TEDxUSC
Johanna Blakley: Lessons from fashion's free culture
Johanna Blakley:从时装的自由文化里学到的
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Johanna Blakley说,恶性控制电影,音乐还有软件的版权法几乎没有触及到时装业...而时装从革新和销售两方面受益.在2010TEDxUSC上,她讲了所有的创造性行业能从时装的自由文化里学到什么.
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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我听过这个关于缪西娅·普拉达的神奇故事。
00:18
She's an Italian fashion designer.
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她是一个意大利服装设计师
00:20
She goes to this vintage store in Paris
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她和她的一个朋友，
00:22
with a friend of hers.
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去巴黎的一个古董商店。
00:24
She's rooting around, she finds this one jacket by Balenciaga --
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她正在到处翻找的时候，找到了这件巴伦夏家设计的外套。
00:28
she loves it.
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她很喜欢它。
00:30
She's turning it inside out.
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她把着见外套翻过来。
00:32
She's looking at the seams. She's looking at the construction.
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她当时看着衣服的接缝，还有这件外套的构造。
00:35
Her friend says, "Buy it already."
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她的朋友说“快点买吧。”
00:37
She said, "I'll buy it, but I'm also going to replicate it."
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她说：“我会买的，但是我还要复制它。”
00:42
Now, the academics in this audience may think,
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现在，在这里的学者可能会想，
00:45
"Well, that sounds like plagiarism."
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“这样就像是抄袭。”
00:47
But to a fashionista, what it really is
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但是，对于一个服装设计师来说，它其实是
00:49
is a sign of Prada's genius:
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是谱拉达超凡想象力的标志。
00:51
that she can root through the history of fashion
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那就是她能够找到时装的历史
00:53
and pick the one jacket
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还能够让这件
00:55
that doesn't need to be changed by one iota,
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不用做一点改变的外套，
00:57
and to be current and to be now.
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成为当今的一种流行。
01:00
You might also be asking whether it's possible
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你也许还想问她这样做是不是
01:03
that this is illegal for her to do this.
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不合法
01:06
Well, it turns out that it's actually not illegal.
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但这事实上被证明是合法的
01:09
In the fashion industry, there's very little
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在时装工业上，没有
01:11
intellectual property protection.
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知识产权的保护。
01:14
They have trademark protection,
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他们有商标的保护，
01:16
but no copyright protection
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但没有版权保护，
01:18
and no patent protection to speak of.
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而且没有专利保护可言。
01:21
All they have, really, is trademark protection,
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他们所拥有的只有商标保护。
01:23
and so it means that anybody
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所以，也就是说每一个人
01:25
could copy any garment
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能够复制这里任何人穿的
01:27
on any person in this room
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任何服装
01:29
and sell it as their own design.
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然后作为他们自己的设计而买出去。
01:31
The only thing that they can't copy
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只有一样东西他们不能复制
01:33
is the actual trademark label
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那就是那件服装里面的
01:35
within that piece of apparel.
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实际商标标志
01:37
That's one reason that you see logos
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这就是为什么我们看到徽标
01:39
splattered all over these products.
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散落在所有这些产品上。
01:41
It's because it's a lot harder for knock-off artists
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那是因为对于翻版的艺术家来说
01:43
to knock off these designs
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翻版那些设计很难
01:45
because they can't knock off the logo.
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因为他们不能翻版徽标
01:48
But if you go to Santee Alley, yeah.
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但是如果你去桑蒂弄，对
01:51
(Laughter) Well, yeah.
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啊，对。
01:53
Canal Street, I know.
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运河街，我知道。
01:55
And sometimes these are fun, right?
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有时候那些都很有趣，好。
01:57
Now, the reason for this, the reason that the fashion industry
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现在，基于这个原因，这个时装工业
02:00
doesn't have any copyright protection
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没有产权保护的原因是
02:02
is because the courts decided long ago
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是因为法院很久以前已经决定
02:05
that apparel is too utilitarian
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服装太以功利为目的而
02:07
to qualify for copyright protection.
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不能取得产权保护的资格。
02:09
They didn't want a handful of designers
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他们不想让少数的设计师
02:11
owning the seminal building blocks of our clothing.
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拥有我们的服饰的开创性积木
02:14
And then everybody else would have to license this cuff or this sleeve
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然后，其他人将必须取得这个袖子或这个袖口的许可
02:17
because Joe Blow owns it.
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因为Joe Blow 拥有它。
02:21
But too utilitarian? I mean is that the way you think of fashion?
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但是太过于功利化？我指的是你如何看待时装？
02:24
This is Vivienne Westwood. No!
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这是薇薇恩·韦斯特伍德，不
02:27
We think of it as maybe too silly,
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我们或许认为它太愚蠢了，
02:29
too unnecessary.
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太没有必要
02:31
Now, those of you who are familiar with the logic
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现在，你们中间对没有版权所有，也没有创新动力的
02:33
behind copyright protection --
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版权保护背后的
02:35
which is that without ownership, there is no incentive to innovate --
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逻辑很熟悉的人
02:38
might be really surprised
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可能也真的会对
02:40
by both the critical success of the fashion industry
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时装工业至关重要的成功
02:43
and the economic success of this industry.
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和这个产业的经济上的成功而惊奇。
02:46
What I'm going to argue today is that
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今天，令我生气的是
02:48
because there's no copyright protection
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在时装业，
02:50
in the fashion industry,
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没有版权保护。
02:52
fashion designers have actually been able to elevate
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时装设计师们事实上有能力使
02:55
utilitarian design,
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功利化的设计，
02:57
things to cover our naked bodies,
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遮盖我们裸露的身体的东西，
02:59
into something that we consider art.
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升华为艺术。
03:01
Because there's no copyright protection
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因为在这个行业
03:03
in this industry,
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没有版权保护，
03:05
there's a very open and creative
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所以有非常开放和创造的
03:07
ecology of creativity.
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创造生态。
03:09
Unlike their creative brothers and sisters,
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与那些和他们一样搞创造的，
03:11
who are sculptors or photographers
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雕刻家或摄影师
03:14
or filmmakers or musicians,
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或电影制作家，或音乐家们不同
03:17
fashion designers can sample
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时装设计师能够以
03:19
from all their peers' designs.
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他们同行人的所有设计为样本。
03:21
They can take any element from any garment
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他们可以从任何时装历史上的衣服里，
03:23
from the history of fashion
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取得任何东西
03:25
and incorporate it into their own design.
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然后把它们容入到他们自己的设计里。
03:27
They're also notorious for riffing off of the zeitgeist.
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他们也因为重复时代思潮而声名狼籍。
03:30
And here, I suspect,
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在这里,我怀疑,
03:32
they were influenced by the costumes in Avatar.
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他们是受到阿凡达里面的服饰的影响,
03:35
Maybe just a little.
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也许只有一点.
03:37
Can't copyright a costume either.
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服饰也不能得到版权认可.
03:39
Now, fashion designers have
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现在,服装设计师让
03:41
the broadest palette imaginable
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最广泛的调色板
03:43
in this creative industry.
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在这个产业里有想象的空间.
03:45
This wedding dress here
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这件婚礼服
03:47
is actually made of sporks,
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事实上是由刀和叉做成的.
03:50
and this dress is actually made of aluminum.
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这件衣服事实上是用铝做的.
03:53
I've heard this dress actually sort of sounds like wind chimes
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我听说当你走起来
03:55
as they walk through.
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这件衣服听起来像风铃.
03:57
So, one of the magical side effects
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因此复制一种文化的
03:59
of having a culture of copying,
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神秘副作用是
04:01
which is really what it is,
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它其实是
04:03
is the establishment of trends.
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是制定的倾向.
04:05
People think this is a magical thing. How does it happen?
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人们认为这是一件神秘的事情,它是如何发生的呢?
04:07
Well, it's because it's legal for people to copy one another.
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这个嘛,是因为人们复制别人的东西是合法的
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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有一少部分人在时装食物链的顶端
04:15
who sort of dictate to us what we're all going to wear,
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这些人从某种程度上来说决定我们将穿什么.
04:18
but if you talk to any designer at any level,
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但是如果你和任何水平上的任何设计师谈话,
04:20
including these high-end designers,
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包括那些顶级的设计师,
04:22
they always say
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他们常常说
04:24
their main inspiration comes from the street:
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他们的灵感来自于大街
04:26
where people like you and me remix and match
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在大街上和你和我一样的人们重新组合并搭配
04:28
our own fashion looks.
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我们自己的时装外表,
04:30
And that's where they really get a lot of their
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而那儿正是他们真正得到很多的
04:32
creative inspiration,
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创作灵感.
04:35
so it's both a top-down and a bottom-up kind of industry.
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所以它既是一种自下而上的又是一种自上而下的行业.
04:39
Now, the fast fashion giants have
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现在,快速的时装巨头可能已经
04:41
probably benefited the most
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因为时装行业没有版权保护
04:43
from the lack of copyright protection in the fashion industry.
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而获得最大的利益.
04:46
They are notorious for knocking off high-end designs
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他们因为抄袭高级设计而声名狼籍
04:49
and selling them at very low prices.
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并以低价出售
04:51
And they've been faced with a lot of lawsuits,
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他们还面临了很多诉讼,
04:54
but those lawsuits are usually not won by fashion designers.
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但是那些时装设计师们通常都不能赢得诉讼.
04:57
The courts have said over and over again, "You don't need
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法院已经反复的申明,"你们不再需要
04:59
any more intellectual property protection."
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知识财产保护."
05:02
When you look at copies like this,
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当你们看着这样的复制品的时候,
05:05
you wonder: How do the luxury high-end brands
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你就想知道,那些豪华的高级品牌如何
05:07
remain in business?
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在商业里生存?
05:09
If you can get it for 200 bucks, why pay a thousand?
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如果你可以话200美圆买到,那么你为什么还要话1000美圆
05:12
Well, that's one reason we had a conference here at USC a few years ago.
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那就是为什么几年前我们曾在南加洲大学举行了会议.
05:15
We invited Tom Ford to come --
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我们邀请了Tom Ford。
05:17
the conference was called, "Ready to Share:
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那个会议叫“准备分享：
05:19
Fashion and the Ownership of Creativity" --
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时装和创造的所有权”
05:22
and we asked him exactly this question.
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而且我们问了他这个问题。
05:24
Here's what he had to say.
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这就是他所要说的。
05:26
He had just come off a successful stint as the lead designer at Gucci,
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他刚刚在古奇以首席设计师的身份成功地完成了短期工作，
05:29
in case you didn't know.
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在你不知道的情况下。
05:31
Tom Ford: And we found after much research
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Tom Ford:我们发现进行很多研究后，
05:34
that -- actually not much research, quite simple research --
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事实上也不是很多研究，很简单的研究，
05:36
that the counterfeit customer was not our customer.
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那些购买仿造的顾客不是我们的顾客
05:39
Johanna Blakley: Imagine that.
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Johanna Blakley:想象一下
05:41
The people on Santee Alley
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在桑蒂弄的人们
05:43
are not the ones who shop at Gucci.
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不会在古奇购物。
05:45
(Laughter)
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（笑)
05:48
This is a very different demographic.
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这是一个非常难的人口统计学.
05:52
And, you know, a knock-off is never the same
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还有,你知道的,一个翻版是永远不会和
05:55
as an original high-end design,
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原版的高级设计一样的.
05:58
at least in terms of the materials; they're always made of cheaper materials.
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至少在材料方面,它们通常是用廉价的材料而做成的.
06:01
But even sometimes a cheaper version
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但是,有时候一个便宜的版本
06:04
can actually have some charming aspects,
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事实上也能够有一些迷人方面,
06:06
can breathe a little extra life into a dying trend.
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能够向一个奄奄一息的潮流里注入额外的生命.
06:10
There's lots of virtues of copying.
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拷贝有很多好的一面.
06:12
One that a lot of cultural critics have pointed to
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很多文化批判家已经指出的一个是
06:15
is that we now have
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我们现在拥有
06:17
a much broader palette
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一个比我们以前拥有的更广泛的
06:19
of design choices to choose from than we ever have before,
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可供选择的调色版.
06:22
and this is mainly because of the fast fashion industry, actually.
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这实际上主要是因为这个快速的时尚行业.
06:25
And this is a good thing. We need lots of options.
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并且这是一件好事,我需要更多的选择.
06:27
Fashion, whether you like it or not,
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时尚,不管你喜不喜欢,
06:29
helps you project who you are to the world.
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帮助你向世界展示你自己.
06:33
Because of fast fashion,
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因为快速时尚,
06:35
global trends actually get established much more quickly than they used to.
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全球潮流事实上被确立的比过去更快.
06:38
And this, actually, is good news to trendsetters;
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而这对潮流确立者来说实际上是好消息.
06:41
they want trends to be set
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他们希望潮流被确立
06:43
so that they can move product.
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这样他们能够移动产品.
06:46
For fashionistas,
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对于追求时尚的人来说,
06:48
they want to stay ahead of the curve.
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他们想在曲线上保持领先的地位.
06:50
They don't want to be wearing what everybody else is wearing.
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他们不想和其他人穿的一样.
06:53
And so, they want to move on to the next trend
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所以他们想尽快的
06:56
as soon as possible.
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转移到下一个潮流。
06:58
I tell you, there is no rest for the fashionable.
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我告诉你,时尚是不会休息的
07:01
Every season, these designers have to struggle
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每个季节,那些设计师必须为
07:03
to come up with the new fabulous idea that everybody's going to love.
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想出令每个人都喜爱的好主意而奋斗
07:06
And this, let me tell you,
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还有这个,让我来告诉你吧
07:08
is very good for the bottom line.
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这对底层来说非常好.
07:11
Now of course, there's a bunch of effects
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现在,当然有一连串的影响
07:13
that this culture of copying has
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那就是拷贝文化
07:15
on the creative process.
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存在于创作的过程中.
07:17
And Stuart Weitzman is a very successful shoe designer.
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Stuart Weitzman 是一个非常成功的鞋子设计师.
07:19
He has complained a lot about people copying him,
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他抱怨人们拷贝他的设计.
07:22
but in one interview I read,
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但在我读到的一次采访中，
07:24
he said it has really forced him to up his game.
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他说到,你知道的 ,这迫使他去提升他的游戏.
07:27
He had to come up with new ideas,
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他必须想出新的主义,
07:29
new things that would be hard to copy.
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想出不容易被拷贝的新东西.
07:31
He came up with this Bowden-wedge heel
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他想出了这个鲍登楔脚跟
07:34
that has to be made out of steel or titanium;
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这个必须用钢或钛来做.
07:36
if you make it from some sort of cheaper material,
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如果你用一些便宜的材料制成,
07:38
it'll actually crack in two.
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它将会破裂成2半.
07:40
It forced him to be a little more innovative. (Music)
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它迫使他变的更创新.
07:43
And that actually reminded me
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而那实际上让我想起
07:45
of jazz great, Charlie Parker.
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爵士乐，伟大的查理帕克.
07:47
I don't know if you've heard this anecdote, but I have.
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我不知道你是否听过这件轶事.但我听过了,
07:50
He said that one of the reasons he invented bebop
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他说他发明比博普的一个原因
07:53
was that he was pretty sure
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是他非常确定
07:55
that white musicians wouldn't be able to replicate the sound. (Laughter)
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白人音乐家会没有能力复制这种声音.
08:01
He wanted to make it too difficult to copy,
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他想让它难到不能拷贝.
08:05
and that's what fashion designers are doing all the time.
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而那正是时尚设计师们一直在做的.
08:07
They're trying to put together
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他们试着将
08:09
a signature look, an aesthetic
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一个签名放到一起.这是一个能够
08:11
that reflects who they are.
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反映他们是谁的美学.
08:13
When people knock it off, everybody knows
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当人们抄袭的时候,每个人都知道
08:16
because they've put that look out on the runway,
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因为他们把那个签名的样子放到了跑道外面,
08:18
and it's a coherent aesthetic.
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而且它是一个清楚易懂的美学.
08:22
I love these Gallianos.
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我喜欢这些Gallianos
08:24
Okay, we'll move on. (Laughter)
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好,我将继续前进.
08:26
This is not unlike the world of comedy.
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这和喜剧世界不一样.
08:29
I don't know if you know that jokes
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我不知道你是不是知道笑话
08:31
also can't be copyright protected.
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也不能受到版权保护.
08:33
So when one-liners were really popular,
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所以当一个衬垫很流行,
08:36
everybody stole them from one another.
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每个人就偷走他们彼此的.
08:38
But now, we have a different kind of comic.
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但是,现在我们有一种不同的喜剧演员.
08:40
They develop a persona,
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他们发展人格面具,
08:42
a signature style, much like fashion designers.
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一种签名样式,很像时尚设计师.
08:45
And their jokes,
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而他们的笑话,
08:47
much like the fashion designs by a fashion designer,
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很像时尚设计师们的时装设计,
08:49
really only work within that aesthetic.
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真的仅仅只在这样的审美关里.
08:51
If somebody steals a joke
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如果以有人盗取一个 Larry David
08:53
from Larry David, for instance,
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的笑话作为例子,
08:55
it's not as funny.
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而不是作为取乐.
08:57
Now, the other thing that fashion designers have done
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现在时尚设计师已经做的另一件事是
08:59
to survive in this culture of copying
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为了在这种抄袭文化中生存
09:01
is they've learned how to copy themselves.
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他们已经学会了如何拷贝他们自己.
09:03
They knock themselves off.
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他们复制他们自己的东西.
09:05
They make deals with the fast fashion giants
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他们与快速的时尚巨头做交易,
09:08
and they come up with a way to sell their product
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他们也想办法向一个全新的人口
09:10
to a whole new demographic:
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销售他们的产品
09:12
the Santee Alley demographic.
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就是桑蒂弄人口.
09:14
Now, some fashion designers will say,
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现在有些时尚设计师会说,
09:17
"It's only in the United States that we don't have any respect.
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"我们仅仅只在美国不受到尊重
09:20
In other countries there is protection
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在别的国家我们巧妙的设计是
09:22
for our artful designs."
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受到保护的."
09:25
But if you take a look at the two other biggest markets in the world,
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但是如果你看一下世界上另外的2个最大的市场,
09:27
it turns out that the protection that's offered
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你会发现它们提供的保护
09:30
is really ineffectual.
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是真的无效.
09:32
In Japan, for instance, which I think is the third largest market,
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就说日本吧,我认为它是世界上第3大的市场,
09:35
they have a design law; it protects apparel,
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他们有设计法,是保护服饰的,
09:38
but the novelty standard is so high,
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但是它的新颖性标准太高,
09:40
you have to prove that your garment has never existed before,
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你必须证明你的衣服在过去是不存在的.
09:43
it's totally unique.
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它完全是独一无二的.
09:45
And that's sort of like
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并且这稍微有点像
09:47
the novelty standard for a U.S. patent,
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美国专利的新颖性标准,
09:49
which fashion designers never get --
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时尚设计师从未得到过这个专利,
09:51
rarely get here in the states.
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在这里的国家很少得到.
09:53
In the European Union, they went in the other direction.
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在欧盟,他们去了另一个方向.
09:56
Very low novelty standard,
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非常低的新颖性标准,
09:58
anybody can register anything.
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任何人可以申请任何东西.
10:00
But even though it's the home of the fast fashion industry
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但是尽管它是快速的时尚业的发源地
10:02
and you have a lot of luxury designers there,
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而且在这里你有很多的豪华设计,
10:04
they don't register their garments, generally,
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他们通常不注册他们的服饰,
10:07
and there's not a lot of litigation.
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还有很多的争讼.
10:09
It turns out it's because the novelty standard is too low.
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原来,这是因为新颖标准太低.
10:12
A person can come in and take somebody else's gown,
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一个人可以来那走别人的袍子，
10:15
cut off three inches from the bottom,
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从下面剪掉3英尺,
10:18
go to the E.U. and register it as a new, original design.
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然后去欧盟,注册一个新的 ,原始的设计.
10:21
So, that does not stop the knock-off artists.
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所以,那个办法不能阻止抄袭的艺术家们.
10:23
If you look at the registry, actually,
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如果你真正的去看一下注册处,
10:25
a lot of the registered things in the E.U.
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在欧洲注册处,被注册的很多东西
10:27
are Nike T-shirts
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是耐克的体恤衫
10:29
that are almost identical to one another.
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而这些体恤衫几乎有是一样的.
10:32
But this has not stopped Diane von Furstenberg.
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但是这并没有阻止黛安 冯 弗斯滕伯格。
10:34
She is the head of
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她是的
10:36
the Council of Fashion Designers of America,
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美国时装设计师协会的首席,
10:39
and she has told her constituency that
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她告诉她的协会
10:41
she is going to get copyright protection
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她将为时装设计
10:44
for fashion designs.
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获得版权保护.
10:46
The retailers have kind of quashed this notion though.
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虽然零售商已经拒绝接受这个观念.
10:48
I don't think the legislation is going anywhere,
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我认为这个法规不会在任何地方实行.
10:50
because they realized it is so hard
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因为他们意识到
10:53
to tell the difference between a pirated design
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要说出一个非法翻版的设计
10:55
and something that's just part of a global trend.
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和一些只是全球潮流的一部分的东西之间的区别太难了
10:58
Who owns a look?
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谁拥有一个样板?
11:00
That is a very difficult question to answer.
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那是一个非常难回答的问题.
11:02
It takes lots of lawyers and lots of court time,
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它需要很多的律师还有很多的法庭时间.
11:05
and the retailers decided that would be way too expensive.
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而零售商们估计那样花费太高.
11:10
You know, it's not just the fashion industry
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你知道的,不仅仅是时装业
11:12
that doesn't have copyright protection.
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不受到版权保护.
11:14
There's a bunch of other industries that don't have copyright protection,
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还有很多别的行业也没有版权保护
11:17
including the food industry.
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包括食品业.
11:19
You cannot copyright a recipe
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你不能得到一个食谱的版权
11:21
because it's a set of instructions, it's fact,
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因为它是一套说明,这是事实.
11:24
and you cannot copyright the look and feel
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并且,你不能得到这道菜的外观和感觉的版权
11:26
of even the most unique dish.
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即使是最独一无二的菜.
11:29
Same with automobiles.
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汽车也同样.
11:31
It doesn't matter how wacky they look or how cool they look,
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不管它看起来有多古怪,或者看起来有多酷,
11:34
you cannot copyright the sculptural design.
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你不能得到这个有雕刻风味的设计的版权.
11:37
It's a utilitarian article, that's why.
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它是一件功利的东西,就是这个原因.
11:40
Same with furniture,
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家具也同样.
11:42
it's too utilitarian.
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它太以实利为目的了.
11:45
Magic tricks, I think they're instructions, sort of like recipes:
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魔术,我认为他们是指示说明,有点像菜谱.
11:48
no copyright protection.
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没有版权说明.
11:50
Hairdos, no copyright protection.
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发型,没有版权保护.
11:52
Open source software, these guys decided
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公开源代码软件,他们决定
11:54
they didn't want copyright protection.
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他们不要版权保护.
11:56
They thought it'd be more innovative without it.
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他们认为没有版权保护能更创新.
11:59
It's really hard to get copyright for databases.
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获得数据库的版权真的很难.
12:02
Tattoo artists, they don't want it; it's not cool.
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文身艺术家们,他们不想要版权,这不是很酷.
12:05
They share their designs.
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他们分享他们的设计.
12:08
Jokes, no copyright protection.
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笑话,没有版权保护.
12:10
Fireworks displays,
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烟花汇演.
12:12
the rules of games,
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游戏规则.
12:14
the smell of perfume: no.
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香水的味道,没有.
12:17
And some of these industries may seem
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这些行业中可能有些看起来
12:19
sort of marginal to you,
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对你来说无关紧要,
12:21
but these are the gross sales
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但是,那些是低腹腔工业
12:24
for low I.P. industries,
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的销售总额,
12:26
industries with very little copyright protection,
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就是没有版权保护的工业.
12:28
and there's the gross sales of
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并且有销售电影和书籍的
12:30
films and books.
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总额。
12:32
(Applause)
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(掌声)
12:35
It ain't pretty.
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不是很漂亮.
12:37
(Applause)
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(掌声)
12:39
So you talk to people in the fashion industry
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所以你责备时装业的人
12:41
and they're like, "Shhh!
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而他们会说,"嘘!
12:43
Don't tell anybody
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不要告诉任何人
12:45
we can actually steal from each other's designs.
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我事实上能够盗取别人的设计.
12:47
It's embarrassing."
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这很尴尬."
12:49
But you know what? It's revolutionary,
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但是,你知道吗?这是革命.
12:51
and it's a model that a lot of other industries --
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这是很多别的行业典范,
12:54
like the ones we just saw with the really small bars --
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就像我们刚刚看见的这个非常小的酒吧,
12:57
they might have to think about this.
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他们可能必须考虑一下,
12:59
Because right now, those industries with a lot of copyright protection
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因为,现在,那些受版权保护的行业
13:02
are operating in an atmosphere
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在好象没有保护的氛围里
13:04
where it's as if they don't have any protection,
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运行.
13:07
and they don't know what to do.
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并且他们不知道该怎么办.
13:11
When I found out that there are a whole bunch of industries
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当我发现有很多行业
13:14
that didn't have copyright protection,
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不受到版权保护的时候,
13:16
I thought, "What exactly is the underlying logic?
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我在想,这个基本逻辑究竟是什么?
13:19
I want a picture." And the lawyers do not provide a picture,
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我需要一个图,而且律师不提供这个图.
13:22
so I made one.
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所以我做了一个.
13:24
These are the two main
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这些是两个主要的
13:27
sort of binary oppositions within the logic of copyright law.
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有点像是在版权法逻辑里面的二元对立.
13:30
It is more complex than this, but this will do.
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比这更复杂,但是这个可以.
13:33
First: Is something an artistic object?
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首先,什么是艺术的对象?
13:36
Then it deserves protection.
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然后它值得保护.
13:38
Is it a utilitarian object?
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它是不是功利对象?
13:40
Then no, it does not deserve protection.
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这样看来,它不是,它不值得受到保护.
13:42
This is a difficult, unstable binary.
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这是一个难而不稳定的二进制.
13:45
The other one is: Is it an idea?
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另外一个是,它是不是一个信念?
13:48
Is it something that needs to
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是不是需要
13:50
freely circulate in a free society?
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在自由的社会里自由循环?
13:52
No protection.
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不受保护.
13:54
Or is it a physically fixed
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或者,依据自然法则,它是不是一种固定的
13:56
expression of an idea:
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思想表达,
13:58
something that somebody made
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某个人做的某个东西,
14:00
and they deserve to own it for a while and make money from it?
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而且,他们值得拥有一小会儿,并且从中挣钱.
14:03
The problem is that digital technology
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问题是数字技术
14:05
has completely subverted the logic
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已经完全颠覆了
14:07
of this physically fixed, expression
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这种依据自然法则固定的表达
14:09
versus idea concept.
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与思想理念.
14:12
Nowadays,
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现在,
14:14
we don't really recognize a book
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我们不要真正认为书
14:16
as something that sits on our shelf
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就是放在书架上的东西
14:18
or music as something that is
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或者音乐就是
14:20
a physical object that we can hold.
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我们可以握住的物理对象.
14:22
It's a digital file.
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它是一个数字文件.
14:24
It is barely tethered to any sort of
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它仅仅是被系留在
14:26
physical reality in our minds.
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我们心里的任何物理实体.
14:28
And these things, because we can copy and transmit them so easily,
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这些东西,因为我们能够很容易的拷贝并传播,
14:31
actually circulate within our culture
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事实上在我们的文化里循环
14:34
a lot more like ideas
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如其说它像依据自然法则实体化的对象
14:36
than like physically instantiated objects.
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不如说它像是一种思想.
14:39
Now, the conceptual issues are truly profound
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现在,概念问题真的很深刻
14:42
when you talk about creativity
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当你谈及创新
14:44
and ownership
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和所有权的时候
14:46
and, let me tell you, we don't want to leave this just to lawyers to figure out.
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让我告诉你,我们不想把这个问题仅仅交给律师去解决.
14:49
They're smart.
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他们很聪明
14:51
I'm with one. He's my boyfriend, he's okay.
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我就认识一个这样的人,他还可以.
14:54
He's smart, he's smart.
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他很聪明,他很聪明.
14:56
But you want an interdisciplinary team of people
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但是你需要一个跨学科的团队
14:58
hashing this out,
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长时间讨论后决定,
15:00
trying to figure out: What is the kind of ownership model,
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尝试着去解决,所有权模式是什么样的,
15:03
in a digital world,
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在数字世界,
15:05
that's going to lead to the most innovation?
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那将领导创新.
15:07
And my suggestion is that
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我建议是
15:09
fashion might be a really good place
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时尚可能真的是一个
15:11
to start looking for a model
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为未来的创造行业
15:13
for creative industries in the future.
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开始寻找模式的好地方.
15:16
If you want more information about this research project,
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如果你想知道关于这项研究的更多信息,
15:19
please visit our website: it's ReadyToShare.org.
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请访问我们的网站,它是ReadyToShare.org.
15:23
And I really want to thank Veronica Jauriqui
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然后我真的想感谢Veronica Jauriqui
15:25
for making this very fashionable presentation.
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制作了这个非常时尚的图象.
15:27
Thank you so much. (Applause)
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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