Kumuwuki

Today Regional Arts Australia announced the full program for their upcoming national conference, Kumuwuki. I’m thrilled to say that I will be one of their Keynote speakers – my first ever time in such a prestigious role!

Kumuwuki, Regional Arts Australia National Conference

Kumuwuki, Regional Arts Australia National Conference

I will be opening the second day with the inimitable Sara Diamond, a wonderful woman on her first ever visit to Australia. She has done so much for international creative digital culture that I just don’t know where to start (actually I do; you should buy Euphoria & Dystopia which reflects a meagre segment of the amazing Banff New Media Institute).

It will be a huge honour to be on stage with her especially after all the wonderful support she has provided to me personally over the years. There are also a whole host of amazing speakers and artists… it’s an event that I would be attending even if I wasn’t actually, like, contracted to be there!

To honour this event, I have created a brand new special offer in the rewards section of my crowdfunding campaign (details below, but look for the $200 reward on the pozible page). There are five nights around the conference, and I am inviting guests to stay with me for just three of those nights (a girl has to have a bit of rest time after such an event, dontchathink?!) – so get in quick!

For those who have already pledged, you can edit your selection or just add a whole new one :)

Thanks again for all your support. Maybe we’ll be able to chat about all this over morning coffee in a few months time!

EXCLUSIVE OFFER: in honour of my first ever Keynote Plenary at Regional Arts Australia’s conference, Kumuwuki, in Goolwa this October!

Want to be a mini Nomad in Residence?

I am offering my bus for three night’s accommodation during Kumuwuki, Oct 18-21st 2012.

The offer is available for either one or two people at a rate of $200 per night, staying with me on the bus. Actual night dates will be arranged after pledging – first come, first served.

I shall also provide breakfast. And there might even be special guests.

NB: This offer is obviously only valid if I reach my target and have a bus to take up to Goolwa! I’ll know by July 12th, but bear in mind accommodation might be scarce, so you might want to have a backup plan…

PLEDGE NOW!

To the Salesforces, Xeros & Adobes of the world. You suck.

I’m a freelancer, a sole trader. No, worse; I’m an artist. My life’s objective is not to earn as much money as possible.

I know, imagine!

I’ve spent my creative career finding new ways of making things (like my artwork, and day-to-day operations like admin, marketing, distribution and sales) come to life on no money. I then tell anyone who’s interested how I do those things. Mostly this receives next-to-no financial remuneration since most of the people I tell are other artists and sole traders. And besides, I like to believe I’m living in a world where we share useful things like saving limited resources (such as money).

I know, laughable, isn’t it.

You – the Salesforce, Xero and Adobe type companies* – produce systems services and products that increasingly promise to make digital day to day life easier for everyone, creative or not. And yet you choose to only make them available to people – or companies (or are they the same thing these days?) – who want to spend their entire time dedicated to making enough money to be able to pay for them. Sure, you purport to be widely available to anyone at all, offering cheaper versions. But those versions are often still out of our price range, or throttled to the point of dysfunction.

I believe this is called ‘business’.

salesforce pricing options

salesforce pricing options

But clearly as an artist I would have no understanding of such things. As an artist I am supposed to be the member of some kind of elite, without a care for the boring facts of financial life. Mine is apparently a life of luxury. Perhaps I bathe in your hard-earned tax dollars through (ever-decreasing) grants or the (ever-decreasing) dole. If not then I’m sure to be found sipping champagne with my fellow operatic Divas, or quaffing port against a backdrop of vast canvases at exclusive galleries.

I believe this is called ‘rare’.

Most artists sustain their creative practice by getting ‘real jobs’, writing endless (mostly unsuccessful) funding proposals and working as hard as possible to present themselves as viable options within a hugely competitive (and ever-increasing) market. This viability is supposedly achieved through writing business plans, gaining sponsorship and philanthropy, considering more commercially viable distribution opportunities for our (often niche and experimental) creations, and getting further ‘real jobs’ (especially ones in arts admin posts so we can share our passion with other creative types for next-to-no-salary).

I know this is how it really works.

Business likes scale. They like to have an idea and then repeat it ad infinitum so that the costs of production can be as low as possible. Buy in bulk and save money! Artists don’t like to make hundreds of copies of the same thing, we like to make something once and then put it down and go off to make something else. Once. Very occasionally that one thing becomes so attractive that it sells for a lot of money. More frequently that one thing gets broken down into parts so that the next thing can be made from its remains. Artists often require lots of different hardware and software tools and services in order to make a tiny part of something. Big business can get around that software problem with corporate licensing so the cost-per-user often reduces significantly (legally or otherwise).

xero pricing options

xero pricing options

Companies like Salesforce, Xero and Adobe* could choose to help us little people. They could provide a serious, unrestricted, low-cost offering targeted at sole traders and creatives. You know, the ones who prefer going out making sharing things with other people, far more than just making money. In the particular case of Adobe, there is little option of even a reduced package. If a student you can buy Photoshop at the reduced rate of US$249 instead of the full package price US$699. If coming to digital creativity outside of a university environment and wanting to use industry standard tools from a self-taught and self-sustaining base, you could always, oh I dunno, sell your liver.

And they wonder why piracy exists.

In Adobe’s case I have opted to use GIMP – a free alternative to Photoshop. Sure I could pirate the ‘real thing’ but then I’d only be continuing my dependence on something I can’t afford, like a bad binary smack habit. It’s OK for me, though; I only need to do the occasional touch-up or image resize. If I worked in an industry that demanded up-to-date Photoshop skills, I’d be screwed.

photoshop pricing options

photoshop pricing options

I’m still searching for alternatives to Salesforce and Xero. I’m still actively hunting for a system that will let me buy-in to their extended marketplaces for the uber-useful (I presume) add-ons, or that will let me feed-in more than a certain number of accounts or records per month. If you hear of anything like that, please let me know. Likewise when I find one I’ll blog about it.

Sure, these guys* didn’t invent the problem. But they aggravate it every single day. Small businesses and sole traders should have as much access to fully functioning products and services as high-end corporations. Sole trader and small business numbers are increasing all the time; the more our digital networks extend the more opportunities we have for working according to our own personal needs, from wherever we choose. The sooner these companies* recognise this, the sooner we’ll have a boost in digital economies across the world.

Want to end unemployment and piracy? Then increase empowerment and access. It’s not rocket science.

 

* but you are by no means alone. Feel free to add the companies that annoy the hell out of you too.

 

UPDATE June 7th 2012:

@fuzzleonard built me an app!

@fuzzleonard built me an app!

Yesterday I received a tweet that blew my head off. A very nice man from the States (whom I have only just recently met over twitter and had been offering suggestions after this post’s complaints) sent me a tweet (above) asking “What features you need in a CRM?” with a couple of links.

Fuzz Leonard (@fuzzleonard / http://fuzzleonard.com) has only gone and built me a CRM app! I’m floored. No one has ever just gone off and built me an app before! Sure, it’s early days and he’s now working on some more details according to my request for APIs from Google Apps, Mailchimp & social media. But. Someone Saw My Poor Bleating And ACTUALLY HELPED!

Thanks Fuzz for restoring my faith in the fact that there really are people out there who choose to help. You Rock.

the 17%

Well good grief, doesn’t time fly?!

It feels like a year ago that I started asking people to help me buy a bus. Today I’m halfway through my crowdfunding campaign, and sitting quietly at 17% of my target – that’s $4130 raised from 75 wonderful people with 44 days to go. All the people you ask about crowdfunding (who aren’t Amanda Palmer, Tom Dickins, Double Fine or Pebble…) will tell you that all campaigns start with a bang, look dead in the water in the middle and then come to an orgasmic crescendo of success right at the end.

No prizes for guessing how I’m feeling right now then… ;P

Actually, that’s not fair. I admit I’m daunted; this was always quite an ask. Why the heck would a creative research project around something as “niche and emerging” as creative digital culture run by a total nobody gain any traction in a system more designed for pre-sales and celebrity? But I also know I’m only part-way through my campaign strategy; many old friends and past collaborators, especially overseas, haven’t heard from me yet. Since I’m working my way round people personally, and I have sixteen years of contacts to go through, this all takes time.

Well, I’ve had two major revelations since starting the campaign that I wanted to share at this mid-point. The first is the amount of ‘non-pledge’ energy that has already been generated through the noise. I’m in discussion about a whole bunch of fabulous things that I can’t announce yet but will happen in the next year – dare I say quite possibly with or without an actual bus *shoots self in foot*. That is amazing, and unexpected. Through this campaign my ‘audience’ is growing day by day. If part of my mission is to raise the profile of media arts, I’m definitely succeeding.

The second, and really the biggest, is around the people who have actually pledged. As you can see below, there are currently 75 of them… and they’re not all just mates. The support I had from friends and colleagues before I started the campaign was enormous, for sure. There’s no way I would have even tried to run this without their encouragement and I love them all dearly for constantly bolstering me in my (many) moments of doubt. Some pledge because they are friends and want to help me personally. Others have pledged from meagre incomes because they see that this project could help the sector and therefore their own work. One dear friend keeps buying me lunch, saying “you’re doing it for us”. I accept each meal and kind contribution gratefully.

But when a total stranger shares your call or makes a pledge – of any amount – it really knocks your socks off.

One person interviewed me for an article and then went straight to pledge after hearing about the campaign. Last week I was at a crowded bar in Melbourne and shared my table with some people, one of whom, after just a few minutes of chatting, went on to pledge and share the project with his networks. A couple of days ago, after struggling with creative self-doubt, I tweeted “Q to creative folk: ever lost your faith in what you do? how do you handle that? genuinely curious” which resulted in a flood of genuine words of comfort and encouragement … and more pledges from strangers.

People are amazing.

So here I am again asking for you to share my campaign with your networks and pledge some money towards my bus. But mainly I want to say THANK YOU for being just bloody lovely x

[iframe width=”369″ height=”402″ src=”http://www.pozible.com/index.php/archive/widget_2011_3/5674/0/7a000b”]

why?

Why should you contribute your hard-earned dosh toward my bus? It’s a fair question. I mean we’d all like to go on a little holiday, right? So why the hell should someone else pay for mine?

Well, yes… but reallybigroadtrip isn’t a holiday. It’s a mission. An obsession. A dedication. Digital culture is something I have been involved with, and fighting for, since 1996. And it’s not just about me.

Local Colour by Mitchel Whitelaw Australia

Local Colour by Mitchel Whitelaw Australia

Who reallybigroadtrip aims to help – and how.

Media arts is fun, generally produced in a very DIY manner and appears all around you. This is both a benefit and a curse. It’s fun, so people think it doesn’t take a lot of hard work to realise, or that its makers don’t take it seriously. It’s DIY, so people think it’s not made with care, attention and achieved through years of trial and error (largely self-taught because generally no one has done ‘that thing’ before). And it’s ubiquitous, so people think it’s just something that is everywhere, easy to resource and make something from nothing – or worse, it’s so ubiquitous that it just blends into the background and isn’t even noticed for the wonder that it is.

P2P Gift Credit by Paolo Cirio

P2P Gift Credit by Paolo Cirio

Media artists – this project puts media artists, makers, and their practice right at the centre. Any media artist can make use of the data I gather to help support their media arts proposals. They can contribute their work to touring programs, share their process through interviews, ask me to document their work, and can come on-board as my Nomads in Residence. This isn’t the only database of media artists and their work, nor is it the only online and touring showcase or residential lab. But I am not currently aware of any other space that does all of things at the same time while actively campaigning to increase their visibility within arts and cultural policy in Australia and beyond. This isn’t even just for media artists either; any creative digital culture practitioner can participate, and any non-digital creative person can use the information I share to learn more about how to get more geeky themselves, or find a geek who suits their needs.

Quartet for Dot Matrix Printer by [The User] (Thomas McIntosh & Emmanuel Madan)

Quartet for Dot Matrix Printer by The User (Thomas McIntosh & Emmanuel Madan)

Funders/policy developers – as much as we all like to complain about how media arts is sidelined in arts and cultural policy, there are a lot of individuals out there who work incredibly hard to help redress the balance. Any funder or policy developer interested in this space can use this project as a data resource. The documentation and interviews will show what a diverse range of artwork exists, how media arts practice works, how many people are involved as makers and participants, and can provide link back to examples of work to help illustrate their point. By example, while working at the Australia Council I was asked “but is media arts really a sector?” and a senior member of the Office for the Arts told me “but art can’t be included in Creative Industries thinking because isn’t an industry, it doesn’t make any money”. There is an astonishing lack of understanding of what digital culture is, and why it needs to be supported from the top down, the bottom up and the middle out. I can help answer some of those questions and create qualitative and quantitative bridges across some of those gaps.

Akousmaflore by Scenocosme (Gregory Lassere & Anäis met den Ancxt) France

Akousmaflore by Scenocosme (Gregory Lassere & Anäis met den Ancxt) France

Audiences – how can non-geeky audiences be expected to find out about media arts events and experiences if they don’t even know that it exists in the first place? Media arts doesn’t often get a look-in to ‘mainstream’ press coverage. I could whinge but instead I’ll just cite a PR colleague who once (in 2007) told me journalists weren’t answering or processing my press releases because they were emailed when they needed to be sent by fax. Often this lack of coverage simply boils down to the fact that it just doesn’t always take place in mainstream galleries – it’s just not important enough to be on the radar. Arts journalists also have enough of a hard time battling for column space against adverts and editors, never mind being expected to make sense of things that sound weird, niche and geeky. But that’s not helpful when you’re trying to increase your audiences outside of the geek-networks you know you can rely on. reallybigroadtrip takes the art to audiences wherever they are, yet doesn’t patronise you because of where you live. It shares the word across known and unknown networks and, where needed, helps to explain what it is, how it works and why it matters.

Need more convincing?

Here’s a few snippets from testimonials about me and my ability to pull this off.

“I want Fee to do RBRT because I want to see what happens when someone crowdsources their life… And if anyone can do it, Fee can – I have seen Fee’s almost alchemical project management powers in action…where Fee turned a little pot of money into a suite of internationally benchmarked arts projects and real transformation in some of the most traditional companies in the Australian arts sector” Jackie Bailey, arts and creative industries consultant & writer, NSW.

“She is a whirlwind and I can think of no better person to travel across Australia and document – with the same level of energy she brings to her own projects – what other people are doing in the wide brown land of digital culture.” Paul Callaghan, writer & Director Freeplay Independent Games Festival, VIC.

“This is a pivotal time in our creative cultural history and reallybigroadtrip is an opportunity for us to reflect on the changes as they happen, as well as a valuable historical resource for the future. I feel lucky that this project is happening!” Jennifer Greer Holmes, freelance niche arts, festival & campaign management, SA.

“we are truly excited by the prospect of fee hitting the road in a geeked up bus and spreading the digital word on a grass roots level. this activity is vital and timely with the national broadband network being rolled out and we’re sure will help to demystify it’s potential impact on communities around australia and connect people across geographies. we can’t wait for the bus to head out our way!” steve bull & kelli mccluskey – pvi collective arts group, WA.

So… will you help?

By helping me buy my bus (regardless of whether you practice media arts, support the sector or care about being able to participate in this fun stuff that other people make) it means that you know someone completely obsessed with this stuff is battling for you. I’m battling to help media arts become – and stay – recognised as an artform, to remind people who make decisions about policy development that digital isn’t just about marketing and distribution. I’m battling to remind people that digital culture is two-way, that things have changed, and that exciting possibilities lie ahead if you just open your eyes and stop being scared of change.

By helping to share the word about this campaign – by email, facebook, twitter, pinterest or whatever the communications channel of your choice might be – you become the media. Sharing the word is almost as useful as pledging… and sometimes better! If you need a document that explains the project, or an email or short statement to forward to your networks, just ask.

If you can help in other ways – by offering advice, connecting me to the media (do you have a fax machine?!), whatever you think could be useful, then just contact me. I’m quite friendly really.

Disagree?

Then tell me why! I’m so interested in this area that I’m open to having constructive conversations about your doubts and concerns too. No arguments, just helpful exchanges of opinions.