為快速
06:38
And this, actually, is good news to trendsetters;
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而這對決定流行的領導人物是件好事
06:41
they want trends to be set
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他們希望能帶起流行
06:43
so that they can move product.
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如此他們才可以將其化為商品販賣
06:46
For fashionistas,
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而對時尚達人來說
06:48
they want to stay ahead of the curve.
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他們想要站在流行的前端
06:50
They don't want to be wearing what everybody else is wearing.
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他們不想穿的跟其他人一樣
06:53
And so, they want to move on to the next trend
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所以他們希望能趕快進入下一個流行裡
06:56
as soon as possible.
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越快越好
06:58
I tell you, there is no rest for the fashionable.
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老實說, 流行界是毫無歇息的
07:01
Every season, these designers have to struggle
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每一季, 那些設計師都得使盡混身解數
07:03
to come up with the new fabulous idea that everybody's going to love.
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想出大眾喜愛的設計
07:06
And this, let me tell you,
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而這,我告訴你
07:08
is very good for the bottom line.
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這對最後結果是非常好的
07:11
Now of course, there's a bunch of effects
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現在當然會有很多影響
07:13
that this culture of copying has
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也就是抄襲文化對創作過程
07:15
on the creative process.
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所產生的影響
07:17
And Stuart Weitzman is a very successful shoe designer.
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Stuart Weitzman是非常成功的女鞋設計師
07:19
He has complained a lot about people copying him,
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他曾多次抱怨他的設計遭人抄襲一事
07:22
but in one interview I read,
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但在一篇訪談中
07:24
he said it has really forced him to up his game.
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他提到, 這其實讓他更加把勁於自己的設計上
07:27
He had to come up with new ideas,
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他得想出新點子
07:29
new things that would be hard to copy.
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新的做法,讓他的設計難以抄襲
07:31
He came up with this Bowden-wedge heel
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他設計出這款包登楔型鞋
07:34
that has to be made out of steel or titanium;
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這款一定得用鋼或鈦來製作
07:36
if you make it from some sort of cheaper material,
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如果你用較為低廉的材料來製作這款鞋型
07:38
it'll actually crack in two.
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是會斷成兩半的
07:40
It forced him to be a little more innovative. (Music)
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這讓他的設計變得更創新
07:43
And that actually reminded me
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而這也讓我想到
07:45
of jazz great, Charlie Parker.
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爵士樂的傳奇人物Charlie Parker
07:47
I don't know if you've heard this anecdote, but I have.
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不知道你們是否有聽過他這段軼事
07:50
He said that one of the reasons he invented bebop
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他說他發明bebop爵士樂的其中一項原因
07:53
was that he was pretty sure
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就是他很確定
07:55
that white musicians wouldn't be able to replicate the sound. (Laughter)
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白人樂手是無法複製出這種聲音的
08:01
He wanted to make it too difficult to copy,
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他想讓它變得難以模仿
08:05
and that's what fashion designers are doing all the time.
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這也是服裝設計師們一直在致力的
08:07
They're trying to put together
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他們試著將
08:09
a signature look, an aesthetic
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屬於自己的經典裝扮與其特有美學
08:11
that reflects who they are.
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來呈現出自己身為設計師的本色
08:13
When people knock it off, everybody knows
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一旦有人抄襲, 大家就會發現
08:16
because they've put that look out on the runway,
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因為他們把一套套的服裝送上伸展台展示
08:18
and it's a coherent aesthetic.
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每一套服裝皆相互呼應連貫
08:22
I love these Gallianos.
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我好愛這些Galliano的作品
08:24
Okay, we'll move on. (Laughter)
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好的, 我們繼續
08:26
This is not unlike the world of comedy.
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這其實跟喜劇界一樣
08:29
I don't know if you know that jokes
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我不知道你們是否知道笑話
08:31
also can't be copyright protected.
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同樣也沒有版權保護
08:33
So when one-liners were really popular,
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所以當某一台詞開始流行起來時
08:36
everybody stole them from one another.
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大家就會開始競相使用
08:38
But now, we have a different kind of comic.
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但現在的喜劇方式較為不同
08:40
They develop a persona,
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他們為其人物發展出特有人格
08:42
a signature style, much like fashion designers.
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一套特有風格, 有點像時裝設計師
08:45
And their jokes,
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而他們的笑話
08:47
much like the fashion designs by a fashion designer,
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就如同設計之於時裝設計師一般
08:49
really only work within that aesthetic.
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得靠獨特的美感才能顯現
08:51
If somebody steals a joke
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例如,如果有人模仿Larry David
08:53
from Larry David, for instance,
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所講的笑話的話
08:55
it's not as funny.
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那就會變得不好笑
08:57
Now, the other thing that fashion designers have done
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現在另一個時裝設計師努力在
08:59
to survive in this culture of copying
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此抄襲文化底下生存的方法
09:01
is they've learned how to copy themselves.
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是他們學到如何模仿自己
09:03
They knock themselves off.
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他們抄襲自己的設計
09:05
They make deals with the fast fashion giants
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與平價流行服裝大廠合作
09:08
and they come up with a way to sell their product
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他們想出新的方式來銷售他們的設計
09:10
to a whole new demographic:
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拓展至一全新不同的消費族群
09:12
the Santee Alley demographic.
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也就是聖提街消費族群
09:14
Now, some fashion designers will say,
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現在有些時裝設計師會表示
09:17
"It's only in the United States that we don't have any respect.
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『只有在美國, 時裝設計未受到重視
09:20
In other countries there is protection
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在其他國家, 都有對時裝設計
09:22
for our artful designs."
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給予保護』
09:25
But if you take a look at the two other biggest markets in the world,
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但如果看一下世界另外兩大市場
09:27
it turns out that the protection that's offered
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他們所提供的保護
09:30
is really ineffectual.
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其實並沒有什麼成效
09:32
In Japan, for instance, which I think is the third largest market,
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例如在日本, 我認為是世界第三大市場
09:35
they have a design law; it protects apparel,
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他們有設計法規來保護服裝的設計
09:38
but the novelty standard is so high,
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但要達到申請專利標準的門檻非常高
09:40
you have to prove that your garment has never existed before,
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你必須能夠證明你的服裝款式未曾發明過
09:43
it's totally unique.
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它必須是獨一無二的
09:45
And that's sort of like
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這有點像是
09:47
the novelty standard for a U.S. patent,
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要申請美國專利的標準
09:49
which fashion designers never get --
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是服裝設計師不可能申請
09:51
rarely get here in the states.
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或難以申請到的
09:53
In the European Union, they went in the other direction.
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在歐盟則是相反
09:56
Very low novelty standard,
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其門檻非常低
09:58
anybody can register anything.
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任何人都可以拿任一東西去申請
10:00
But even though it's the home of the fast fashion industry
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但雖然它是平價流行廠牌的發源地
10:02
and you have a lot of luxury designers there,
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而且擁有許多精品品牌設計師
10:04
they don't register their garments, generally,
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他們通常並不會去為他們的服裝去做申請
10:07
and there's not a lot of litigation.
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也沒有太多的法律訴訟案件
10:09
It turns out it's because the novelty standard is too low.
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結果變成由於其申請門檻太低
10:12
A person can come in and take somebody else's gown,
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任何人可以隨便拿一件服裝
10:15
cut off three inches from the bottom,
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把長度剪短三吋
10:18
go to the E.U. and register it as a new, original design.
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就可以走進歐盟, 然後申請為一全新獨創設計
10:21
So, that does not stop the knock-off artists.
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所以這並無法阻止仿冒商繼續仿冒
10:23
If you look at the registry, actually,
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如果你只仔細看看登記處
10:25
a lot of the registered things in the E.U.
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在歐盟許多已註冊的服裝
10:27
are Nike T-shirts
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像Nike T恤
10:29
that are almost identical to one another.
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幾乎每件都非常相似
10:32
But this has not stopped Diane von Furstenberg.
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但這都無法阻擋Diane von Furstenberg
10:34
She is the head of
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她是美國時裝設計師協會
10:36
the Council of Fashion Designers of America,
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的主席
10:39
and she has told her constituency that
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她曾向她的支持者表示
10:41
she is going to get copyright protection
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她將為時裝設計師
10:44
for fashion designs.
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爭取設計版權保護
10:46
The retailers have kind of quashed this notion though.
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儘管零售業者對此略有微詞
10:48
I don't think the legislation is going anywhere,
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我不認為此條款會順利通過
10:50
because they realized it is so hard
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因為他們了解這是非常困難的
10:53
to tell the difference between a pirated design
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要分辨出這是否為仿冒設計
10:55
and something that's just part of a global trend.
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或是屬於全球流行的一部分
10:58
Who owns a look?
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到底誰擁有這個裝扮?
11:00
That is a very difficult question to answer.
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這是難以回答的問題
11:02
It takes lots of lawyers and lots of court time,
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得需要許多律師在法庭裡商討許久
11:05
and the retailers decided that would be way too expensive.
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而且零售商覺得此舉耗費太大
11:10
You know, it's not just the fashion industry
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你知道的, 這不僅僅只是時尚產業
11:12
that doesn't have copyright protection.
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沒有受到版權保護而已
11:14
There's a bunch of other industries that don't have copyright protection,
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其他還有很多產業同樣也沒有版權保護
11:17
including the food industry.
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包括像是食品業
11:19
You cannot copyright a recipe
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你不能為食譜申請專利
11:21
because it's a set of instructions, it's fact,
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因為那是一連串的指示步驟. 是具體事實
11:24
and you cannot copyright the look and feel
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你也不能為菜餚的外觀或味道註冊版權
11:26
of even the most unique dish.
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就算是最獨一無二的菜餚也是如此
11:29
Same with automobiles.
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汽車也是同樣道理
11:31
It doesn't matter how wacky they look or how cool they look,
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不管汽車的外型是多奇形怪狀, 多麼地酷炫
11:34
you cannot copyright the sculptural design.
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你也不能為雕塑品申請專利
11:37
It's a utilitarian article, that's why.
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因為其設計太過實用了
11:40
Same with furniture,
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家具也是如此
11:42
it's too utilitarian.
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太過實用
11:45
Magic tricks, I think they're instructions, sort of like recipes:
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魔術伎倆, 我想這也是指示步驟, 有點像食譜
11:48
no copyright protection.
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同樣也沒有版權保護
11:50
Hairdos, no copyright protection.
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髮型, 沒有版權保護
11:52
Open source software, these guys decided
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自由軟體, 開發人員決定
11:54
they didn't want copyright protection.
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他們並不需要版權的保護
11:56
They thought it'd be more innovative without it.
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他們覺得沒有版權的規範,比較能發揮創意
11:59
It's really hard to get copyright for databases.
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也很難為資料庫以版權規範來保護
12:02
Tattoo artists, they don't want it; it's not cool.
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刺青藝術家也不想要, 那可不酷
12:05
They share their designs.
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他們與大家分享他們的設計
12:08
Jokes, no copyright protection.
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笑話, 沒有版權保護
12:10
Fireworks displays,
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煙火圖案
12:12
the rules of games,
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遊戲規則
12:14
the smell of perfume: no.
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香水的味道, 沒有
12:17
And some of these industries may seem
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以上這些產業
12:19
sort of marginal to you,
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有些看起來似乎比較非主流
12:21
but these are the gross sales
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但這是低I.P.產業的
12:24
for low I.P. industries,
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銷售總額
12:26
industries with very little copyright protection,
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也就是未受版權保護的產業
12:28
and there's the gross sales of
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而這是影片與書籍的
12:30
films and books.
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銷售總額
12:32
(Applause)
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（鼓掌）
12:35
It ain't pretty.
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這很殘酷
12:37
(Applause)
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（鼓掌）
12:39
So you talk to people in the fashion industry
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所以若你跟時尚產業裡的人聊
12:41
and they're like, "Shhh!
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他們會說：噓！
12:43
Don't tell anybody
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別告訴其他人
12:45
we can actually steal from each other's designs.
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我們可以互相抄襲彼此的設計
12:47
It's embarrassing."
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這很難為情
12:49
But you know what? It's revolutionary,
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但你們知道嗎, 這其實是場革新
12:51
and it's a model that a lot of other industries --
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許多其他產業都可以以此為借鏡
12:54
like the ones we just saw with the really small bars --
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像那些我們剛看到業績較為不佳的產業
12:57
they might have to think about this.
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他們可能得好好地考慮
12:59
Because right now, those industries with a lot of copyright protection
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因為現在許多產業都在執行
13:02
are operating in an atmosphere
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保護其商品版權
13:04
where it's as if they don't have any protection,
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好像他們沒有其他的規範可以保護自己的產業一樣
13:07
and they don't know what to do.
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他們不知道該怎麼做
13:11
When I found out that there are a whole bunch of industries
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當我發現有這麼多產業
13:14
that didn't have copyright protection,
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是沒有版權保護的時候
13:16
I thought, "What exactly is the underlying logic?
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我心想, 其中到底有什麼玄機？
13:19
I want a picture." And the lawyers do not provide a picture,
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我要一張圖表, 但律師沒辦法提供
13:22
so I made one.
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所以我自己做了一張
13:24
These are the two main
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這裡是版權法裡
13:27
sort of binary oppositions within the logic of copyright law.
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主要兩個對立二進位論點
13:30
It is more complex than this, but this will do.
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實際上更為複雜, 但用這張圖表就可以了
13:33
First: Is something an artistic object?
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首先,得決定該物件是否具有藝術價值
13:36
Then it deserves protection.
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再決定給予其保護
13:38
Is it a utilitarian object?
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若是實用物件
13:40
Then no, it does not deserve protection.
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就不行, 不能給予版權保護
13:42
This is a difficult, unstable binary.
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這是個困難且不穩定的論述
13:45
The other one is: Is it an idea?
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另一個是, 若該物件為一個想法
13:48
Is it something that needs to
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那這是否需要
13:50
freely circulate in a free society?
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在自由的社會裡給予自由地傳播呢？
13:52
No protection.
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無法給予保護
13:54
Or is it a physically fixed
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或者這是將想法
13:56
expression of an idea:
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具體成形
13:58
something that somebody made
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也就是某人製作出某物
14:00
and they deserve to own it for a while and make money from it?
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理所當然他們就擁有該物品, 並以此賺取利益
14:03
The problem is that digital technology
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但問題是數位科技
14:05
has completely subverted the logic
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已經完全顛覆物體實體存在
14:07
of this physically fixed, expression
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的邏輯論述
14:09
versus idea concept.
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相對於概念式的想法
14:12
Nowadays,
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現在
14:14
we don't really recognize a book
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我們不再以擺放在櫃子裡
14:16
as something that sits on our shelf
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來認得一本書
14:18
or music as something that is
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或是可以拿在手上
14:20
a physical object that we can hold.
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的一張實體唱片
14:22
It's a digital file.
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現在都是數位版
14:24
It is barely tethered to any sort of
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在我們的認知裡
14:26
physical reality in our minds.
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已經很難將這些以實體方式來做連結
14:28
And these things, because we can copy and transmit them so easily,
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因為我們可以很容易的複製及傳送這些物件
14:31
actually circulate within our culture
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所以這些東西其實在我們的文化裡
14:34
a lot more like ideas
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散播的形式越來越來概念化
14:36
than like physically instantiated objects.
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而不像實體物品
14:39
Now, the conceptual issues are truly profound
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現在, 概念性議題是非常深遠的
14:42
when you talk about creativity
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當你談論到創意
14:44
and ownership
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與擁有權
14:46
and, let me tell you, we don't want to leave this just to lawyers to figure out.
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我告訴你們, 我們不想把這議題只留給律師去解決
14:49
They're smart.
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他們很聰明沒錯
14:51
I'm with one. He's my boyfriend, he's okay.
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我身邊就有一個, 是我男友, 他還行
14:54
He's smart, he's smart.
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他很聰明
14:56
But you want an interdisciplinary team of people
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但你會希望有一個有組織的團體
14:58
hashing this out,
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來歸納出答案
15:00
trying to figure out: What is the kind of ownership model,
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試著想出哪種方式能作為擁有權的最佳模式
15:03
in a digital world,
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在這數位世界裡
15:05
that's going to lead to the most innovation?
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將帶領人們走向最創新的方向
15:07
And my suggestion is that
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而我的建議是
15:09
fashion might be a really good place
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時尚產業也許是個可以好好參考
15:11
to start looking for a model
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為未來創意產業
15:13
for creative industries in the future.
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尋找出一套良好模式的地方
15:16
If you want more information about this research project,
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如果你們想知道更多關於此研究計畫的資訊
15:19
please visit our website: it's ReadyToShare.org.
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請上我們的官方網站ReadyToShare.org
15:23
And I really want to thank Veronica Jauriqui
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我要非常謝謝Veronica Jauriqui
15:25
for making this very fashionable presentation.
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製作這份如此時髦的投影片
15:27
Thank you so much. (Applause)
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謝謝大家
ABOUT THE SPEAKER
Johanna Blakley - Media mavenJohanna Blakley studies the impact of mass media and entertainment on our world.
Why you should listen
As the Deputy Director of the Norman Lear Center (a media-focused think tank at the University of Southern California) Johanna Blakley spends much of her time exploring how our entertainment interacts with our political, commercial and social habits. She is especially interested in the surprising impact of intellectual property rights on innovation, organizing conferences around the lack of creative ownership in fashion as well as technology and the ownership of creative content.
Blakley has worked across a huge variety of media platforms -- producing for the web on a large scale, conducting gaming research, coordinating events for film festivals and executing consumer research on entertainment and politics. Drawing on this vast body of experience, she also lectures at USC and helped develop their masters program in Public Diplomacy.
Johanna Blakley | Speaker | TED.com