Johanna Blakely: Lessons from fashion's free culture

Prevodilac: Dejan Dojčinović Lektor: Ivana Korom

I heard this amazing story about Miuccia Prada.

Čula sam ovu zadivljujuću priču o Mijučiji Pradi.

She's an Italian fashion designer.

Ona je italijanska modna dizajnerka.

She goes to this vintage store in Paris

Ulazi ona u prodavnicu stare mode u Parizu

with a friend of hers.

sa svojom prijateljicom.

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

Kopajući naokolo, pronađe jaknu od Balenciaga.

she loves it.

Sviđa joj se.

She's turning it inside out.

Zagleda je sa svih strana.

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

Zagleda šavove i izvođenje.

Her friend says, "Buy it already."

Prijateljica joj kaže, "Kupi je već jednom"

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

Ona odgovara: "Kupiću je, ali ću je i replicirati".

Now, the academics in this audience may think,

U ovom trenutku, akademici među vama mogu pomisliti,

"Well, that sounds like plagiarism."

"Pa, to zvuči kao plagijarizam."

But to a fashionista, what it really is

Ali za osobu koja živi za modu

is a sign of Prada's genius:

ovo je znak genija Prade,

that she can root through the history of fashion

to što ona može da iz istorije mode iskopa

and pick the one jacket

i odabere jednu jaknu

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

na kojoj nema potrebe ništa promeniti,

and to be current and to be now.

a koja će i dalje biti aktuelna i biti nova.

You might also be asking whether it's possible

Možete se priupitati da li je moguće

that this is illegal for her to do this.

da je to što ona radi legalno.

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

Pa, ispada da to, u stvari, i nije ilegalno.

In the fashion industry, there's very little

U modnoj industriji postoji vrlo malo

intellectual property protection.

zaštite intelektualnog vlasništva.

They have trademark protection,

Postoji zaštita robne marke,

but no copyright protection

ali ne postoji zaštita autorskih prava,

and no patent protection to speak of.

i praktično nikakva zaštita patenata.

All they have, really, is trademark protection,

Sve što ustvari postoji je zaštita robne marke.

and so it means that anybody

A to znači da bilo ko

could copy any garment

može kopirati bilo koji odevni predmet

on any person in this room

bilo koga u ovoj prostoriji

and sell it as their own design.

i da ga proda kao sopstveni dizajn.

The only thing that they can't copy

Jedina stvar koja se ne može kopirati

is the actual trademark label

je stvarna oznaka robne marke

within that piece of apparel.

na tom konkretnom odevnom predmetu.

That's one reason that you see logos

To je jedan od razloga zbog kojih viđate logoe

splattered all over these products.

rasprsnute svuda po ovim proizvodima.

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

To je zato što je mnogo teže za umetnike koji skidaju

to knock off these designs

brendove da iskopiraju ovakav dizajn,

because they can't knock off the logo.

zato što ne mogu skinuti logo.

But if you go to Santee Alley, yeah.

Ali ako odete u Ulicu Santi, da.

(Laughter) Well, yeah.

Da.

Canal Street, I know.

Ulica Kanala, znam.

And sometimes these are fun, right?

I ponekad su zabavni.

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

Razlog zbog kojeg modna industrija

doesn't have any copyright protection

nema nikakvu zaštitu autorskih prava

is because the courts decided long ago

je u tome što su sudovi odavno odlučili

that apparel is too utilitarian

da je odeća previše utilitarna

to qualify for copyright protection.

da bi se na nju odnosila zaštita autorskih prava.

They didn't want a handful of designers

Nisu želeli da nekolicina dizajnera

owning the seminal building blocks of our clothing.

poseduje plodonosne konstrukcijske delove naše odeće.

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

I svi ostali bi trebalo da imaju dozvolu za ovu manžetnu ili za onaj rukav

because Joe Blow owns it.

zato što ih neko već poseduje.

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

Ali previše utilitarno? To je način na koji se razmišlja o modi?

This is Vivienne Westwood. No!

Ovo je Vivijen Vestvud. Ne.

We think of it as maybe too silly,

Možda za ovo možemo pomisliti da je previše luckasto,

too unnecessary.

previše nepotrebno.

Now, those of you who are familiar with the logic

Oni među vama koji su upoznati sa logikom

behind copyright protection --

zaštite autorskih prava,

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

koja je da bez vlasništva nema podsticaja za inovacije,

might be really surprised

mogu biti iznenađeni

by both the critical success of the fashion industry

kritičnim uspehom modne industrije

and the economic success of this industry.

i ekonomskim uspehom ove industrije.

What I'm going to argue today is that

Ono o čemu hoću danas da pričam je to

because there's no copyright protection

da pošto nema zaštite autroskih prava

in the fashion industry,

u modnoj industriji,

fashion designers have actually been able to elevate

modni dizajneri su mogli da prevaziđu

utilitarian design,

utilitarni dizajn,

things to cover our naked bodies,

stvari kojima pokrivamo naša gola tela,

into something that we consider art.

i stvore nešto što smatramo umetnošću.

Because there's no copyright protection

Zato što nema zaštite autorskih prava

in this industry,

u ovoj 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 druge kreativne braće i sestara

who are sculptors or photographers

kao što su vajari ili fotografi

or filmmakers or musicians,

ili ljudi koji prave filmove ili muzičari,

fashion designers can sample

modni dizajneri mogu koristiti delove rada

from all their peers' designs.

svih svojih kolega dizajnera.

They can take any element from any garment

Mogu uzeti bilo koji deo bilo koje odeće

from the history of fashion

iz istorije mode

and incorporate it into their own design.

i ujediniti ga u svoj sopstveni dizajn.

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

Takođe su notorni po tome, znate, da se koriste duhom vremena.

And here, I suspect,

A u ovom slučaju su, čini mi se,

they were influenced by the costumes in Avatar.

bili pod uticajem kostima iz Avatara.

Maybe just a little.

Možda samo malo.

Can't copyright a costume either.

Kostim se ne može zaštititi autorskim pravima, takođe.

Now, fashion designers have

Dakle, modni dizajneri imaju

the broadest palette imaginable

najširu zamislivu paletu

in this creative industry.

u ovoj kreativnoj industriji.

This wedding dress here

Ova venčanica

is actually made of sporks,

je ustvari napravljena od kašika.

and this dress is actually made of aluminum.

A ova haljina je napravljena od aluminijuma.

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

Čula sam da ova haljina u stvari zvuči kao zvončići na vetru

as they walk through.

dok se u njoj hoda.

So, one of the magical side effects

Jedna od magičnih strana

of having a culture of copying,

kulture kopiranja

which is really what it is,

što ova kultura u stvari i predstavlja,

is the establishment of trends.

je uspostavljanje trendova.

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

Ljudi misle da je ovo čarobna stvar. Kako se ona događa?

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

Zato što je legalno da ljudi kopiraju jedni druge.

Some people believe that

Neki veruju da

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

postoji nekoliko ljudi na vrhu modnog lanca ishrane

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

koji nam nekako diktiraju šta ćemo nositi.

but if you talk to any designer at any level,

Ali ako razgovarate sa bilo kojim dizajnerom na

including these high-end designers,

bilo kom nivou, uključujući ove top dizajnere,

they always say

oni će uvek reći

their main inspiration comes from the street:

da njihova osnovna inspiracija dolazi sa ulice,

where people like you and me remix and match

gde ljudi kao vi ili ja mešaju i sklapaju

our own fashion looks.

svoje sopstvene modne izglede,

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

i odatle oni dobijaju puno od svoje

creative inspiration,

kreativne inspiracije.

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

Na taj način ova industrija je upravljana i odozgo i odozdo.

Now, the fast fashion giants have

Modni giganti

probably benefited the most

su najverovatnije imali najviše koristi

from the lack of copyright protection in the fashion industry.

od nedostatka autorskih prava u modnoj industriji.

They are notorious for knocking off high-end designs

Notorni su po kopiranju vrhunskog dizajna

and selling them at very low prices.

kojeg prodaju po vrlo niskim cenama.

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

I bili su izloženi velikom broju tužbi,

but those lawsuits are usually not won by fashion designers.

ali te tužbe nisu dobili modni dizajneri.

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

Sudovi su uporno ponavljali: "Nije vam potrebno više

any more intellectual property protection."

zaštite intelektualnog vlasništva."

When you look at copies like this,

Kada pogledate ovakve kopije,

you wonder: How do the luxury high-end brands

zapitate se kako luksuzni top brendovi

remain in business?

uopšte ostaju u poslu?

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

Ako ovo možete kupiti za 200 dolara, zašto bi plaćali hiljadu?

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

Ovo je jedan od razloga zašto smo ovde u U.S.C. organizovali konferenciju pre par godina.

We invited Tom Ford to come --

Pozvali smo Toma Forda.

the conference was called, "Ready to Share:

Konferencija se zvala "Spremna za deljenje:

Fashion and the Ownership of Creativity" --

Moda i vlasništvo kreativnosti".

and we asked him exactly this question.

I pitali smo ga upravo ovo pitanje.

Here's what he had to say.

I evo šta je odgovorio.

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

U tom trenutku, oslobodio se stege glavnog dizajnera u Gučiju,

in case you didn't know.

ako niste znali.

Tom Ford: And we found after much research

Tom Ford: Zaključili smo, nakon dosta istraživanja,

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

u stvari i ne baš toliko puno istraživanja,

that the counterfeit customer was not our customer.

da kupac falsifikovane robe nije naš kupac.

Johanna Blakley: Imagine that.

Džoana Blekli: Zamislite samo.

The people on Santee Alley

Ljudi na u Ulici Santi

are not the ones who shop at Gucci.

ne kupuju kod Gučija.

(Laughter)

(Smeh)

This is a very different demographic.

Ovo je dosta različita grupa ljudi.

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

I znate, kopija nikada nije ista

as an original high-end design,

kao originalni top dizajn, bar ne

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

u smislu materijala, uvek su napravljeni od jeftinijih materijala.

But even sometimes a cheaper version

Ali čak i jeftinija verzija

can actually have some charming aspects,

ponekad može imati neke šarmantne strane,

can breathe a little extra life into a dying trend.

i može udahnuti malo svežeg života u umirući trend.

There's lots of virtues of copying.

Puno je veštine u kopiranju.

One that a lot of cultural critics have pointed to

Činjenica koju kritičari kulture ističu

is that we now have

je da nam je danas dostupna

a much broader palette

mnogo šira paleta

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

modnih izbora nego ikada ranije.

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

A to je zbog modne industrije.

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

I to je dobra stvar. Treba nam više mogućnosti.

Fashion, whether you like it or not,

Moda, svidelo vam se to ili ne,

helps you project who you are to the world.

vam pomaže da se projektujete u svet.

Because of fast fashion,

Zbog brze mode,

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

globalni trendovi se uspostavljaju brže nego ikada ranije.

And this, actually, is good news to trendsetters;

I ovo je dobra vest za trend setere.

they want trends to be set

Oni žele da trendovi budu određeni

so that they can move product.

kako bi razvijali proizvod.

For fashionistas,

Za modiste,

they want to stay ahead of the curve.

one koji žele da budu ispred trenda.

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

Oni ne žele da budu obučeni kao i svi ostali.

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

Stoga, oni žele da pređu na sledeći trend

as soon as possible.

što pre.

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

I da vam kažem, nema odmora za modiste.

Every season, these designers have to struggle

Svake sezone, ovi dizajneri moraju da se namuče

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

izmišljajući nove sjajne ideje koje će svi voleti.

And this, let me tell you,

A to je, po mom mišljenju,

is very good for the bottom line.

vrlo dobar konačni ishod.

Now of course, there's a bunch of effects

Naravno da postoji puno efekata

that this culture of copying has

koje ova kultura kopiranja

on the creative process.

ima na kreativni proces.

And Stuart Weitzman is a very successful shoe designer.

Stjuart Vajtzman je vrlo uspešan dizajner obuće.

He has complained a lot about people copying him,

Puno se žalio da ga dosta ljudi kopira.

but in one interview I read,

Ali u jednom njegovom intervjuu koji sam pročitala,

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

rekao je da ga je to nateralo da unapredi sopstveni rad.

He had to come up with new ideas,

Morao je da smisli nove ideje,

new things that would be hard to copy.

nove stvari koje bi bile teške za kopiranje.

He came up with this Bowden-wedge heel

Smislio je ovu Bouden-klinastu štiklu

that has to be made out of steel or titanium;

koja mora biti napravljena od čelika ili titanijuma.

if you make it from some sort of cheaper material,

Ako bi bila napravljena od jeftinijeg materijala,

it'll actually crack in two.

jednostavno bi se polomila.

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

Kultura kopiranja ga je naterala da bude inovativniji.

And that actually reminded me

I to me u stvari podsetilo

of jazz great, Charlie Parker.

na džez umetnika Čarlija Parkera.

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

Ne znam da li ste čuli za ovu anegdotu.

He said that one of the reasons he invented bebop

On je rekao da je jedan od razloga zašto je izmislio bibop

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 nijedan beli muzičar ne bi bio u stanju da ponovi taj zvuk.

He wanted to make it too difficult to copy,

Hteo je da ga napravi malo težim za kopiranje.

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

I to je ono što modni dizajneri rade sve vreme.

They're trying to put together

Oni se trude da sklope

a signature look, an aesthetic

prepoznatljiv izgled, estetiku

that reflects who they are.

koja odražava ono što oni jesu.

When people knock it off, everybody knows

Kada ljudi kopiraju brednove, svi to znaju

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

jer to je pojava koju stavljaju na modnu pistu,

and it's a coherent aesthetic.

i to je koherentna estetika.

I love these Gallianos.

Volim ove Galijanove haljine.

Okay, we'll move on. (Laughter)

Ok, idemo dalje.

This is not unlike the world of comedy.

Ovo nije različito od sveta komedije.

I don't know if you know that jokes

Ne znam da li znate da se šale

also can't be copyright protected.

takođe ne mogu zaštititi autorskim pravima.

So when one-liners were really popular,

Tako da kada su kratki vicevi postali popularni,

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 različitu vrstu komedije.

They develop a persona,

Ona razvija ličnost,

a signature style, much like fashion designers.

prepoznatljiv stil, slično modnim dizajnerima.

And their jokes,

I njihove šale,

much like the fashion designs by a fashion designer,

kao i radovi modnih dizajnera,

really only work within that aesthetic.

rade jedino u takvom estetskom okruženju.

If somebody steals a joke

Ako neko ukrade šalu

from Larry David, for instance,

na primer, od Larija Dejvida,

it's not as funny.

ona nije tako smešna.

Now, the other thing that fashion designers have done

Druga stvar koju su modni dizajneri uradili

to survive in this culture of copying

da bi preživeli kulturu kopiranja

is they've learned how to copy themselves.

je da su naučili kako da kopiraju sebe.

They knock themselves off.

Oni sami skidaju svoje brendove.

They make deals with the fast fashion giants

Praveći dogovore sa gigiantima brze mode,

and they come up with a way to sell their product

pronašli su način da prodaju svoj proizvod

to a whole new demographic:

novoj grupi ljudi,

the Santee Alley demographic.

ekipi u Santi ulici.

Now, some fashion designers will say,

Neki modni dizajneri će reći:

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

"Samo u SAD nemamo nikavog poštovanja.

In other countries there is protection

U drugim zemljama postoji zaštita

for our artful designs."

naše umetničke kreacije."

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

Ali ako pogledate drugo i treće najveće tržište u svetu,

it turns out that the protection that's offered

ispada da je ponuđena zaštita

is really ineffectual.

ustvari bez uticaja.

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

U Japanu, na primer, za koji mislim da je treće najveće tržište na svetu,

they have a design law; it protects apparel,

postoji zakon o dizajnu, koji štiti odevne predmete,

but the novelty standard is so high,

ali standardi za novitete su toliko visoki,

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

da morate dokazati da vaš odevni predmet nije nikada ranije postojao.

it's totally unique.

Da je u potpunosti jedinstven.

And that's sort of like

Ovo je na neki način

the novelty standard for a U.S. patent,

standard za novitet za S.A.D. patente

which fashion designers never get --

koji modni dizajneri nikada ne dobijaju,

rarely get here in the states.

i retko ga dobijaju ovde u S.A.D.

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

U Evropskoj Uniji otišli su u drugom pravcu.

Very low novelty standard,

Vrlo niski standardi noviteta,

anybody can register anything.

bilo ko može da registruje bilo šta.

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

Ali uprkos tome što je u pitanju mesto nastanka brze modne

and you have a lot of luxury designers there,

industrije i što postoje mnogobrojni dizajneri luksuzne

they don't register their garments, generally,

robe, oni ne registruju odevne predmete

and there's not a lot of litigation.

po pravilu i nema puno parničenja.

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

To je stoga zato što su standardi za novitete preniski.

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

Bilo ko može uzeti nečiji ogrtač,

cut off three inches from the bottom,

odseći desetak centimetara sa kraja,

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

otići u EU i registrovati to kao novi, originalni dizajn.

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

Tako da ovo ne zaustavlja umetnike koji skidaju brendove.

If you look at the registry, actually,

Ako pogledate registar pažljivije,

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

veliki deo registrovanih stvari u EU

are Nike T-shirts

su kao "Nike" majice,

that are almost identical to one another.

skoro su identične jedna drugoj.

But this has not stopped Diane von Furstenberg.

Ali ovo nije zaustavilo Dajen fon Furstenberg.

She is the head of

Ona je upravnica

the Council of Fashion Designers of America,

Saveta modnih dizajnera Amerike,

and she has told her constituency that

i rekla je svojim članovima da

she is going to get copyright protection

će obezbediti zaštitu autorskih prava

for fashion designs.

modnim dizajnerima.

The retailers have kind of quashed this notion though.

Prodavci su na neki način prigušili ovaj zahtev.

I don't think the legislation is going anywhere,

Mislim da ovaj zakon neće stupiti na snagu.

because they realized it is so hard

Razlog je taj što shvataju da je jako teško

to tell the difference between a pirated design

reći koja je razlika između piratizovanog dizajna

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

i nečega što je deo globalnog trenda.

Who owns a look?

Ko poseduje izgled?

That is a very difficult question to answer.

To je komplikovano pitanje za odgovoriti.

It takes lots of lawyers and lots of court time,

Potrebno je puno advokata i puno vremena u sudu.

and the retailers decided that would be way too expensive.

A prodavci su odlučili da bi to bilo preskupo.

You know, it's not just the fashion industry

Znate, moda nije jedina industrija

that doesn't have copyright protection.

koja nema zaštitu autorskih prava.

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

Postoji dosta drugih industrija koje nemaju zaštitu autroskih prava,

including the food industry.

uključujući prehrambenu industriju.

You cannot copyright a recipe

Ne možete zaštititi recept

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

zato što je to skup smernica, to je činjenica.

and you cannot copyright the look and feel

I ne možete zaštititi izgled i ukus

of even the most unique dish.

čak ni najjedinstvenijeg jela.

Same with automobiles.

Ista je stvar i sa automobilima.

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

Bez obzira koliko šašavo ili sjajno izgledali,

you cannot copyright the sculptural design.

ne može se zaštititi vajarska skica.

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

To je utilitarni faktor i u njemu je razlog.

Same with furniture,

Isto je i sa nameštajem.

it's too utilitarian.

Previše je utilitaran.

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

Mađioničarski trikovi, oni su takođe upustva, slično kao i recepti.

no copyright protection.

Nema zaštite autorskih prava.

Hairdos, no copyright protection.

Frizure, nema zaštite autorskih prava.

Open source software, these guys decided

Softver otvorenog koda - ovi momci 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 nje.

It's really hard to get copyright for databases.

Jako je teško dobiti zaštitu za baze podataka.

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

Tetovaže - ni oni neće zaštitu, to nije dovoljno kul.

They share their designs.

Oni dele svoje stvaralaštvo.

Jokes, no copyright protection.

Vicevi, nema 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

A neke od ovih industrija vam se mogu učiniti

sort of marginal to you,

na neki način marginalnim,

but these are the gross sales

ali ovo su bruto iznosi

for low I.P. industries,

prodaje industrija sa niskom zaštitom autorskih prava,

industries with very little copyright protection,

industrije sa vrlo malo zaštite.

and there's the gross sales of

A ovo su bruto iznosi prodaje

films and books.

filmova i knjiga.

(Applause)

(Aplauz)

It ain't pretty.

Nije lepo.

(Applause)

(Aplauz)

So you talk to people in the fashion industry

A kada pričate sa ljudima u modnoj industriji

and they're like, "Shhh!

oni vam kažu "Pst!

Don't tell anybody

Nemoj nikome da kažeš

we can actually steal from each other's designs.

da u stvari možemo da krademo jedni od drugih.

It's embarrassing."

Posramljujuće je."

But you know what? It's revolutionary,

Sa druge strane, ovo je revolucionarno

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

i predstavlja model za druge industrije,

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

kao ove koje smo upravo videli sa stvarno malim stupcima,

they might have to think about this.

oni bi mogli da razmisle o ovome,

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

zato što, upravo sada, te industrije sa puno zaštite autorskih prava

are operating in an atmosphere

rade u okruženju

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

u kome nemaju praktično nikakvu zaštitu.

and they don't know what to do.

I ne znaju kako da se odnose prema tome.

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

Kada sam otkrila da postoji zaista puno industrija

that didn't have copyright protection,

koje nemaju zaštitu autorskih prava,

I thought, "What exactly is the underlying logic?

pomislila sam, koja je tačno logika iza svega?

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

Trebala mi je slika, a advokati vam neće dati sliku.

so I made one.

Tako da sam ja napravila jednu.

These are the two main

Ovo su dve glavne, na neki način

sort of binary oppositions within the logic of copyright law.

binarne opozicije u okviru logike zakona o zaštiti autorskih prava.

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

Stvari su dosta kompleksnije od ovoga, ali poslužiće svrsi.

First: Is something an artistic object?

Prvo, da li je nešto umetnički predmet?

Then it deserves protection.

Ako jeste, zaslužuje zaštitu.

Is it a utilitarian object?

Da li je to predmet koji je utilitaran?

Then no, it does not deserve protection.

Onda ne, ne zaslužuje zaštitu.

This is a difficult, unstable binary.

Ovo je teška, nestabilna dvojnost.

The other one is: Is it an idea?

Druga je: da li je to ideja?

Is it something that needs to

Da li je to nešto što bi trebalo da

freely circulate in a free society?

se slobodno kreće po slobodnom društvu?

No protection.

Nema zaštite.

Or is it a physically fixed

Ili je to fizički utvrđen

expression of an idea:

izraz ideje,

something that somebody made

nešto što je neko napravio,

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

i što zaslužuje da bude posedovano neko vreme i zarađuje.

The problem is that digital technology

Problem je u tome što je digitalna tehnologija

has completely subverted the logic

u potpunosti preokrenula logiku

of this physically fixed, expression

ovog fizički utvrđenog izraza

versus idea concept.

nasuprot konceptu ideje.

Nowadays,

U naše vreme,

we don't really recognize a book

ne prepoznajemo knjigu

as something that sits on our shelf

kao nešto što stoji na polici

or music as something that is

ili muziku kao nešto što je

a physical object that we can hold.

fizički objekt koji možemo uzeti u ruku.

It's a digital file.

To je digitalna datoteka.

It is barely tethered to any sort of

Ona je jedva povezana sa bilo kojom

physical reality in our minds.

fizičkom realnosti u našem umu.

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

I sve ove stvari, zato što ih možemo kopirati i prenositi toliko jednostavno,

actually circulate within our culture

kruže u okviru naše kulture

a lot more like ideas

više kao ideje

than like physically instantiated objects.

nego kao fizički postojeći oblici.

Now, the conceptual issues are truly profound

Ova konceptualna pitanja su uistinu dalekovida

when you talk about creativity

kada se bave kreativnošću,

and ownership

ili vlasništvom

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

i dozvolićete mi, ne želimo da se ovim pitanjima bave samo advokati.

They're smart.

Pametni su.

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

Ja sam sa jednim, on mi je dečko. Ok je.

He's smart, he's smart.

Pametan je.

But you want an interdisciplinary team of people

Potreban je interdisciplinarni tim

hashing this out,

koji bi ovo razmrsio,

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

u pokušaju da se dokuči koji će model vlasništva

in a digital world,

u digitalnom svetu

that's going to lead to the most innovation?

voditi ka najviše inovacija.

And my suggestion is that

Moj predlog je

fashion might be a really good place

da bi moda mogla biti dobro mesto

to start looking for a model

da se počne potraga za modelom

for creative industries in the future.

kreativnih industrija budućnosti.

If you want more information about this research project,

Ako želite više informacija o ovom istraživačkom projektu,

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

posetite web sajt ReadyToShare.org

And I really want to thank Veronica Jauriqui

Želea bih da se zahvalim Veroniki Hauriki

for making this very fashionable presentation.

za ovu modnu prezentaciju.

Thank you so much. (Applause)

Veliko hvala.