Johanna Blakely: Lessons from fashion's free culture

Prevoditelj: Senzos Osijek Recezent: Romana Perković

I heard this amazing story about Miuccia Prada.

Čula sam ovu nevjerojatnu priču o Miuccii Prada.

She's an Italian fashion designer.

Ona je talijanska modna dizajnerica.

She goes to this vintage store in Paris

Ona ode sa svojom prijateljicom u neku trgovinu sa starim

with a friend of hers.

stvarima u Parizu.

She's rooting around, she finds this one jacket by Balenciaga --

Švrlja naokolo. Pronađe jednu Balenciaginu jaknu.

she loves it.

Svidi joj se.

She's turning it inside out.

Okrene ju naopačke.

She's looking at the seams. She's looking at the construction.

Gleda šavove. Gleda konstrukciju.

Her friend says, "Buy it already."

Prijateljica joj kaže: „Daj ju već jednom kupi.“

She said, "I'll buy it, but I'm also going to replicate it."

Ona kaže: „Kupit ću ju, ali ću također napraviti i kopiju.“

Now, the academics in this audience may think,

Sada bi profesori u ovoj publici mogli pomisliti:

"Well, that sounds like plagiarism."

„Pa to zvuči kao plagijat.“

But to a fashionista, what it really is

Ali modno osviještenoj osobi

is a sign of Prada's genius:

to je znak Pradinih genijalaca,

that she can root through the history of fashion

da mogu prošvrljati kroz povijest mode

and pick the one jacket

i odabrati jednu jaknu

that doesn't need to be changed by one iota,

na kojoj ne treba mijenjati ni mrvicu

and to be current and to be now.

i da može biti aktualna i da može biti upravo sada.

You might also be asking whether it's possible

Također biste se mogli zapitati je li moguće

that this is illegal for her to do this.

da je sve to što ona radi ilegalno.

Well, it turns out that it's actually not illegal.

Pa, izgleda da zapravo nije ilegalno.

In the fashion industry, there's very little

U modnoj industriji postoji vrlo slaba

intellectual property protection.

zaštita umne imovine.

They have trademark protection,

Imaju zaštitu zaštitnog znaka,

but no copyright protection

ali nemaju zaštitu autorskih prava

and no patent protection to speak of.

i nema zaštite patenta o kojoj bi se govorilo.

All they have, really, is trademark protection,

Sve što zapravo imaju je zaštita zaštitnog znaka.

and so it means that anybody

A to znači da bilo tko

could copy any garment

može kopirati bilo koji odjevni predmet

on any person in this room

na bilo kojoj osobi u ovoj prostoriji

and sell it as their own design.

i prodati ga kao svoj vlastiti dizajn.

The only thing that they can't copy

Jedina stvar koju ne mogu kopirati

is the actual trademark label

je zapravo etiketa sa zaštitnim znakom

within that piece of apparel.

unutar tog komada odjeće.

That's one reason that you see logos

To je jedan od razloga zašto vidite logo

splattered all over these products.

nabacan posvuda po tim proizvodima.

It's because it's a lot harder for knock-off artists

To je stoga što je mnogo teže onima koji kopiraju

to knock off these designs

kopirati te dizajne

because they can't knock off the logo.

zato što ne mogu kopirati logo.

But if you go to Santee Alley, yeah.

Ali ako idete u Santee Alley, mogu.

(Laughter) Well, yeah.

Pa, da.

Canal Street, I know.

Canal Street, znam.

And sometimes these are fun, right?

I ponekad su zabavni, istina.

Now, the reason for this, the reason that the fashion industry

A sad, razlog za to, razlog zbog kojega modna industrija

doesn't have any copyright protection

nema nikakvu zaštitu autorskih prava

is because the courts decided long ago

je zato što su sudovi davno odlučili

that apparel is too utilitarian

da je odjeća preutilitarina

to qualify for copyright protection.

da bi se kvalificirala za zaštitu autorskih prava.

They didn't want a handful of designers

Nisu željeli da nekolicina dizajnera

owning the seminal building blocks of our clothing.

posjeduje monopol u izradi naše odjeće.

And then everybody else would have to license this cuff or this sleeve

I onda bi svi ostali morali imati dozvolu za ovu manžetu ili ovaj rukav

because Joe Blow owns it.

jer ga posjeduje Joe Blow.

But too utilitarian? I mean is that the way you think of fashion?

Ali preutilitarno? Mislim, zar je to način na koji se misli o modi?

This is Vivienne Westwood. No!

Ovo je Vivienne Westwood. Ne.

We think of it as maybe too silly,

Mislimo o tome kao o nečemu što je presmiješno,

too unnecessary.

previše nepotrebno.

Now, those of you who are familiar with the logic

A sada, oni od vas koji su upoznati s logikom

behind copyright protection --

iza zaštite autorskih prava,

which is that without ownership, there is no incentive to innovate --

a to je da bez vlasništva nema poticaja za inovacijom,

might be really surprised

bi se mogli ugodno iznenaditi

by both the critical success of the fashion industry

s ove dvije stvari – kritičkim uspjehom modne industrije

and the economic success of this industry.

i ekonomskim uspjehom te industrije.

What I'm going to argue today is that

Ono o čemu ću raspravljati danas je to

because there's no copyright protection

da su zbog nedostatka zaštite autorskih prava

in the fashion industry,

u modnoj industriji,

fashion designers have actually been able to elevate

modni dizajneri zapravo dobili mogućnost uzdignuti

utilitarian design,

utilitarni dizajn,

things to cover our naked bodies,

stvari koje pokrivaju naša gola tijela,

into something that we consider art.

u nešto što smatramo umjetnošću.

Because there's no copyright protection

Zbog nepostojanja zaštite autorskih prava

in this industry,

u toj industriji

there's a very open and creative

postoji vrlo otvorena i kreativna

ecology of creativity.

ekologija kreativnosti.

Unlike their creative brothers and sisters,

Za razliku od svojih kreativnih braće i sestara

who are sculptors or photographers

koji su kipari ili fotografi

or filmmakers or musicians,

ili redatelji ili glazbenici,

fashion designers can sample

modni dizajneri mogu uzimati uzorke

from all their peers' designs.

od svojih kolega dizajnera.

They can take any element from any garment

Mogu uzeti bilo koji dio sa bilo kojeg odjevnog predmeta

from the history of fashion

iz modne povijesti

and incorporate it into their own design.

i umetnuti ga u svoj vlastiti dizajn.

They're also notorious for riffing off of the zeitgeist.

Oni su također poznati po, znate, tome što „dorađuju“ duh vremena.

And here, I suspect,

I ovdje su pretpostavljam

they were influenced by the costumes in Avatar.

bili pod utjecajem kostima iz Avatara.

Maybe just a little.

Možda malo.

Can't copyright a costume either.

Također ne možete zaštititi kostim autorskim pravom.

Now, fashion designers have

Modni dizajneri imaju

the broadest palette imaginable

široku imaginarnu paletu

in this creative industry.

u ovoj kretivnoj industriji.

This wedding dress here

Ova vjenčanica ovdje

is actually made of sporks,

zapravo je napravljena od nečega između žlice i vilice.

and this dress is actually made of aluminum.

A ova haljina zapravo je napravljena od aluminija.

I've heard this dress actually sort of sounds like wind chimes

Čula sam da ova haljina zvuči poput zvonaca na vjetru

as they walk through.

dok u njoj hodate.

So, one of the magical side effects

Dakle, jedna od magičnih nuspojava

of having a culture of copying,

u kulturi kopiranja,

which is really what it is,

što ovo zaista jest,

is the establishment of trends.

je osnivanje trendova.

People think this is a magical thing. How does it happen?

Ljudi misle da je to magična stvar. Kako se događa?

Well, it's because it's legal for people to copy one another.

Pa, to je zato što je legalno da ljudi kopiraju jedni druge.

Some people believe that

Neki ljudi vjeruju da

there are a few people at the top of the fashion food chain

postoji nekoliko ljudi na vrhu modnog hranidbenog lanca

who sort of dictate to us what we're all going to wear,

koji na neki način diktiraju što ćemo nositi.

but if you talk to any designer at any level,

Ali ako porazgovarate s bilo kojim dizajnerom na bilo kojem nivou,

including these high-end designers,

uključujući ove poznate dizajnere,

they always say

uvijek će vam reći

their main inspiration comes from the street:

da im glavna inspiracija dolazi s ulice

where people like you and me remix and match

gdje ljudi poput vas i mene miješaju i spajaju

our own fashion looks.

svoje modne izglede

And that's where they really get a lot of their

i to je ono gdje oni zaista dobiju mnogo vlastite

creative inspiration,

kreativne inspiracije.

so it's both a top-down and a bottom-up kind of industry.

Dakle, to je obostran način industrije – odozgora prema dolje i odozdol prema gore.

Now, the fast fashion giants have

Ogromni lanci krivotvoritelja

probably benefited the most

vjerojatno su najviše profitirali

from the lack of copyright protection in the fashion industry.

od manjka zaštite autorskih prava u modnoj industriji.

They are notorious for knocking off high-end designs

Poznati su po kopiranju poznatih dizajna

and selling them at very low prices.

i prodaje istih po veoma niskim cijenama.

And they've been faced with a lot of lawsuits,

I suočeni su s mnogo sudskih tužbi,

but those lawsuits are usually not won by fashion designers.

ali u tim tužbama najčešće ne pobjeđuju modni dizajneri.

The courts have said over and over again, "You don't need

Sudovi su stalno govorili: „Ne trebate

any more intellectual property protection."

nikakvu veću zaštitu intelektualne imovine.“

When you look at copies like this,

Kada pogledate kopije poput ovih,

you wonder: How do the luxury high-end brands

kao da se zapitate, kako luksuzni poznati brendovi

remain in business?

uopće opstaju u poslu?

If you can get it for 200 bucks, why pay a thousand?

Ako možete istu stvar nabaviti za 200 dolara, tko bi platio tisuću?

Well, that's one reason we had a conference here at USC a few years ago.

Pa, iz tog razloga smo prije nekoliko godina ovdje na U.S.C.-u imali sjednicu.

We invited Tom Ford to come --

Pozvali smo Toma Forda.

the conference was called, "Ready to Share:

Sjednica se zvala „Spremni podijeliti:

Fashion and the Ownership of Creativity" --

Moda i kreativnost vlasništva“.

and we asked him exactly this question.

I pitali smo ga isto ovo pitanje.

Here's what he had to say.

Evo što nam je rekao.

He had just come off a successful stint as the lead designer at Gucci,

Upravo se povukao s uspješnog mjesta vodećeg dizajnera u Gucci-ju,

in case you didn't know.

u slučaju da niste znali.

Tom Ford: And we found after much research

Tom Ford: I nakon mnogo istraživanja

that -- actually not much research, quite simple research --

saznali smo da, zapravo ne nakon mnogo istraživanja, nakon jednostavnog istraživanja,

that the counterfeit customer was not our customer.

da kupac koji kupuje falsifikat nije bio naš kupac.

Johanna Blakley: Imagine that.

Johanna Blakley: Zamislite.

The people on Santee Alley

Ljudi koji kupuju u Santee Alley-u

are not the ones who shop at Gucci.

nisu oni koji kupuju u Gucci-ju.

(Laughter)

(Smijeh)

This is a very different demographic.

To je drugo područje.

And, you know, a knock-off is never the same

I znate, kopija nikada nije ista

as an original high-end design,

poput originalnog poznatog dizajna,

at least in terms of the materials; they're always made of cheaper materials.

barem u smislu materijala, ovi su uvijek napravljeni od jeftinijih materijala.

But even sometimes a cheaper version

Ali ponekad čak u jeftinijoj verziji

can actually have some charming aspects,

možete imati nekih šarmantnih gledišta,

can breathe a little extra life into a dying trend.

možete unijeti malo više života u umirući trend.

There's lots of virtues of copying.

Postoji mnogo vrlina u kopiranju.

One that a lot of cultural critics have pointed to

Jedna koju su mnogi kulturni kritičari istaknuli

is that we now have

je da sada imamo

a much broader palette

mnogo širu paletu

of design choices to choose from than we ever have before,

modnog odabira za izabrati nego što smo imali ikada prije.

and this is mainly because of the fast fashion industry, actually.

I to je uglavnom zbog brze modne industrije.

And this is a good thing. We need lots of options.

A to je dobra stvar. Treba nam mnogo opcija.

Fashion, whether you like it or not,

Moda vam, voljeli je ili ne,

helps you project who you are to the world.

pomaže da se prikažete svijetu onakvima kakvi jeste.

Because of fast fashion,

Zbog brze mode,

global trends actually get established much more quickly than they used to.

globalni su se trendovi uspostavili mnogo brže nego prije.

And this, actually, is good news to trendsetters;

I ovo su zapravo dobre vijesti za trendsetere.

they want trends to be set

Oni žele da trendovi budu postavljeni

so that they can move product.

tako da mogu micati proizvod.

For fashionistas,

Za modno osviještenu osobu,

they want to stay ahead of the curve.

oni žele biti ispred krivulje.

They don't want to be wearing what everybody else is wearing.

Ne žele nositi ono što svi nose.

And so, they want to move on to the next trend

I na taj način žele krenuti dalje na novi trend

as soon as possible.

što je brže moguće.

I tell you, there is no rest for the fashionable.

Kažem vam, nema odmora za modno osviještene.

Every season, these designers have to struggle

Svake sezone ovi dizajneri moraju se boriti

to come up with the new fabulous idea that everybody's going to love.

s novim fantastičnim idejama koje će svi voljeti.

And this, let me tell you,

I ovo je, da vam kažem,

is very good for the bottom line.

veoma dobro za donju liniju.

Now of course, there's a bunch of effects

A sada naravno, postoji mnogo efekata

that this culture of copying has

koje ova kultura kopiranja

on the creative process.

ima u kreativnom procesu.

And Stuart Weitzman is a very successful shoe designer.

I Stuart Weitzman je veoma uspješan dizajner obuće.

He has complained a lot about people copying him,

Žalio se kako ga mnogo ljudi kopira.

but in one interview I read,

Ali u jednom intervjuu koji sam pročitala,

he said it has really forced him to up his game.

rekao je, znate, to ga je zaista prisililo na ovu igru.

He had to come up with new ideas,

Smislio je nove ideje,

new things that would be hard to copy.

nove stvari koje će biti teško kopirati.

He came up with this Bowden-wedge heel

Smislio je Bowden klinastu petu

that has to be made out of steel or titanium;

koja mora biti napravljena od čelika ili titana.

if you make it from some sort of cheaper material,

Ako je napravite od nekog jeftinijeg materijala,

it'll actually crack in two.

zapravo će puknuti na dva dijela.

It forced him to be a little more innovative. (Music)

To ga je prisililo da bude inovativniji.

And that actually reminded me

I to me zapravo podsjetilo

of jazz great, Charlie Parker.

na velikana jazza Charlieja Parkera.

I don't know if you've heard this anecdote, but I have.

Ne znam jeste li čuli za ovu anegdotu, ali ja jesam.

He said that one of the reasons he invented bebop

Rekao je da je jedan od razloga što je izmislio bebop (inačica jazza)

was that he was pretty sure

taj što je bio prilično siguran

that white musicians wouldn't be able to replicate the sound. (Laughter)

da glazbenici koji su bijelci neće biti u stanju replicirati zvuk.

He wanted to make it too difficult to copy,

Želio je da zvuči preteško za kopiranje.

and that's what fashion designers are doing all the time.

I to je ono što modni dizajneri rade cijelo vrijeme.

They're trying to put together

Pokušavaju smisliti izgled

a signature look, an aesthetic

s potpisom, istančan,

that reflects who they are.

da pokazuje ono što jesu.

When people knock it off, everybody knows

Kada ljudi kopiraju, svi znaju

because they've put that look out on the runway,

da su ostavili trag na pisti,

and it's a coherent aesthetic.

a to je dosljedna istančanost.

I love these Gallianos.

Volim ove Gallianice

Okay, we'll move on. (Laughter)

Ok, nastavimo.

This is not unlike the world of comedy.

To nije puno drukčije od svijeta komedije.

I don't know if you know that jokes

Ne znam znate li da i šale

also can't be copyright protected.

također mogu biti zaštićene autorskim pravom.

So when one-liners were really popular,

Kada su šale u obliku jedne rečenice bile veoma popularne

everybody stole them from one another.

svi su ih krali jedni od drugih.

But now, we have a different kind of comic.

Ali sada imamo drugačiju vrstu komedije.

They develop a persona,

Ona izgrađuje osobu,

a signature style, much like fashion designers.

ima stilski potpis, poput modnih dizajnera.

And their jokes,

I njihove šale,

much like the fashion designs by a fashion designer,

poput modnih dizajna modnih dizajnera,

really only work within that aesthetic.

zaista funkcioniraju samo unutar te istančanosti.

If somebody steals a joke

Ako netko ukrade šalu

from Larry David, for instance,

na primjer od Larry-ja Davida-a,

it's not as funny.

ona nije više tako smiješna.

Now, the other thing that fashion designers have done

A sad, druga stvar je ono što modni dizajneri rade

to survive in this culture of copying

da bi preživjeli u ovoj kulturi kopiranja,

is they've learned how to copy themselves.

a to je da su naučili kopirati sami sebe.

They knock themselves off.

Sami sebe kopiraju.

They make deals with the fast fashion giants

Naprave ugovore s krivotvoriteljima

and they come up with a way to sell their product

i smisle način na koji bi prodali proizvod

to a whole new demographic:

na potpuno novom području,

the Santee Alley demographic.

području Santee Alley.

Now, some fashion designers will say,

Sada, neki modni dizajneri će reći:

"It's only in the United States that we don't have any respect.

„Jedino u SAD-u nema poštovanja prema nama.

In other countries there is protection

U ostalim zemljama postoji zaštita

for our artful designs."

za naše vješte dizjane.“

But if you take a look at the two other biggest markets in the world,

Ali ako pogledate ostala dva najveća tržišta na svijetu

it turns out that the protection that's offered

ispada da je ponuđena zaštita

is really ineffectual.

zaista neuspješna.

In Japan, for instance, which I think is the third largest market,

Na primjer, u Japanu koji je, mislim, treće najveće tržište na svijetu,

they have a design law; it protects apparel,

imaju zakon dizajna koji štiti odjevni predmet,

but the novelty standard is so high,

ali je standard noviteta tako visok

you have to prove that your garment has never existed before,

da morate dokazati da vaš odjevni predmet nikada prije nije postojao.

it's totally unique.

To je totalno jedinstveno.

And that's sort of like

I to je na neki način

the novelty standard for a U.S. patent,

poput standarda noviteta za patent u SAD-u

which fashion designers never get --

koji modni dizjaneri nikad ne dobiju

rarely get here in the states.

ili veoma rijetko dobiju ovdje u SAD-u.

In the European Union, they went in the other direction.

U Europskoj su Uniji otišli u drugom smjeru.

Very low novelty standard,

Veoma je nizak standard noviteta,

anybody can register anything.

svatko može registrirati bilo što.

But even though it's the home of the fast fashion industry

Ali iako je to dom brze modne industrije

and you have a lot of luxury designers there,

i tamo imate mnogo luksuznih dizajnera,

they don't register their garments, generally,

oni obično ne registriraju svoje odjevne predmete

and there's not a lot of litigation.

i nema mnogo sudskih parnica.

It turns out it's because the novelty standard is too low.

Ispada da je to zato što je standard noviteta prenizak.

A person can come in and take somebody else's gown,

Osoba može doći i uzeti nečiju haljinu,

cut off three inches from the bottom,

odrezati tri centimetra odozdo,

go to the E.U. and register it as a new, original design.

otići u EU i registrirati to kao nov, originalan dizajn.

So, that does not stop the knock-off artists.

Dakle, to ne zaustavlja umjetnike u kopiranju.

If you look at the registry, actually,

Ako zapravo pogledate u registar,

a lot of the registered things in the E.U.

mnogo registriranih stvari u EU su

are Nike T-shirts

Nike majice

that are almost identical to one another.

koje su gotovo identične jedna drugoj.

But this has not stopped Diane von Furstenberg.

Ali to nije zaustavilo Dianu von Furstenberg.

She is the head of

Ona je šefica

the Council of Fashion Designers of America,

Vijeća modnih dizajnera Amerike

and she has told her constituency that

i rekla je svojoj izbornoj jedinici da

she is going to get copyright protection

planira nabaviti zaštitu autorskih prava

for fashion designs.

za modne dizajnere.

The retailers have kind of quashed this notion though.

Prodavači na malo su nekako doduše poništili ovu ideju.

I don't think the legislation is going anywhere,

Ne mislim da će zakonodavstvo igdje doći.

because they realized it is so hard

Zato što uviđaju da je veoma teško

to tell the difference between a pirated design

naći razliku između kopiranog dizajna

and something that's just part of a global trend.

i nečega što je dio globalnog trenda.

Who owns a look?

Tko posjeduje izgled?

That is a very difficult question to answer.

Na to je pitanje veoma teško odgovoriti.

It takes lots of lawyers and lots of court time,

Potrebno je mnogo odvjetnika i mnogo sudskog vremena.

and the retailers decided that would be way too expensive.

A trgovci na malo odlučili su da bi to bilo preskupo.

You know, it's not just the fashion industry

Znate, nije samo modna industrija

that doesn't have copyright protection.

ta koja nema zaštitu autorskih prava.

There's a bunch of other industries that don't have copyright protection,

Postoji hrpa drugih industrija koje nemaju zaštitu autorskih prava

including the food industry.

uključujući i prehrambenu industriju.

You cannot copyright a recipe

Ne možete zaštititi autorskim pravom recept

because it's a set of instructions, it's fact,

zato što je to niz uputa, to je činjenica.

and you cannot copyright the look and feel

I ne možete zaštititi autorskim pravom izgled i osjećaj

of even the most unique dish.

čak ni najposebnijeg jela.

Same with automobiles.

Ista stvar je s automobilima.

It doesn't matter how wacky they look or how cool they look,

Nije bitno kako ludo ili super izgledaju,

you cannot copyright the sculptural design.

ne možete zaštititi autorsko pravo kiparskog dizajna.

It's a utilitarian article, that's why.

To je svakodnevni, sveprisutni artikl, eto zašto.

Same with furniture,

Ista stvar je s namještajem.

it's too utilitarian.

Preutilitaran je.

Magic tricks, I think they're instructions, sort of like recipes:

Magični trikovi, mislim da su upute, poput recepata.

no copyright protection.

Nema zaštite autorskih prava.

Hairdos, no copyright protection.

Frizure, nemaju zaštitu autorskog prava.

Open source software, these guys decided

Softveri otvorenog dizajna su odlučili

they didn't want copyright protection.

da ne žele zaštitu autorskih prava.

They thought it'd be more innovative without it.

Mislili su da će biti inovativniji bez toga.

It's really hard to get copyright for databases.

Veoma je teško dobiti zaštitu autorskih prava za bazu podataka.

Tattoo artists, they don't want it; it's not cool.

Tatoo majstori to ne žele, to nije cool.

They share their designs.

Oni dijele dizajnerske šale,

Jokes, no copyright protection.

bez zaštite autorskih prava.

Fireworks displays,

Vatrometi.

the rules of games,

Pravila igara.

the smell of perfume: no.

Miris parfema, ne.

And some of these industries may seem

I neke od ovih industrija bi vam se mogle činiti

sort of marginal to you,

rubne,

but these are the gross sales

ali imaju bruto prodaju

for low I.P. industries,

za niske IP industrije,

industries with very little copyright protection,

industrije s veoma malom zaštitom autorskih prava.

and there's the gross sales of

A tu su bruto prodaje

films and books.

filmova i knjiga.

(Applause)

(Pljesak)

It ain't pretty.

Nije li to divno.

(Applause)

(Pljesak)

So you talk to people in the fashion industry

Dakle, pričate s ljudima iz modne industrije

and they're like, "Shhh!

i oni kažu: „Pssst!

Don't tell anybody

Nemoj nikom reći da

we can actually steal from each other's designs.

zapravo krademo dizajne jedni drugima.

It's embarrassing."

To je sramotno.“

But you know what? It's revolutionary,

Ali znate što, to je revolucionarno.

and it's a model that a lot of other industries --

I to je model o kojemu mnoge druge industrije,

like the ones we just saw with the really small bars --

poput onih koje smo vidjeli u veoma malim kafićima,

they might have to think about this.

možda moraju razmisliti o tome,

Because right now, those industries with a lot of copyright protection

zato što upravo sada te industrije s mnogo zaštite autorskih prava

are operating in an atmosphere

rade u atmosferi

where it's as if they don't have any protection,

u kojoj kao da i nemaju zaštitu.

and they don't know what to do.

I ne znaju što da učine.

When I found out that there are a whole bunch of industries

Kada sam otkrila da postoji hrpa industrija

that didn't have copyright protection,

koje nemaju zaštitu autorskih prava

I thought, "What exactly is the underlying logic?

pomislila sam, što je točno osnovna logika?

I want a picture." And the lawyers do not provide a picture,

Želim sliku, a odvjetnici ne osiguravaju sliku.

so I made one.

Pa sam je sama napravila.

These are the two main

Ovo su dvije glavne

sort of binary oppositions within the logic of copyright law.

vrste binarnih opozicija s logikom zakona zaštite autorskih prava.

It is more complex than this, but this will do.

Mnogo je složenije od ovog, ali poslužit će.

First: Is something an artistic object?

Prvo, je li nešto umjetnički predmet?

Then it deserves protection.

Onda zaslužuje zaštitu.

Is it a utilitarian object?

Je li utilitarni predmet?

Then no, it does not deserve protection.

Onda ne, ne zaslužuje zaštitu.

This is a difficult, unstable binary.

To je teška, nestabilna binarnost.

The other one is: Is it an idea?

Druga je, je li ideja?

Is it something that needs to

Je li to nešto što treba slobodno

freely circulate in a free society?

kružiti u slobodnom društvu?

No protection.

Nema zaštite.

Or is it a physically fixed

Ili je fizički fiksirana

expression of an idea:

ekspresija ideje,

something that somebody made

nešto što je netko napravio

and they deserve to own it for a while and make money from it?

i zaslužuje posjedovati neko vrijeme i zaraditi novac od toga.

The problem is that digital technology

Problem je to što je digitalna tehnologija

has completely subverted the logic

potpuno oborila logiku

of this physically fixed, expression

ove prirodno fiksirane ekspresije

versus idea concept.

napram idejnog koncepta.

Nowadays,

U današnje vrijeme,

we don't really recognize a book

ne prepoznajemo knjigu

as something that sits on our shelf

kao nešto što stoji na našoj polici

or music as something that is

ili glazbu kao nešto što je

a physical object that we can hold.

prirodni predmet koji možemo držati.

It's a digital file.

To je digitalna datoteka.

It is barely tethered to any sort of

Jedva da je povezano s bilo kakvom

physical reality in our minds.

prirodnom realnošću u našim umovima.

And these things, because we can copy and transmit them so easily,

I te stvari, zato što ih tako lako možemo kopirati i prenositi

actually circulate within our culture

zapravo cirkuliraju unutar naše kulture

a lot more like ideas

više poput ideja

than like physically instantiated objects.

nego poput fizičkih predmeta.

Now, the conceptual issues are truly profound

Pojmovni problemi su se istinski utemeljili

when you talk about creativity

kada se priča o kreativnosti

and ownership

i vlasništvu

and, let me tell you, we don't want to leave this just to lawyers to figure out.

i da vam kažem, ne želimo ovo samo ostaviti odvjetnicima da to riješe.

They're smart.

Oni su pametni.

I'm with one. He's my boyfriend, he's okay.

Ja sam s jednim. Dečko mi je. Ok je.

He's smart, he's smart.

Pametan je. Pametan je.

But you want an interdisciplinary team of people

Ali želite interdisclipliniran tim ljudi

hashing this out,

da to iskopaju,

trying to figure out: What is the kind of ownership model,

shvate koji je način vlasničkog modela

in a digital world,

u digitalnom svijetu

that's going to lead to the most innovation?

koji će voditi do najviše inovacija.

And my suggestion is that

I moj prijedlog je da bi

fashion might be a really good place

moda zaista mogla biti dobro mjesto

to start looking for a model

da se krene tražiti model

for creative industries in the future.

za kreativnu industriju u budućnosti.

If you want more information about this research project,

Ako želite više podataka o ovom istraživačkom projektu,

please visit our website: it's ReadyToShare.org.

molim vas posjetite našu internet stranicu, readytoshare.org.

And I really want to thank Veronica Jauriqui

I zaista želim zahvaliti Veronici Jauriqui

for making this very fashionable presentation.

što je napravila ovu modnu prezentaciju.

Thank you so much. (Applause)

Mnogo vam hvala.