All of this underscores that, unlike 10 or 15 years ago, there is now a greater understanding that âcontent creation is labor,â says Kate Miltner, a lecturer in data, AI, and society at the University of Sheffieldâs Information School. âIt is time-consuming and often poorly remunerated labor for the most part,â but far more people make entire careers out of being content creators than a decade ago, Miltner adds, âand it feels like an ethics of plagiarism, in addition to trademark/copyright, have come into play.â
Simply put, people get this shit now. A decade after âon fleek,â creators are much smarter when it comes to ownership of their creations. âA series of conversations and discourses about cultural appropriation and where a lot of contemporary (online) language comes from (Black communities, queer communities) have happened since Peaches Monroee,â Miltner says. Lebron may have felt like she dropped the ball because of a lack of resources, but the resources she did have were other creators who knew how to call out what had happened. She also had companies like Netflix, whichâperhaps anticipating blowback for just hopping on a viral trendâjust asked that Lebron curate a âVery Demure, Very Mindfulâ list.
Will this happen every time? No. Memes built from everyday language will always be hard to trademarkâMiltner cites Fox Mediaâs unsuccessful attempt to trademark âOK Boomerâ as an example. But now that even Hawk Tuah Girl has merch, the possibilities of getting credit for your meme, or even cash, donât seem as unlikely as they did before. Might your meme get ingested and reinterpreted by an artificial intelligence bot? Yes. Will that bot be able to make a T-shirt? Er, well, that might happen, too. Creators, especially minority creators, will always have to fight to keep control of their works once theyâve been unleashed onto the world. Now, though, they have a few more coaches in their corner.
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Loose Threads
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