The idea for the PCCA came out of a decade’s observation of and engagement with content aggregation and delivery via the web. Many of the instances and examples had proved negative, primary among them the massive Lexis-Nexis infringement (including work of mine) that led to the landmark Tasini vs. Times Supreme Court decision and the much smaller-scale looting of dozens of essays from dozens of writers by the Paul Kopeikin Gallery (also including work of mine). Many content aggregators did it wrong, from my standpoint, starting with their basic assumption that they could and should get their content free of charge. How, then, could one do it right? . . . […]
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So when Ward stepped up to my table in the Exhibits Fair at the SPE National Conference, he walked into my shop — my place of business — during business hours. He didn’t have the courtesy to ask me if I could spare the time to meet with him after business hours so he could discuss my Archive project with me. He simply began haranguing me, in front of my actual and prospective customers, about how I should give my wares away free of charge. . . . […] I wouldn’t take this personally, except that Ward delivers it in the context of a personal attack on me. This blog post of his begins with a substantial quote from an essay of mine. No problem there, but the irony, lost on Ward, is that he took this quote from a pirated online publication of my text from serial infringer Doug Rickard at his blog AmericanSuburbX. Ward then has some complimentary things to say about my writings before lowering the boom: “I met Coleman at an SPE conference a few years ago . . . and I wondered how he could be so consistently luddite and backward about the future of photographic education. Mainly, judging from his web presence, I really don’t feel like he ‘gets’ the internets.” [Plural his.] . . . […] |
 SPJ Research Award 2014 |
Polaroid Collection: Update 7
I don’t know if something’s rotten in the state of Denmark, but something’s definitely off in the state of Minnesota. Evidence accumulates that Polaroid has known all along that it never owned most of the work in its collection outright, yet the contents of that collection now move toward the auction block with the approval of the Minnesota Bankruptcy Court. . . . […]