I've just responded to/in an email interview with a postgraduate
tudent at Melbourne University. Thought the questions and my answers
be of interest here. Apologies if they're not!
On 17/09/2004, at 12:16 P=
M, paceja@… wrote:
> Sorry to hear your hard drive crashed =
=96 no problem on the other mail.
> I'm going to try and do something with=
short content outside the
> academy anyway. i just registered movies.com.=
au – couldn't believe it
> was there!
You're kidding, I would have though=
t something like that would've gone
> Thanks for agreeing to =
an interview. I'll keep it brief.
> Here goes:
> Can you take us into t=
he future of content delivery as you imagine it?
> How do you see short au=
diovisual content being delivered in five
> years? What kind of configurat=
ion do you imagine that delivery system
In five years time ther=
e will be several models for distribution of
audiovisual content online, a=
s there will be several 'genres' of such
work. The first will be the distr=
ibution of existing content repurposed
for Internet delivery. This include=
s feature films, television content
(including news and current affair), l=
ive sporting events, and so on.
The delivery model will rely on Digital Ri=
ghts Management tools, should
use accepted standards (so the determination=
of what you watch or use
will be about content and use and not platform o=
r format), and will be
either delivery via broadband, or a distributed pee=
r to peer broadband
There will be small scale independent video p=
following the model of blogs. This will be distributed,=
journalism, art, and personal storytelling that will be emerge=
ranging from the bad, through the mediocre, to the brilliant. This =
will be distributed via personal web sites as well as dedicated,
vice orientated video sites. The methods of distribution will
l scale peer to peer networking as well as individual
delivery on a demand=
basis. Syndication in concert with metadata will
be crucial so that peopl=
e will use aggregators, dedicated clients, and
distributed services to pub=
lish, find, and use this material. Imagine a
combination of Movable Type a=
nd Flickr, but for audiovisual content.
> Is online delivery the future o=
f short film distribution beyond the
> film festival circuit?
> On your vog you mention that it is not television =96 what is it?
s are an emerging video genre that, like blogs, are network
his means that the content model recognises that
authoring and delivery wi=
ll be on personal computers, via the Internet.
Hence work will be small, i=
ntimate, polyvocal, and network sensitive.
It will recognise that bandwidt=
h, screen space, and time are all
significant constraints. It is a praxis =
that treats video as words,
where words simple to produce, edit, and publi=
sh. It will treat video
as words in hypertext so that video will easily li=
nk to other video,
and will include features like trackback, comments, and=
Unlike television they will be easily produced and distribut=
communities of interest will form around different genres and cont=
Unlike television the majority of content will be published and
tributed under creative commons licences or similar and so will be
be quoted, sampled, appropriated and played with. There will be
ork, people will document joy, grief, love and anger. They
will protest, r=
ecord, interrogate and reveal. Amongst all this we will
invent new ways to=
express knowledge and our lives as open events.
Play, as one of the more =
serious activities we undertake, will be an
important overarching muse.
Do you imagine vogs producing new kinds of content? What kinds of
There will be new kinds of content, but what kind is difficult to know=
They will be a combination of the snap shot and home movie, and they
ll also need the sophistication that the public sphere and existing
networks of relations produces and requires. There will be
tives, academic narratives, micro documentaries, citizen
poetry, video letters, collages and experiments.
There will be a lot of m=
ediocrity, and excellence.
> Of course, these questions are just a guide=
=96 please feel free to
> interpret them as you like, or respond with wha=
t you think is
Key points: different copyright regime, dis=
tributed production and
consumption, network intelligence, multiple.