The Culture of Collaboration

Collaborative Music and Video Production Changing Entertainment Business

Budding musicians, filmmakers and other artists are creating value through collaborative production. Online creative collaboration now goes well beyond finding and meeting like-minded artists. Now people are producing artistic works collaboratively without sharing physical space. This is having an increasing impact on creativity, the product and the business of art.

Not long ago, gatekeepers controlled the relationship between artists and audiences. NPR’s “All Things Considered” broadcast a compelling story last Saturday about Robert Goldstein, an NPR staff librarian. You can listen to the story here. In the late 1970’s, Goldstein was a guitarist for the Urban Verbs, a Washington, D.C. band. The Urban Verbs almost made it…

 Band members had a connection with the Talking Heads and producer, Brian Eno. Eno was reportedly “blown away” by the Urban Verbs and offered to produce some tracks. Record labels were initially enthusiastic, and Warner Brothers signed the band. However, Warner Brothers reportedly dumped the Urban Verbs after Rolling Stone “slaughtered” the band with a bad review.

While gatekeepers including big media, distributors, producers and others still have an impact, the balance is clearly shifting in favor of unknown artists. Aside from social media sites like Facebook and MySpace, which connect artists with fans and other artists, collaborative production sites take creative collaboration to the next level. These include TheNetStudio for music and Rootclip for film and video. The difference between these and social networking sites is analogous to the difference between using enterprise collaboration tools to design and produce products and services and using such tools for meetings. Collaborative production clearly creates greater value than just connecting.

TheNetStudio is a virtual recording studio through which artists can submit songs for collaboration. Somebody on an island in the South Pacific who has composed a great song can collaboratively create a finished product with musicians in Paris, New York or Los Angeles without ever sharing the same physical space. TheNetStudio, which uses a subscription model, currently enables asynchronous collaboration but will ultimately provide real-time music production as technology evolves to support ultra high quality synchronous sound over the Internet. Currently, sites including Ninjam, eJamming and Musigy offer real-time, online musical collaboration.

In the film and video realm, Rootclip provides an initial “root” clip, one-to-two minutes of video that begins a story. Collaborators determine the path the visual story takes by submitting one-minute videos to move the story from one chapter to the next. The Rootclip community votes on which videos should be used for the next chapter. The creator of each winning video chapter receives $500 and acknowledgment in the credits. The winner of the final chapter round gets a trip to the Traverse City Film Festival in Michigan and a meeting with filmmaker, Michael Moore. Rootclip’s business model is advertising, and ironically big media (the E.W. Scripps Company) is supporting the startup through its venture capital arm.

The big-picture impact of collaborative production is how the medium is changing the product. This phenomenon goes well beyond reproducing or approximating musical or video collaboration in which collaborators share the same physical space. As efforts like TheNetStudio and Rootclip proliferate, artistic endeavors will reflect the input of people from multiple cultures and regions. Finished works will increasingly reflect a broader and perhaps different perspective.

Oh…as for the Urban Verbs, the band recently reunited for a show at the 9:30 Club in D.C.

Real-Time Collaboration Transforming Social Networking

Many organizations think they’re collaborating by making internal social networking available. However, many minimally-collaborative people have personal sites. Enabling social networking with real-time functionality creates new possibilities for organizational collaboration.

I gave a speech several months ago to U.S. government officials who are focused on getting agencies to collaborate. The agencies were using wikis and a sort of internal MySpace, and the culture was in the early stages of becoming collaborative. A central theme of my talk was how real-time collaboration is changing business models and how we work.

Presence, I explained to the government audience, would soon transform social networking by letting us know who’s online and available for spontaneous interaction. For more on presence, see my March 7, 2007 post. With a single click from somebody’s MySpace page or the internal equivalent, a colleague could launch an instant messaging session. The collaborators could then escalate the chat into a web conference or videoconference.

So…I was delighted to read a story in today’s New York Times headlined “Online Chat, As Inspired By Real Chat” in which Brad Stone nails the shortcomings of typical social networking. “It’s like an endless party where everybody shows up at a different time and slaps a yellow Post-it note on the refrigerator,” Stone writes. The story describes how several Silicon Valley companies are bringing “live socializing” to social networking. One company, Vivaty, lets users add 3-D virtual chat rooms to Web pages and social networking sites. Vivaty Scenes offers an immersive experience in which users choose avatars to represent them.  Another company featured in the Times story is Meebo, which lets users add instant messaging to blogs, Web sites and social networking pages.

Real-time and asynchronous collaboration are no longer divorced modeds. This means that real-time collaboration will occur more easily, more often and more spontaneously. This impacts our collective culture in that we'll be interacting more in real time through social networking sites like Facebook and MySpace. Within the enterprise, we can read somebody's personal page or a team site and from there connect with people on the fly to resolve issues or make a decision. Nevertheless, improved tools are merely enablers. It takes a collaborative culture to create value through collaboration.

Reputation and Collaboration

I was having dinner with some venture capitalists and entrepreneurs in Silicon Valley recently, and social commerce was on everybody’s mind. We discussed different business models and the prospects of some startups. Eventually, the conversation turned to blogging and, specifically, to why people blog.

At the top of the list is reputation. Pundits blog to build their visibility and ownership of a topic. CEO’s blog to build their reputations with team members, investors and customers. People at all levels of organizations blog to establish their expertise. Marketers use blogs to enhance the reputation of brands.

Within enterprises, blogging is becoming a knowledge and content management solution. Ideas can be captured, retained and repurposed. At its best, blogging is a collaborative rather than a solo pursuit. Collaborators can blog about each other’s posts or leave comments on the original posts. And team reputation can be a motivator for collaborative blogging.

Just as reputation is important for bloggers, reputation also plays a role more broadly in collaborative culture. Trust is one of the 10 Cultural Elements of Collaboration that I identify in The Culture of Collaboration book, and reputation plays a big role in trust. Reputation is based on work style, knowledge, team contributions, and integrity, among other factors. It’s becoming easier to connect and collaborate with people based on their reputations. As we establish our expertise and interests through blogging, vlogs, team sites, mashups, wikis, social networking sites and other modes, we can more easily collaborate and create value.

Reputation also plays a role in real-time, spontaneous collaboration. Using presence (see my March 7, 2007 post), we can connect in real-time via IM, audio or video with people reputed to have relevant skills, knowledge and expertise. Every organization has internal experts on everything from purchasing to intellectual property. Increasingly, their reputations are based on contributions through wikis, team sites, blogs and meetings (which can be captured, retained, indexed and searched based on keyword). Presence lets us see their availability status and connect with these experts on the fly to solve mission-critical issues and make faster, better decisions.

Yale Law School's Information Society Project is tackling reputation issues in its upcoming “Symposium on Reputation Economies in Cyberspace.” The conference, scheduled for December 8, 2007 in New Haven, will explore the shift towards the “wisdom of the crowd” and away from such traditional forms of reputation as educational background, institutional affiliations, and traditional business networks. Undoubtedly, this shift has wide-ranging implications for society. But the change in how we view reputation also impacts gatekeepers of every kind: publishers, studios, traditional media and elite universities and institutions. If reputation is based more on what we write, say and do online and less on affiliations, gatekeepers will play less of a role.

Strayform Lets Artists Collaborate with Patrons

Brandt Cannici has circumnavigated the globe, speaks Japanese fluently plus has a background in programming and finance. A mutual friend put us together recently, because of Brandt’s interest in collaboration. His most recent endeavor is Strayform, a social networking startup that connects artists with people wanting to sponsor artistic projects—music, movies, books, software, and research. You can check out Strayform here.

The idea behind Strayform is to cut out gatekeepers who are often a barrier to getting artistic projects off the ground. So rather than waiting for a publisher, record label or studio to say yes, artists can get micro grants from those who believe in them. Strayform also includes a licensing engine so that artists can grant creative commons licenses for non-commercial purposes as well as commercial licenses.

One project currently listed on Strayform is an oil painting to commemorate Silicon Valley leaders. Based on the concept of commissioned portraits, this business model involves micro patronage. For $200, you can be included in the artist’s rendering of Silicon Valley leaders. Not a bad price, considering the painting might one day hang in a museum…or at least on somebody’s wall. You can view the project proposal here.

Spiders Getting Collaboration Religion?

Are spiders becoming more collaborative? Experts are debating how and why spiders have spun a giant “web site” in Lake Tawakoni State Park in Texas.

The spiders created a “white fairyland” encompassing many trees. What perplexes experts is that spiders are not particularly collaborative creatures. Unlike other insects including bees and ants, spiders normally work alone in gathering food and building their homes.

So what gives? One theory is that a rare social species of spider cooperated to build a large colony. Social spiders sometimes form colonies in tropical areas in the southern hemisphere, according to an expert quoted in The Dallas News. You can read the story here. Hmmm….social networking among spiders. What’s next? Spiderpedia or SlinkedIn?

Another theory is that multiple species of spiders may have acted in concert.

Perhaps spiders are beginning to understand the potential for collaboration. J

One thing is clear. The web is a huge accomplishment that one spider could never have achieved working alone.

And, yes, the giant Texas spider web is a reminder that we can create more value collaborating than competing.