It’s nice to think of artists as hackers
who endeavor to get inside cultural sys-
tems and make them do things they were never intended to do: artists as culture
hackers. —Brett Stalbaum
“Yes, this patch is a New Order album cover.” “Yes, this suit was tailored after something from a 1970s B-Movie.” “Yes, this has existed before, but so has everything else.” Appropriation, in this context, is not an inherently violent and larcenous act, but rather the primary technique through which ideas are organized and reformulated. While it is undeniable that the West has enriched itself through the economic and creative colonization of marginalized peoples, it would be a mistake to confuse power with its tools. Trying to end cultural exploitation by policing “appropriation” is like trying to fight bank robbery by making ski-masks illegal.
Malls and theme parks cannot confine patrons, but those who enter are subject to more stringent controls on their behaviour than when they are in generic urban or suburban public spaces.
“ Know your audience – that’s nearly half the battle. It’s not about getting them to tell you what they want, but what they need.”
I think we’re seeing the whole F2P / Freemium model taken to its absurd extreme here, and it shows flaws in the whole model. The same problem exists for any content provider that wants to let you pay for content then consume it on a device you own, and I think we still haven’t figured out a consistent way to handle it.
I pay Netflix to watch their stuff, but I don’t pay a cut to the companies that make the hardware / OS I watch it on (as far as I know?). Should I? Does that make any sense? What extra value is the hardware / OS manufacturer providing, above and beyond the hardware I (presumably) already paid them for? Why is this game any different? Sure there might be some load on Sony’s servers for whatever PSN data might be accessed but that’s why PS+ is required and costs money. This reeks of double- (or even triple-)dipping on the platform’s part.
If a six-month internship effectively costs the intern £6,000, then we are limiting this opportunity to gain experience, and to participate in some key areas of public life, to those who can afford it. What happens when the only way our aspiring reporters, editors, policy researchers and curators can climb up the ladder is to work for free? What happens to equal opportunity and representation when only the privileged can make it on to the first rung?