Creativity

Speculation on ‘Content Farms’

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And what's the word in media today my fellow geeks? Two words actually, "Content Farms".

Yes, suddenly Content Farms are in the news, in the wake of AOL's acquisition of the Huffington Post (and AOLs own strategies), search engine loading, and more. I'm concerned that "Content Farm" is going to become a big new buzzword–so in short I'm concerned about how people are concerned.

Don't get me wrong, Content Farming in its worst manifestations is pretty freaking annoying. I understand the need to generate content (after all I'm a content myself), and I do believe some companies, industries, and so forth may go too far. Making low-quality or no-quality content just to get hits and drive up advertising is something I have a problem with.

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The Originality/Unoriginality Barrier: Gradual Evolution.

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(Not done writing about originality yet.  Regular poster Serdar noted that my ideas addressing originality suggested that highly original people can and should address using their ideas via gradual evolution, and that gradual evolution of media was an ideal. I want to address that).

I've been writing a lot about originality in media lately.  This is entirely understandable because originality is a big topic in media – in an age of remakes and the shockingly innovative it's going to be something prominent in people's minds.  It's also an important subject because people feel very passionate about it – as I noted there are many psychological/cultural factors to a love of originality.

My conclusions actually were that originality is actually not a prime driver in media consumption – socializabitility is.  People's interests in media were often heavily influenced by what they can share with and enjoy with others.  Originality, in turn, was most important when it helped with that social factor.

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The Originality Trap: Why We Fear Unoriginality

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Last week I noted that originality didn't always sell for entirely understandable reasons.  This reason was the simple fact that humans socialize via their media choices and interests, and originality did not necessarily play into that.  Sometimes originality produced social bonding, sometime common and derived media did, but the originality's importance was not in its existence, but what it meant for social connection.  Originality just is not as vital as we may think for people's choices, nor is not chosing something original a personal failing.

As I examined the issue of originality I began to wonder why so often creative people obsess over originality.  Why do we fear being unoriginal?  Why do we fear ideas we have are derivative?  Why does the fear of unoriginality cripple some (I'm sure we've ll been there or known someone who has been).  It was worth analyzing.

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