Today's Future Digital Use The Shapes of Future in Digital Media

The World Economic Forum is perhaps best known for its annual meeting in Davos, Switzerland,

which brings together heads of state, CEOs of some of the world's largest companies, and assorted other movers and shakers for a week of speeches, panels, and workshops in the Swiss Alps each January. But the Forum also works year-round through its network of over eighty global agenda councils, which address a diverse range of topics including biotechnology, climate change, energy security, and youth unemployment.
Since last year, I've been a member of the Forum's global agenda council on the intellectual property system. We've taken a careful look at the forces shaping how people are creating and sharing digital media today, and perhaps even more importantly, what the world of digital media will look like in the coming years.

Content distribution models are shifting towards instantaneous, ubiquitous access, often using social networks
New technologies, big data, and the growth of virtual content are reshaping the creative economy landscape
The traditional lines between content creators and content consumers are blurring, with consumers playing an increasingly important role in collaborative content creation
Business models for digital content distribution are changing, with licensing and service-based delivery models replacing traditional sales-based distribution
Commerce in creative works is increasingly global -- but national and regional intellectual property frameworks have yet not caught up with the full range of cross-border content movement enabled by today's technologies
Technology is making it easier to modify and redistribute content.  The resulting complex chains of "derivative works" provide increased opportunities to capture creativity, but also create challenges to managing copyright.
Many aspects of these trends are obvious. It's not news to anyone that technology has altered how we create and distribute content, that business models for media distribution have evolved dramatically over the last decade, or that intellectual property laws need to be updated. But articulating the key trends impacting digital media can provide a useful framework for rethinking intellectual property, both at the level of individual companies as well on a national and global scale.

For example, if your business uses crowdsourcing to capture the collective creative input of a large customer base (or for content distributors, a large audience), there are important questions that can arise regarding ownership of the associated intellectual property -- questions that don't always end with the terms of use that your customers accept as a condition of joining your ecosystem. If your company is contemplating a business model that includes cross-border distribution of certain types of digital media, you will likely encounter a complex licensing landscape that can make it difficult to maximize your market reach.

Addressing the many challenges of doing business in a global digital media environment requires not only working effectively within existing intellectual property frameworks, but also helping policymakers identify ways in which those frameworks can be suitably updated. The trends listed above can provide context for conversations serving both of those ends. The result can be a set of intellectual property solutions allowing content creators to reach larger and more engaged audiences, consumers to benefit from increased choice, and the businesses that connect them to broaden the scope of their products and services.

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Bottle of Message

Separated by the sea,a unique Duo pass along message of their lives through a bottle.An elegant animation of minimalist perfection to show how to communication inside the innermost of human's soul.
Animated on location at a beach, in snow, and underwater, this stop-motion short details a transoceanic conversation between two characters via objects in a bottle.

The shot film Bottle captures a current cultural desire to engage in the world on a physical, experiential level. This cultural desire expresses itself through the fetishization of craftsmanship, workwear, rustic Americana, roots music, biking, hiking et al. The short film is able to do this by inventively leaving the cramped animation studio to create stop-motion out in the world—an outdoors, on-location stop-motion that I can only imagine to be hellish in practice. The result is worth it however, unique and interesting. I have seen the world play a role in stop-mo, the graffiti of Blu notably, yet he creates representations on the world, not of the world as Lepore does here.

This larger cultural flow which Bottle latches on to can be seen as reactionary, a consequence of the mediated and seemingly inauthentic substance of modern life. The film understands this, obliquely addressing modern disconnect via the loneliness and desire for contact that the two characters exhibit.  It is a well worn theme, but is nonetheless as relevant as ever, trapped as we are in an infoculture advancing faster than we can keep up. The desire of the characters for physical interaction rather than the mere continuation of bottle-messaging can be read as a statement to this effect.

However the short film would not have garnered the affection it has received simply as a document of exquisite taste or even insight, instead it is the depth of feeling the two abstract masses are able to engender that endears the audience. The heart of the film's skill in this regard is a unique process by which the characters are personified. Through the co-opting of gifts into their bodies, Sand and Snow progressively individualize themselves, allowing for deeper attachment by the viewer. It is a clever sequence and the character's pleasure is infectious, overcoming the inherent difficulty presented by the amorphous character design and the film's brief run-time. That said, this sequence has interest beyond mere utility, it is also a profound statement. The character's transformation touches on philosophy and psychoanalytics, dramatizing theories of ego-formation and individuality, which posit that these concepts are wholly dependent on contrast—the presence of an "other".

The animation video is one of the best short films I've seen.Well paced and executed.The images need no dialogue.A love story that has it's own language.It is worthy of to be Winner of the Vimeo Audience Award for Animation 2010.