The making of a national ITV ‘News at Ten’ location item – behind the scenes

Behind-the-scenes footage that I filmed on request at RLYC of journalist Nina Nannar and DoP Mickey Lawrence, interviewing former Swallows & Amazons (1973) actress Sophie Neville (one of my I.T. clients), and some of the sailing students. They’re discussing the 2016 movie remake of Arthur Ransome’s classic tale. Parts of the interview were featured in the item on ITV’s News at Ten on Friday 29th July (read the article and watch it here).

Genre Jazz: Re-cut – copyright, parodies, homage, tributes, image rights and public domain

The Story of Technoviking: The Film

technoviking

The Story of Technoviking, release date today, 15 Oct 2015 (50m06s, free to watch online): http://technoviking.tv/film

Writing parody mash-up on my blog while looking for inspiration in movie scenes made me realise two things: (1) That it’s still my strongest point writing-wise, and (2) Youtube kicks everyone’s ass!

In terms of public use, Youtube is the home of re-imagination. Whether the original muse is a movie, news story, pop promo, video game, or social commentary meme, it’s where users upload their re-interpretations, parodies, mutations, reactions, songs and art inspired by images appearing in the curated mainstream and entering the awareness of the social media sphere.

Perhaps the earliest cult internet muse inspiring an ongoing global artistic phenomenon is the Youtube uploader Subrealic.

Subrealic is the user name of Matthias Fritsch, a film-maker from Germany who took what appeared to be random public footage in a series of different locations, and posted them independently some time before joining Youtube.

The video in question was a candid single-shot in-camera sequence called ‘Kneecam No.1’ captured by Matthias at the Berlin Fuck Parade, a protest street event in response to what many underground EDM (electronic dance music) fans considered to be the over-commercialised Love Parade taking place in the city at the same time in 2000.

Matthias says: “The reason why I filmed this was to document the Fuck Parade as an event. Why I published this sequence was not to show the Fuck Parade but to raise a question for the audience: Is what you see real or staged? To create an uncertainty. I named it ʽKneecam No.1’ and ʽNo.1’ stands for a series of experimental videos that deal with the role of the camera… I started to upload my videos to YouTube to make them more accessible because it was much easier to host videos there than on my own website.”

The Kneecam No.1 video showed a short segment of the street protest party, filmed from the back of a moving trailer playing a mix of rave tunes by Can-D-Music and Winstan vs. Noia, while party-goers followed.

It captured a small moment of conflict, and its resolution by a figure intervening on the distracted parade with undeniable alpha-male status, who then reasserts the purpose of the event by leading the group in dancing behind the trailer for several minutes, before disappearing again.

Although the earliest reactions to the video came only in the form of comments debating the authenticity of the piece and whether it was an arranged set-up, once it began to be shared and re-posted on forums and other websites, the cult of personality of the alpha-male ‘character’ in Kneecam No.1 developed.

Matthias was on a trip to China when he received this email comment: “The video has been posted by someone 2 days ago and now there are 1 990 256 view. I have never see that before on the web. What is the name of those songs in the film? He needs to be on a T-shirt too. Thank you very much.”

Commenters on forums responded to it with custom memes and reaction images, and shortly, reaction videos. In one forum, the ʽstar’ was nominated for a title:

“He doesn’t dance to the music, the music dances to him. His name: Technoviking.”

As soon as the nickname Technoviking was coined, the cult status of the video was confirmed. The character was given the type of hero status reserved for action movie icons, compared to Chuck Norris.

Matthias began to collect and document Technoviking references to study what was occurring in the virtual world once it became apparent that this was a viral internet phenomenon.

“A whole Technoviking universe seemed to appear. So what I did was collect all those responses to my video. And of course most of them were remixes of the original video. So I put together an archive based on this Technoviking meme in order to study the behaviour of users online.”

Youtube users, artists, cartoonists, toy-makers, printers, songwriters and console gaming fans were soon using the original Kneecam No.1 film as a muse to create objects and scenarios in art based around the perceived leading character. The subsequent productivity and social awareness that surrounded Kneecam No.1 far outweighed the original – it had a self-regenerating, self-perpetuating, self-mutating life of its own.

Kirby Ferguson, from the film Everything Is A Remix Part 4, 2011: “This is evolution. Copy, transform, combine.”

Over the years, the film has been re-contextualised with alternative music, animations, re-scripted subtitles and voice dubs. It has been re-enacted hundreds of times over, with students, dolls, hula-hoop performances, in living rooms and outdoors, and uploaded by Youtubers sharing their enthusiasm for the Berlin Fuck Parade encounter scene and the mysterious individual known only as Technoviking, originally curated in Kneecam No.1.

Heinz Drügh, Professor of New German Literature and Aesthetics at Goethe University, Frankfurt am Main, states:It is a bit like the butterfly effect. Something that was not created for a big dimension got such a huge echo. Especially by taking into consideration that most things in the Internet are not getting any attention.”

Technoviking as a cult celebrity figure has been printed on mugs, t-shirts, appeared in graphic novel sequences, and even as in-game characters, epitomising the alpha male action hero – only as inspiration taken from real life, not a Hollywood movie set.

Matthias, his film only the trigger for all of the extended creativity that followed it, made a modest sum of money over a period of two years when Youtube invited him to monetize his video with advertising, and by selling a few t-shirts. The majority of his efforts were focused on studying the viral influences of Technoviking, where the marketing of products by others based on the video’s character were more visible and aggressive, and where other individuals in the world were sharing and reinterpreting its influences.

He was also making efforts to trace the man himself, hoping to share the phenomenon with him and ensure that the benefits of the original video’s cult status were available mutually.

“…After the video went viral in 2007 I started to search in different gyms by calling them, because I thought he is from Berlin and a body builder, so he must be known in one or the other studio…”

He kept coming up against dead ends, but eventually after a number of years, contact was made – in the form of a Cease and Desist order from the individual’s lawyer.

The most famous unsuspecting internet cult hero of the early 21st Century only wanted his privacy and ‘the right to be forgotten’.

Matthias had to agree to remove the original Kneecam No.1 and all of his own ancillary products.

That part was simple enough. For the complainant, there are a myriad more cases of ‘use of his image’ and constant re-postings of the video by other users to pursue.

It’s a case of ‘Life imitating art imitating life’ – a character inspired by a real individual, given the themes of justice-seeker and superhero by the public, arts and the entertainment world, prompts the individual concerned to pursue his own global justice and protect his own right to privacy.

The man formerly known as Technoviking will indeed take you down, just as the many memes suggested his character would.

Remember also that this is a private individual – not a celebrity. He has nothing to lose by pursuing enforcement of his image rights.

Antonio Broumas, Digital Rights Attorney, Digital Liberation Network: I am very interested in the result of this case. It actually determines many things regarding what we are doing on the Internet. What can be uploaded to YouTube? How can we use people’s photos in public places? What is permitted and what is not? And I believe that the aim of the court in these cases will have to be to make things clear for the citizens.”

Meanwhile, Matthias Fritsch, the Youtube uploader formerly known as Subrealic, has made a case-study documentary of the Kneecam No.1 viral video’s influence to date and the worldwide phenomenon it prompted, leading to the image rights case being brought against him by the perceived ‘star’ – the individual concerned. It’s both a cautionary tale and an evolutionary one regarding the global arts community, including commentary and interviews with legal, social and arts experts.

The documentary covers issues an artist will encounter when using material ‘found in reality’ and regarding visual image copyright and distribution when the image contains persons and their rights. There are forms of explicit consent required for specific further use of the images, beyond merely collecting them.

It explodes the myths regarding the right to use images or footage from crowd scenes, namely the ‘Five or more persons’ myth.

Louisa Specht, Personality Rights Expert, ZAR Karlsruhe: The ʽ5 Person Myth’ doesn’t exist as a law. I am allowed to record parades and demonstrations without the agreement of the depicted people, but when an individual stands out from the crowd this exception doesn’t apply anymore.”

It also dissects what is essentially art and public property – such as whether an individual can claim rights over an image that contains elements of earlier appropriation, whether those are actions or personal style, or the context of their appearance and behaviour. The argument over ‘fair use’ has grounds in whether art inspired by individuals and scenes found in reality, whose own inspiration for image is inspired by earlier identifiable arts and personality icons, can even be claimed as a private or personal image in any new context that an artistically-revised version gives it.

Felix Stalder, Professor of Digital Culture and Net Theory in Zurich: The owner has to be aware that he takes or that she has taken from the public – so he/she has to grant the public also the right to take from him/her.”

Something that’s inspired me in the past is the trend on Youtube for re-edits of trailers and movie clips, by fans. My brothers and I used to do our own re-dubbed voice-overs for Star Trek when we were kids, on an ancient VHS rental with a Play/Rec/Dub setting. Must have been the earliest invented!

For example, I published my parody The Zombie Adventures of Sarah Bellum after writing it chapter-by-chapter on my blog, linking to movie scenes that were my muses and mashed-up music remixes on Youtube. I wanted to show where my influences lay. While searching for the scenes, with the most popular ones I would come across dozens of alternate versions in a creative online explosion, similar to the demographic portrayed by the ʽspawn’ of Kneecam No.1.

I don’t just mean ‘re-edits’ as in, a fan’s favourite bits of the movie put together as a tribute or slideshow. I mean where they’ve used the original as an artistic prompt, and changed the implied genre, or storyline, as a transformative work. Look up the political-thrillerised version of Splash’. That’s really creative, and the great thing about Youtube is everyone can share and appreciate a different slant on what Hollywood does.

And completely reinvented mash-ups, taking an existing concept and changing the context, like the re-imagined works initiated by Subrealic, aka Matthias Fritsch. One example is Youtube uploader Ryan (user name: nigahiga), known for a spoof of the social media game Candy Crush Saga by re-inventing it and shooting it as a Hollywood movie trailer.

It has been done in books already – most notably with Death Comes to Pemberley’ by P.D. James, and Pride and Prejudice and Zombies’ by Seth Grahame-Smith.

Two different interpretations of the same Jane Austen romance. James took the original characters from Pride and Prejudice’ but not the original book or prose, and penned a murder mystery in place of a happy ever after – but her imitation of Austen’s style is spot on, so it is the genre which has changed, but not the voice as such.

Grahame-Smith took the original text – legally, as it is in the ‘public domain’ meaning out of copyright worldwide (literary copyright expires in most countries at the wonderful-sounding date of death [of the author] + 70 years’ or in a few cases death [author] + 100 years’) – and added butt-kicking martial artist zombie-killer action to it.

If you plan to do similar, as in either of these examples, make sure the original content you are planning on mashing up is in the ‘public domain’ (as defined by the time-spans above). Public domain does NOT mean ‘the characters have been discussed in the Daily Mail’ or that they have fan pages on Facebook, or profiles on Wiki. One thing I was asked about by a cover artist – no, images on WikiCommons are not ‘public domain’ – they are provided for contextual use only.

Be wary of falling into the trap of assuming ALL books who fulfil the ‘date of death of the author’ are in public domain. Estates are often set up for prolific or famous authors – for example, the late British author Arthur Ransome.

Under normal circumstances, his books would enter public domain status seventy years after his death. However, the existence of an estate to protect his work, and an existing fan-base, means this is unlikely, and copyright may be renewed before it expires. This came as a surprise to at least two authors I have worked with – one who mistakenly assumed you could appropriate anything ‘from any book over seventy years old’ (misinformation about copyright lifespan, see above for definition), and one who thought you could publish new stories about an author’s famous original leading characters and situations so long as the author was dead (post-burial optional). As discussed before, that’s fan-fiction, and can’t be published for financial gain.

You also have to be aware of when a central character is not public domain, while the source story might well be. The fairytale of Sleeping Beauty is ancient and can be re-imagined by anyone. But Maleficent the character, based on the original ‘evil witch’ from the fairytale, as portrayed in all forms by Disney, was created and is owned by Disney. Again, this is similar in context to Stalder’s comment he takes or that she has taken from the public – so he/she has to grant the public also the right to take from him/her.”

Maleficent - before and after 1

Genuine Disney merchandise doll in original packaging on the left, with my re-dressed and repainted custom OOAK version on the right, made for myself as a fan of the character. Even more relevant – the doll on the right that I customised was not a genuine Disney original, but a bootleg version manufactured elsewhere and found online. So the Maleficent doll design has been ‘re-mixed’ twice.

It is possible to develop a new, copyrighted product inspired by public domain work. You cannot legally reproduce Disney’s version of Sleeping Beauty or Maleficent, or any of their named character designs, and equally neither you or Disney can claim the copyright status of sole use of the original fairytale. But you can write your own version of the original fairytale from scratch, change the title, change the point-of-view, add new characters of your own devising (called O.C.s by fan-fiction writers) and you may copyright your own unique version.

This is where the debate rages over transformative works, especially when they cross back and forth over the transmedia line, from imagery to written word to gaming to product marketing and back again. It happens with cultural appropriation in music and fashion – mutual admiration or artistic appreciation of lifestyle across communities leads to imitation, reworking, a new and temporary ownership of those styles for a period of time, and then transition again.

Domenico Quaranta, Art Critic and Curator, Link Art Center, Italy:The idea should have the right to evolve, and who did something shouldn’t have the right to value, to judge the following variations of the idea that he contributed to. Because if this contributed in a significant way to the evolution of the story, this contribution itself must be significant.

Parody, as made by National Lampoon, and the Barry Trotter books etc, is a reworking of a genre, of a recognisable copyrighted current franchise – but with new characters, which may sound and act similar to the originals, and also importantly, with jokes in. Although ‘parody’ is still not recognised in all countries. Some territories consider it copyright infringement where readily identifiable, and deem them not publishable either, as with fan-fiction.

Many books and films, especially fantasy/humour (including Pratchett’s Discworld series) pay homage to earlier works in ways that the reader or viewer can identify with.

For this to work, the parody element – or the tribute, or homage – has to be something that connects broadly with the audience. Kneecam No.1 gave the audience the ʽsuperhero’ identification scene. In generally accepted storytelling, you have a scene with a damsel in distress, an injustice, a battle or a risk to life involved, and a mysterious, larger-than-life stranger swoops in to save the day. After succeeding and re-establishing the status quo, reminding the rest of humankind to look out for one another and what their current priorities are, the superhero vanishes again. He has other places to be and problems to solve. This is the story archetype for that character, and the role that Technoviking immediately fulfilled in the imagination of the audience.

Maxa Zoller, Film Curator, Cairo: “I think it’s a certain male desire to become this CGI, muscular, protective archetype of a man. These guys, when they imitate the viking, film, edit, upload and watch other examples – and that’s also where the fun comes in – there is an affective context that is not just popular culture, that has a certain quality.

Although these stories and scenarios exist as common archetypes, Hollywood homage and copyright is a fine line. George Lucas and Quentin Tarantino are artists in their own right who have included style reference to their influences in their work. Steven Spielberg too. Hollywood director Chris Columbus used his own Young Sherlock Holmes cast and script as reference for many scenes and characters when directing Harry Potter & The Philosopher’s Stone. My mother recalls watching Young Sherlock Holmes on TV as ‘that old Harry Potter film with the unconvincing Dementors running around in dressing-gowns. The one where Hermione gets shot at the end.’

A line is crossed in film when an entire story and its parallel sequences are seen to be ‘lifted’ from one other recognisable work – you can look up Disturbia/Estate of Alfred Hitchcock vs. Sheldon Abend Trust to research how one such case of two films and the original story was raised.

Any writer automatically owns their own prose. That’s word order on the page. Not title, not idea, not basic plot. If someone is proven to have Ctrl+C-ed and Ctrl+V-ed (copied and pasted) from another author’s non-public-domain work, or reproduced chunks of it verbatim, that is written copyright infringement in a nutshell.

A well-reported case in the last few years involved passages lifted from Ian Fleming’s James Bond novels, among others, by a hasty crime thriller writer, drunk on the lucrative new publishing contract he had received (Assassin of Secrets by Q.R. Markham, pen-name of Quentin Rowan, 2011). The portions of work that were stolen were quickly spotted in review copies by existing fans of the originals, and shared publicly in online reader forums. The plagiarising author’s book was withdrawn, and thousands of orders and pre-orders had to be refunded.

Titles, and names such as Discworld can be protected by registered trademark. You can go on that journey if you wish – trademarking is not automatic, unlike copyright, and must be applied for. You will have to prove ownership, originality, and that the word, image or phrase is not in common public usage. Look up the following two words together – ‘space’ + ‘marine’ copyright, for a good example of trademarking which has had plenty of online coverage (see Games Workshop’s Warhammer 40,000 v. M.C.A. Hogarth)

It’s rare to see trademark owners attempt to get it enforced retrospectively, but it does happen.

However, unpublished and indie authors occasionally come out with the well-roasted old chestnut: “I’d love for a huge publisher to steal my ideas, because then I would sue them and be rich.”

When is the last time you heard of this happening? I haven’t – yet I have seen several instances over the years of where a case might be made. The only case I saw followed through and resolved, hopefully to mutual satisfaction, was in the case of an indie author’s unique and personally commissioned cover art on the Authonomy website (now defunct), which was clearly imitated on a different book announced for release by the host publishing house. The publisher blamed the individual working for them on cover design, and had not checked their sources or inspiration – even though they owned the promotional website that the design was lifted from.

Major publishers and film companies always have to be prepared for a deluge of copyright claims, and legally, the complainant has to prove the theft, that the opportunity was in hand. If you research JK Rowling and her product distributors regarding individual authors’ attempted copyright cases against her work – there is a whole Wiki page’s worth – you will discover that the claimants have been bankrupted by such efforts, not enriched.

Even if the small fry have afforded their losing legal costs, the big fish may counter-sue subsequently for tarnishing their reputation, or something called ‘lack of good faith action’ requiring substantial damages to be paid to them by the original complainant. Cue small fry bankruptcy…

You may also be in trouble if you use a celebrity as a character in your published work, never mind a private individual, such as the Technoviking case. This comes under ‘appropriating and distributing a person’s image without consent’ – a French traditionally published author fell foul of this recently, using a current Hollywood actress as the person his female leading character was mistaken for and used to her advantage in his story. He had to pay damages to her as his book was found to have defamed the celebrity’s persona, tarnishing her public image (by his character’s behaviour in the story), while further damages for appropriation of her likeness and personality had also been sought. (Scarlet Johansson v. Grégoire Delacourt re. La Première Chose Qu’on Regarde, 2014). A major console gaming designer was subjected to a similar case by another Hollywood star, who claimed that she and her clothing style, including specific visual images and a recognisable corruption of her name ‘confusing to fans’ had been used as a model for an in-game character, without licensing or consent. (Lyndsay Lohan v. Rockstar Games/Take-Two Interactive re. GTA V, 2014).

Lyndsay v. GTA V

Lyndsay Lohan in a selfie-style pose on the left. GTA V in-game character Lacey Jonas mimics on the right.

Alexander Paschke, lawyer for Technoviking:My client asserts the rights that he is entitled to. And if this includes a claim for compensation – then it is part of that. But again: He is not after money – it would be much easier to make money out of this in other ways – but this is about others not exploiting and commercializing his persona. If you look at it from the other side: If the violator, who is marketing somebody else illegally, if he can even keep the profits coming out of the violation – what kind of understanding of rights would this be?

In non-fiction, there is the established referencing system for quotes and sources. Even if your own work is a paraphrased version of the source and not quoted directly, a lot of non-fiction requires supporting evidence, not just credit to the originator. Verbatim quotes will still need permission, including for credited song lyrics. Look up the Harvard method of referencing to fill out your bibliography of research to include in the endnotes of your book. (See Dr Raj Persaud plagiarism case).

That’s the bare bones of it. The part I can shed a positive light on today is the genre twist option, accessible to authors. Where, like P.D. James, you take an old public domain tale, and tell it for a different audience. I hear that very kinky things are currently going on in the world of crusty old romances at the minute, never mind murder mysteries and zombies.

By the look of things happening elsewhere in fictional mash-ups and re-inventions, Technoviking got off lightly. The audience in general respected him.

Wolfgang Ullrich, Professor of Art History & Media Philosophy, Karlsruhe:If one wanted to speak very traditionally and philosophically, one could see a phenomenon such as the Technoviking as a nice piece of evidence for a thought that was first prominently formulated by Immanuel Kant in his book ʽCritique of Judgment’ in the year 1790, where he asks himself the question: “How does one recognize a work of art?” – and he explicitly means a great work of art, the work of a genius. And the criterion for him, which is actually the only criterion for him, is the reception, the effect of this work. For him it’s clear: The work is a work of a genius if there are copycats, if there are a lot of copycats, if it has something compelling that other humans can’t resist its effect. This would be an indicator of the original’s power, that created new rules and established new forms, and for Kant this would be the proof for a really great art work in the case of the original video of Technoviking.”

Supposing as a writer, for example, you became such ʽa copycat’ and took the genius of Conan Doyle’s Sherlock Holmes, re-writing him in the style of Bridget Jones’ Diary or Are You there, God? It’s Me, Margaret. Or Frankenstein in the style of a CSI police procedural, analysing all of the body parts going missing. I’d like to see Kathy Reichs do that one… It was done fantastically with Johnny Depp as a police forensics expert in Sleepy Hollow’ – so it’s not an entirely new concept (just look at the action-style on show in the last Sherlock-based TV and movie releases, which are frequently re-invented for new audiences), but potentially there are many forms of almost-unexploited literary mash-up yet to reach the mainstream bookshelves.

You just need to find your genius to emulate – that’s unless you manage to become one, in your own right.

Matthias gives the impression that he still hopes to share an open dialogue one day with the reluctant star of his early film project.

“There is not only ʽmy intellectual property’ but also his, the work of the DJs, the people who made the music, the background dancers – they also were part of the creation – and therefore I don’t see myself as the only originator that owns everything.”

However, if you’re an author investing your time in words on the page, you’ll have to run to catch up with the creativity of online users making re-cut trailers and their own tribute videos on Youtube. That’s if the man formerly known as Technoviking doesn’t get to them first.

The documentary by Matthias Fritsch is released today on http://technoviking.tv/film – it’s free to watch, and compulsory viewing for anyone interested in the future of artistic interpretation, image rights, copyright, global cultural appropriation, viral marketing, and the individual right to privacy and maintaining the personal context of one’s own life, given today’s open social media culture. It’s a fascinating case study, showing how the phenomenon grew chronologically and in its exponential aspects, in which Matthias, the originator, had no promotional role.

Felix Stalder: Transformative uses – using something to make something new out of it… In a way this is covered theoretically by fair use in the US. But the way fair use has been interpreted in the court, it is very very narrow.”

Thanks to Matthias Fritsch of technoviking.tv for permission to quote from interviews in ʽThe Technoviking Story’ and to share the documentary

The Voodoo Viewpoint: Is new media stealing our souls and memories?

Halloween bookshelf

I haven’t blogged for a while, having had new things to deal with through the summer and autumn along with writing, and waiting for other things to be resolved – everyday life has got in the way, and all of it worthy of my time – so I can honestly say I don’t feel I’ve missed anything by not procrastinating online too much.

This post has been on my mind for a while over the past year, and I’ve turning it over further in my mind since a topic came up on Facebook regarding the well-roasted old chestnut of ebook vs. print books, and what might supplant them in the future. When I made my comment, I didn’t realise how much of an observation it really was. But the thought of it keeps returning to me, so I’ll attempt to dissect it further now. (I’ve used ‘Voodoo’ in the title as I was originally going to post it as Voodoo Spice first – but there is another relevance to the reference).

My comment on the post was:

I think real books will stick around for another reason – the same reason as real music disc collections, and real movie DVDs, and real photo albums. The death of these things will mean the end of being able to remember lost loved ones. Imagine going into an elderly relative’s last residence, and instead of shelves full of their favourite media that you can pick up and read and smell, and admire, all that’s there is a computer tablet full of password-protected cloud-storage erotica. Supposing they’re survived by 20+ family members all wanting a memento? Will they have to take turns hacking into his or her tablet to read their, erm, favourites???

It’s not only the issue of having physical objects with which to remember a loved one, though. When you first make a new friend, visit their home for the first time, you see immediately by their books, music, film collections, and photographs what you have in common. Without those, it takes far longer to define. How do you learn about a person who wears nothing on their sleeve in real life? Are they hiding something about their personality, their cultural and entertainment tastes, behind password-protected anonymous digital storage products? How much of their social media persona is genuine – do they really like Top Gear, or do they just ‘Like’ it on Facebook? How long does it take to make early judgements of compatibility when all you see in their home is the faceless packaging and housing of technology? Is this creating the hacking, snooping, prying, suspicious culture that troubles present-day relationships?

Are we sacrificing our personalities, our ability to connect with one another in real life without the social media screens, in favour of electronic packaging?

Back to the subject of bereavement and memories, there is another agenda surfacing to consider.

Electronic media itself has no re-sale value. The tablets and electronic devices can be re-sold, but they lose value in the very short term. Unlike physical books, vinyls, cassettes, picture frames, CDs, and DVDs – when you buy anything in digital format, to watch, read or listen to, its solvency value is zero. So even if your descendants, friends and family don’t want to share the digital tablet and know your passwords to enjoy your *ahem* favourites, they can only sell the tablet itself. Even if you have bought 70,000 books, movies, and songs in your lifetime, they do not add up to £70,000 worth of house clearance on ebay to divide among the mourners. They add up to zero.

They money you spend on electronic books and media to fill your device has gone for good. You cannot donate the products to an Oxfam bookshop after you have enjoyed them in order for others to benefit. You cannot have a yard sale or a car boot fair stand of portable entertainment to fund a party, or to pay a few bills. You have not invested your money in anything physically reminiscent that can be enjoyed as part of the soul of a lost loved one, or liquidated as an asset in the future.

The money has gone for good, into the great black hole of the business that also sold you the device to enjoy it on, or to store in some online cloud.

So in the future, without personal possessions for family and friends to remember us by – not even the chance to flick through the same books and photo albums we held, and no idea how to access our family photographs and music – and more and more social lives being conducted online – how will anyone remember their grandparents and great-grandparents beyond faces on a screen?

Will the youngest family members have the sense of identity and individual heritage that children before the digital age grew up with?

Will old people just die and disappear, leaving nothing behind but an online account full of media they spent thousands on, which is worth precisely nothing to their descendants even if they have the ability to access it? Will their living memories and personalities evaporate the second you tap on ‘Confirm shut down/log off device’?

Will folk start leaving clauses on their departure, that no-one is to hack into the tablet at all to avoid finding out how much porn and erotica they downloaded to keep them warm in their old age?

Never mind what to do with Granny, the last Will and Testament says we have to burn her Kindle first… aptly named device, if ever there was one. I see a new business opportunity looming – the “Kindle Crematorium” where dirty old reading habits go after you die…

It’s a mystery that leaves me very curious. I already find houses without books, music, photograph or film collections very odd – rather like pictures of home interiors in advertising, with no identity of the occupants visible. Sterile, like a showroom to sell a product or furniture lifestyle – not a working, living home. And if that is what remains in the future, when individuals die, what is left to know of them? An indentation in the sofa, perhaps – where they sat while playing Candy Crush Saga online?

So never mind that a computer tablet doesn’t provide the same decorative impact as a bookshelf, or provide the same soundproofing from your neighbours. Never mind that it’s a good way of hiding your reading habits, and a bad way of storing your nekkid selfies. It’s also a good way of spending your children’s inheritance – permanently. Throwing your small change onto the Kindle Fire (literally), never, ever to return as second-hand small change, ever again. Quite possibly thrown away along with the material potential for any of your descendants to remember you for more than one surviving generation…

Happy Halloween! 🙂 xxx

If you want to learn to how to format a print-on-demand book, publish and distribute for free, click here for my tutorial. You can also learn how to format ebooks and multimedia booksIf those still light your candle 😉 x

WE WANT YOU for Hard Ink Café…

Hard Ink Café Hall of Fame

Join us in the Hard Ink Café Rogues’ Gallery of Contemporary Authors

You may have noticed, no matter how much I love you all, author promotion here is not my bag. In fact, bags are not my bag either, so perhaps I should say, not my cup of tea. I’m just not attentive enough (in the time that I’m not thinking about zombies) to keep it up.

But if you’re looking for an author promotion opportunity that’s a bit different from the rest, pop over to Hard Ink Café for a browse. It’s two weeks old today, and just passed 100 likes.

It’s free to feature, and submission rules are on the ‘Rogues Submit!’ page. You can feature as many times as you want, and gradually build up your own author profile gallery under your author name tag.

You don’t need to be published yet to feature, just have a blog or website featuring your writing, to link your name in the Author Index to your work.

So be brave, get the cameras out, and show us what’s beyond the screen 🙂

L xx

New Sun Rising: Stories for Japan – the book trailer

A Charity Anthology – all proceeds go to the Japanese Red Cross.

Here’s what I’ve been working on for the past week, and the reason that I’ve been out with a camera in the Forestry Commission zone at the crack of all sorts of unsociable hours, in all sorts of places that other people normally get to themselves, with their imaginary dogs and stuff. Yes, I avoided the car-parks with the camper vans in at 5:00a.m, in particular. Pity, because there was an awesome bit of lake fog and tree reflections going on there. I even had the black hoody with skull patches on that morning, so probably not great news for the state of anybody’s sleeping-bag if they saw me.

Maybe after my car’s service I’ll give that one another shot. The car will be running on newly cleaned-up ‘stealth mode’ which means I might get some good shots of deer too, as well as not disturbing the happy campers too much 😉

I did get a couple of shots of a deer this time, while it was bolting away from me in the gorse. I’d driven through a bit of a pea-souper that morning knowing there was some high ground at one of the Forestry car-parks, which on a good day was above ground fog level. And it was spot on, so I parked in the turning on one side and crossed over to the other, the only life in sight being a herd of cows about 250 yards away, grazing on the verges of the main road in silence.

The best view into the valley was just beyond a patch of scrub on the far side, with lots of nice artistic trees sticking up out of the mist. As I got closer and switched on the camera, suddenly there was the sound of hoofbeats, and a Bambi-butt rapidly receding into the gorse right in front of me. I got two shots of her at a distance by the time the camera was active, rather rewarding that she stopped to turn and look at me for both. Probably wondering why I wasn’t wearing verderer-khaki, and carrying a rifle. She kept poking her head up out of the bushes to check up on me while I got my shots. But they weren’t artistic shots worthy of the video above, so I just kept those aside for fun.

I headed back to the car after a few minutes, and got a shock crossing the road, the zombie Cows of the Dead were only about 80 yards away, in exactly the same grazing formation, as if they’d drifted on an undead tide. Sod that. Back in the car, next site.

Next shots were from the woods, looking out from under the trees. The forest makes weird noises at 5:30a.m. Honking, hooting, cawing – more darkest Africa than British garden sparrow wildlife. It reminded me of what Sophie Neville said to me about how to spot leopards hiding in trees, so I gave them a pretty good look while I was there, just to check. There’s a good reason you’re supposed to be able to sense someone’s eyes on the back of your head. Got my shots and didn’t stick around there long either.

The next car-park was totally deserted, which was awesome. News obviously travels fast about photographers stalking isolated public access locations at ungodly hours. Did see more cows, of the more lively variety this time, but they were guarding young calves, so I stayed on my side of the barrier and left them to it after a couple of snaps that I wanted.

The sun eventually came out to play above the fog at my next location, about an hour after sunrise was actually due, so I got enough shots to complete the project above, combined with some I’d taken at the beach back in February, and a couple of odd ones from March. For the lake sunset last week, I was out for two hours and took 455 shots, nearly froze my hands off in the process, but the swan and geese came out to play, so it was worth it.

The charity anthology ‘New Sun Rising: Stories for Japan’ is set for release in June – for updates and background news, including contributors, check out the New Sun Rising blog.

(I’ve got a literary contribution in there too!) L xxx 🙂

If You Go Down In The Woods Today…

All the interesting action was occurring about ten miles north of here… and maybe some of it about sixty yards to the left…

Okay, so I get a commission, and with nothing over the weekend, an overcast day was looking pretty promising by about 7pm. Cloud was starting to break nicely. DS-10 was making the right lets-go-out noises as well, so armed with camera, and mental shopping list (including whatever latest Man v Food style pudding craze is likeliest to make me feel sick afterwards and guarantee continued adherence to diet), we headed out by about 8pm, heading into the Forestry Commission zone to stalk sunset pics.

Unfortunately, high atmospheric wind distribution meant the weather had turned brilliant, too quickly. So instead of interesting cloud formations overhead, the interesting cloud formations were pretty much on every distant horizon, except for the important bit out west. If I’d been about fifty miles east, I’d have had a better sunset to photograph, in terms of having at least a bit of cloud in the way. Sometimes, as above, you get sod all of interest to look at. Just glorious blue skies. Boo.

We still had a good old drive, in terms of scouting to see if anywhere along the route would be worth a re-visit if the weather looked more promising on another occasion. Some nice areas of water which would make good reflection work. Some good tree patterns here and there, but most at an inaccessible range for the impact I want to achieve.

So we got distracted as usual. Passed a herd of pregnant donkeys heading along the road for the watering-hole, and a fire-engine, also heading for the ‘watering-hole’ (i.e, the pub, which wasn’t on fire). Sadly no time to waste camera battery on either, still hoping to get a sunset pic or several, before actual sunset.

Stopped at a couple of turnings into Forestry car-parks to jump out and take test shots, like the incredibly dull one illustrated here (the irony of complaining about the fantastic weather is not lost on me, you can believe that!). Didn’t want to risk bottoming out the bodywork in the potholes by going too far from the main road, and definitely not into the actual car-parks, where I could see the rooftops of other cars on site, but no dogs being walked, if you get my drift…

It was when I was standing by my car, just off-road at the entrance to one of these out-of-the-way idylls, taking pictures of the sky in all directions and basically thinking to myself stuff like ‘useless’ and ‘stupid blue sky’, that I realised the LAST thing anyone else in the area at the time wanted to see was a stranger with a camera. Especially since it was just starting to darken enough for the flash to initiate automatically a couple of times. I heard a few car doors slamming in succession (still no sound of any actual dogs though), and my camera informed me at one point that ‘Blink Detected’ was recorded on digital capture. I swear I was pointing it at the sun at the time too 🙂

Maybe it has got a longer range than I thought 😉

Good thing I wasn’t out there with a full paparazzi sniper rig, and a black hoody on. That’d have been some even more embarrassing stains to clean off someone’s upholstery.

Anyway, what with DS-10 still hooting with laughter at my announcement “I’m not going right into the car park because of the pot-holes and the doggers” and the sky being beautifully crap to photograph besides, which wasn’t going to change, I decided to call it a bust. We stopped off a bit further north to try again for some shots, but the clouds weren’t playing tonight. Still a few more dogless car owners in the car parks though. But then I guess it is pretty much early summer now, and sunset is approaching 9pm already. Too late for tea and too early for bed, for some people 🙂

Saw a herd of black cows without reflective collars on driving back, which is the other reason I avoid the forest at night. I don’t want to turn a corner in the dark and drive into a wall of Moo. When I had the Pug, I swear a llama jumped right over the bonnet out of a verge, on the way to University early one morning. I’ve seen albino muntjack, and one animal in particular driving back late at night that nobody sober should have to witness, ever. And you wonder where people like Tolkein and Stoker got their ideas from…

So anyway, all you folks walking your imaginary dogs in the forest early in the morning and late in the evenings, if you see anyone apparently taking pictures of the sky in your vicinity, Yes, that is what they are doing, and No, it is not about you.

And if you must play dog-walker, learn some dog-barking impressions. You might even get away with it. Or not, as the case may be… I’m sure there’s a huge market for human-dog impressions on Youtube 🙂

L xxx 😉

The Facebook Pub Crawl

Best pub-crawl on record 🙂 (Pics by Jason Kay for the OC)

In the old days, a pub crawl was a handful of close friends trying to make it across the village to the last lock-in.

Nowadays, it’s a combination of fashion show, Mardi Gras, and most of all, social networking. Tagging everyone in photographs within seconds of taking them, and uploading onto Facebook.

Is nobody actually enjoying themselves anymore without the endless posing, stalking, and trying to be your own paparazzo?

I remember when taking photographs in the pub was strange. Only on Christmas and birthdays (in defence, the photographs above were for a birthday). And occasionally, for a police crime scene. (Ahem…)

Nowadays, most people are photographed most of the time.

No wonder women daren’t leave the house without dressing like it’s Oscars night. Everywhere is now a photo location. The bar, the toilets, the car-park…

I have a feeling I was among those whose started that, with my Screen Kiss Scrapbook in 2003. Just getting my prints on a CD from the developers and adding them to my own webspace, so my university friends could email the link to friends and family back in the USA, China and wherever else, to share photos and a joke commentary of their night out.

And they said I took ‘too many’ photos. Nobody normal brought a camera on a night out back then. And they were 35mm disposable flash cameras, too. That was all you had the choice of. Less than ten years ago.

Strange how things catch on, isn’t it?

😉