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'Does size matter?'_Matt Hardisty.
Printable version
For the 'independent' creative and media enterprise the Internet has been heralded as the talisman of a new kind of war of liberation, amplifying thought and communication at a global level - a must have fashion accessory. The development of multimedia technologies has created high hopes for the development of dynamic and growing employment in the creative and media industries, which are crucial to preserving the multitude and diversity of global culture. Independent enterprises arguably no longer have to rely upon personal recommendations and being less encumbered than their global counterparts, they are able to react quickly to changes in the marketplace. We now have a situation in which all art forms (including the visual arts) are being 'democratically' freed from gallery spaces (at a fraction of the cost of putting on exhibitions in small galleries), cultivating entirely new audiences and creating entirely new forms of perception and aesthetics. New distribution channels and routes to market begin to emerge. For artists for example, royalty payments from the multiple sale of their digital work in such a system might soon offer a far better income than showing in a gallery, whilst for authors, fatbrain.com allows them to establish their own list price.
As media conglomerates merge, rather than innovate (and failing to promote diversity), the easier it is to identify alternatives since packaged content appears to be less appealing within our DIY culture. At the same time there is a real demand for innovative content, amidst the onset of a 'dumbed down' 'homogenised' retro culture, fuelled by the loss of nerve of these larger companies when they have to confront innovation. The success of popular culture has always been on the back of passion, an inert prerequisite of small creative and media enterprises, and it is this that venture capitalists are now looking for. The new economy is irrational and passionate rather than cold. For example, the success and longevity of sites such as skinny.com and ninfomania.com have been made on the back of their connection with an 'underground' culture. In the future, it is unlikely that a purely 'business' orientated enterprise will survive. In the next three years, it is anticipated that between 60-70% of the current dot com market will have disappeared. The 'consumer is king' and it is argued that it will be 'hubs with integrity' that will be sustained.
The development of a multimedia project however, requires financial assets and a degree of risk-taking behaviour that cultural producing companies do not always have. Alongside this we find it difficult to identify with and relate to 'traditional' sources of advice such as Business Links ('men in suits'), who often do not understand the dynamics of our new industries. In addition, it is becoming increasing apparent that the 'context' in which information is received is of great importance, again, acting as a barrier as to the extent to which innovative 'standalone' content can be truly exploited. Does this mean that we are bound for 'commissioned' only projects, in which optimisation is sought through challenging assignments?