Author Archives: Content in Context

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About Content in Context

Content in Context helps companies to define the market for their products and services, to identify customers and build the business pipeline, and to develop their content marketing strategies. By working with our clients to design, build and grow their business, our primary focus is to extract commercial value from unique assets, including knowledge, data, know-how, processes and transactional information.

Ask an expert…

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I’m often approached for advice about the work I do. Many of these enquiries come via LinkedIn connection requests, but generally they are thinly-veiled attempts to sell me something, or to gain access to my network, or to get free consulting. So I have developed a number of techniques to flush out the bona fide from the free-loaders.

In principle, I like to pay it forward when I can, where I believe I can add value, without any immediate expectation of material reward. But there are only so many hours in a day, and there’s only so many connection requests I can handle.

On the positive side, recently I’ve been receiving more genuine approaches, where specific expertise is being sought, rather than someone wanting to “connect” or “buy me a coffee”.

A great example is the call I received from a prospective client through my work at Brave New Coin. Dr Michael Kollo is the CEO of Clanz, a new on-line community for crypto traders. Following this initial chat, Michael invited me to be a guest on his podcast, to discuss my personal journey into crypto over the past 6 years with Brave New Coin and Techemy.

The result was a very enjoyable (but hopefully informative) conversation about my views on the crypto industry, based on my particular perspective in market data and indexing. I hope you enjoy it too:

https://blog.clanz.com/crypto-cappuccino-s01e01-rory-manchee-brave-new-coin

Next week: Vinyl on the brain

Public Indifference?

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A few weeks ago, two connected but unrelated news items caught my attention. The first concerned the death of an elderly man, who froze to death in plain sight on a busy city street. The second, published barely 10 days later, reported that the mummified body of an elderly woman was only found two years after she died. Much of the commentary surrounding both stories talked about public indifference (even callousness) and lack of concern for our neighbours, especially those who live alone.

I suspect that two years of pandemic, lock-downs and isolation have only amplified preexisting conditions. Depending on our perspective, we may choose not to do or say anything in these situations because: we don’t want to get involved, we don’t want to interfere, we don’t want to risk infection, we don’t feel adequately trained to deal with these situations, or we simply don’t have the time.

Scenarios like these can often make us think about how we might react in similar circumstances – the thing is, we won’t know until it happens. But equally, acquiring some basic skills or adopting some common protocols might help prevent future individual tragedies.

In my inner city suburb, during the pandemic, there has been a sense of “looking out” for your neighbours – some enterprising folk even organised local soup deliveries, and unwanted home produce was left by front gates. It was all totally spontaneous, but largely driven by existing relationships. If we want to do this properly, by fully respecting older neighbours’ independence whilst not interfering in their daily lives, we need some different community models.

One positive example came from the ABC’s inspirational documentary series, “Old People’s Home For 4 Year Olds”. Although a large part of the outcome was to help older people in building up their physical and cognitive skills, by also framing it about boosting pre-schoolers’ social development, it underlined the longer-term community benefits of such initiatives. It also showed that in raising mutual awareness of the need for social interaction, and by creating a level of co- and inter-dependency, communities can find practical solutions and achievable outcomes, often using existing and available resources more creatively.

Next week: Ask an expert…

 

Literary legacies

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As more classic works of literature come out of copyright protection, and enter the public domain, publishers and booksellers can look forward to sales of re-packaged titles, for which they won’t have to pay royalties. With the right combination of content and marketing, it’s as good as free money.

Under the Berne Convention, copyright in published works is the life of the author plus 50 years, although many territories have extend this to life plus 70 years (100 in Mexico!). These periods may be subject to extensions if the executors of literary estates are able to renew the existing copyright (under previous copyright regimes) or by issuing revised editions of existing works which are sufficiently different to the original so as to constitute an entirely separate publication – but these are exceptions.

By allowing copyright to lapse, this should mean key works will always be in print, and even more obscure titles can be revived with little to no production cost. For nearly 20 years, Google Books has been scanning works out of copyright and putting them online. But even this process can run into copyright limitations, and questions of provenance (as illustrated by the treatment of George Orwell’s “1984”). But this has also encouraged some enterprising individuals to sell “reprints” of facsimile copies of scanned titles, when the buyer thought they were purchasing an authentic copy, or a contemporary edition (i.e., newly typeset and printed).

Intellectual property law may be complex, and in need of reform to reflect modern technology and contemporary society. But as copyright works pass into the public domain, there remains the issue of moral rights. These give writers the right to be identified as the author of a work (“attribution”), and to protect their work against inappropriate use (“derogatory treatment”). Moral rights also protect writers against “false attribution” – i.e., a publisher can’t claim a work was written by an author who didn’t actually write it.

Moral rights vary from country to country (e.g., Germany, UK, USA, Australia), but generally do not survive when copyright expires. Which can mean that unscrupulous publishers may feel emboldened to “modify” original texts at will, given some recent examples of key 20th century novels. Surely not what authors and their legacies should be subject to?

Next week: Public Indifference?

When is a print not a print?

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Alongside drawing, painting and sculpture, print-making is one of the oldest forms of visual art. Although it wasn’t generally recognised as a fine art discipline in the west until the European Renaissance (with the work of Dürer, among others), the practice can be traced back to Paleolithic times when humans first made hand-prints on cave walls. It evolved largely through developments in paper-making and image creation, such as Japanese wood-block printing 1200 years ago, or metal plate engravings in the Middle Ages, and has developed alongside related technologies in lithography, etching, off-set press printing, photography, lino-cut and silk-screen printing, to name a few key methods.

Print-making in this “classical” sense uses a combination of mechanical, manual and chemical processes to transfer an image (created from one or more media) from one surface to another, using ink or paint to “carry” the image between the plate and paper or other printed surface.

While the printing industry has been using the same techniques for centuries (in the service of book publishing, newspapers, advertising, packaging, textiles, etc.) there are key differences between the commercial and the artistic.

First, traditional print-making still retains a high-degree of manual process, and the work is usually produced in limited numbers (sometimes in single editions), and even where multiple copies are generated, variations and differences will appear thanks to inherent “imperfections” of the process.

Second, despite the importance of technical process in print-making, the practice should not be seen as a mere mechanical exercise in reproducing an image – the resulting image is still far more important than the actual technique (i.e., content over form should be the order of the day).

Third, the role of “mark-making” in print-making is as significant as the brush strokes in an oil painting, and are part of the artist’s signature. Equally, choice of materials is also important, just as an artist working in oils will make specific decisions about their brushes, pigments, medium and canvass.

In terms of art curation, print-making can get lumped in with other “works on paper”, which may extend to collage, photography, photo-montage, graphic design and illustration. Photography itself can be used in the course of print-making (e.g., rayographs), but a photographic print of a film-based negative is not the same as print-making in this context.

Likewise, the use of digital processes to capture, create, manipulate, transfer and reproduce an image on paper (or other medium) is further blurring the boundaries as to what constitutes a “print” as opposed to a “technique”.

This delineation between traditional print-making and image creation processes was further highlighted by the recent Experimental Print Prize organised by Castlemaine Art Museum in Victoria’s gold field region. While there were examples of etching, lino-cut, lithography, photographic and other techniques on display, the prize is intended to push the boundaries into more conceptual notions of “what is a print?”.

Examples included the use of light-sensitive paper to create long-delay images, a neon-light to generate an after-image on the viewer’s retinas, and a muon particle detector to track and plot their “image” onto a computer monitor. Although these are all interesting approaches, they perhaps over-step the boundary of permanence, which is usually a feature of print-making, to the extent that the fixed paper and ink endure long after the artist has made his or her mark. Nevertheless, the museum is to be applauded for bringing a new dimension to an ancient art-form.

Next week: Literary legacies