Ha!

Wow, people have a lot to say about credit. I have to laugh, and apologize, but I’m going to have to try that (deleted post) again later, when I can make it more clear that I just have generic questions… there are no issues or problems. Giving artistic credit is an intricate thing; our explorations were inspired by Jean Power, and in turn we created our own structure and then inspired many more people to bring their minds and hands to the tasks. It takes a long time to write out a proper credit line, and it’s rather cumbersome. I’d simply love to have a welcoming policy that gave people guidelines.Horned Melon as a strap

I think it’s exciting to have an open project, and we’ll keep feeling our way. Mostly I want to really encourage people to explore and experiment, and that’s the kind of policy I want in place. Now everyone get a grip on yourselves, because Jean Power is arriving in just a matter of HOURS.

13 thoughts on “Ha!

  1. Lucky you! I’d like to be a fly on your wall! Jean’s description in one blog post had both me and my hubs laughing out loud. She’s now called the Pied Piper of London in our house!

  2. Dang it–I just sent a very important comment about copyrights, Hunchbacks, and primers. Ah well.

    • I’ll bet you did. You should see some of the others! (I didn’t see yours.) People are nuts on this issue, and were saying things like “So and So has has an entire gallery line of knockoffs!” And I realized, OMG, there is nothing I need to know enough to open this can of worms.

  3. I missed the previous, deleted post, but I have to say, I’ve always felt duly credited by you and the lovely people who participated in this project. Just receiving a few likes on facebook and friendly comments was all the credit I needed. copyrights, hunchbacks and primers? What the hell did I miss?

    • Oh, just my attempt to survey people’s opinions of whether or not interpretations should be sold as original work in galleries, or as part of someone’s “line”. I don’t sell my beadwork, so it’s more of an academic issue for me, not a living wage issue. I asked you in an email earlier today, “If someone knocks off your cover piece, for example, and puts it in a gallery without credit, I wonder who they should have credited? You? Gabri? Me? The book? All of us? Or should we even take notice except to applaud? I’m really stuck on the gallery issue. It’s my policy to default to being nice whenever possible, but this one confuses me.

  4. Darn, I started reading that post earlier this evening and got distracted. Now it’s gone. However, it is a complex and interesting topic. Once again, I can’t say enough about how your open ness to everyone’s exploration of concepts you and Jean generated has changed my “beading life”. It’s truly unique and I thank you once again! As I create these geometric pieces, everyone who sees them hears the book story and sees the book. None of this would be coming off my hands and out of my head without all of your inspiration and encouragement. Perhaps this topic will be revisited some other time and I’ll catch everyone’s take on it then.
    Have fun with Jean!

    • Right, and the book wouldn’t exist if I hadn’t been captivated by Jean’s work, and then our explorations got Jean interested in Horns and Rick-Rack, and it’s all just been a lot of really wonderful loops, very enriching for us all.

      I am unclear as to what my obligation (or my right) is regarding the body of work… as I mentioned in answer to other comments, I’m stuck on the gallery issue… I tend to think of things made from books as being limited to personal wear and gifts… but our concept is meant to be open. Are there limits? Should there be?

        • Well, if you don’t mind, I’d rather not.

          In general, that’s the sort of world I would like to not be a part of. I’m always turned off when I see watermarked photos (unless like Kyle’s they are done so well that it’s just more awesome) or unpleasant little copyright threats on people’s web sites… I just don’t want to be that sort of a person. I just want people to give us a nod.

  5. Do what you think is right and recommend to others to do the same.

    For me, giving a design to a book is giving an authorization to others to try it and explore it further, and if the beaders quote me, which I hope, ‘tant mieux’, if they don’t, ‘tant pis’. I won’t make myself sick with it.

    In the end we’ll have to admit that designs belong to the beads. The designs exist in potential, are inherent of the beads’ shapes and limits… We, wanting to play, or go beyond limits, are simply discovering them. They come to life through our hands. This is why some people find the same things in two different parts of the world without knowing about the other making it… Whatever you’ll tell the people to do – credit you, her, him, many, or the book, or all -: soon many will forget where the designs came from initially… They will escape from the book and conquer the world and people will make their own, etc…

  6. snippet of a Kate quote above, “…and then our explorations got Jean interested in Horns and Rick-Rack, and it’s all just been a lot of really wonderful loops,…” Kind of like beading…

    • Having said that, of course, it’s equally possible/probable that she was interested in them in background already. Jean’s snippet box is like a wonderland of possibilities…

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