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Re: GSP statement on use of my dinosaur restorations

I'm an animation and vfx artist now entering the field of paleoart. The experience from that background is that unionization will not happen - and if, then only for isolated local markets, or rather market - namely France. It has not worked elsewhere, and in France it is based on government subsidy models. Waves of artists are young, hungry and talented - and have little to no awareness or consideration of such issues. They have trained themselves by reverse-engineering content on cracked software. And these talented masses are growing in a field of notoriously vague copyright respect in which only the most voluminous of corporate clout (ie the MouseHouse) has had any success in fencing off story or character ideas. Beyond Disney, there's an Antz for every Bug Story. If my observations are correct, there's an oversaturation, and these artists will be filling in niches such as paleoart. They're good, productive and have little respect for the issues you state.

Greg Paul, I wish you the best in fencing in your intellectual property rights but humbly advise you to formulate an alternative plan. Perhaps I have a biased mistrust of lawyers... I propose that you invest the money from law actions into creating an online community - the GSPaul DinoPark and turn all those infringement artists into fanboys, create a distribution brand where art, animation and consulting can be licensed online. That way, each interaction not only gives you a perhaps modest cut but also furthers your presence as a brand - the intellectual father of these ideas. The path of least resistance, and one in which you receive the respect owed.

Hello Heinrich,

There is a major difference between committing a major case of academic
fraud, and the gradual incorporation of knowledge published in peer
reviewed literature into future works.

The basis of science is the public transmission of information and its
reuse. I would guess that Mr. Paul is pleased to have had such
influence on future artists.

That said, it is extremely problematic to have artistic works
essentially duplicated for commercial purposes. This is clearly

One thing I find difficult is the boundary between these two areas: At
what point do basic features such as basic proportions enter the arena
of public knowledges? At what point does the use of such information
undermine the viability of careers or the painstaking work of primary
reconstructions (ignoring copyright for the moment)?

I may be dreaming, but it would be great if there was a union of
paleoartists that was strong enough to pursue the occasional
litigation, set approximate wages and also ensured that some basic
elements of reconstructions were clearly within the public domain.

-Jonas Weselake-George

On Fri, 04 Mar 2011 02:45:20 +0100
Heinrich Mallison<heinrich.mallison@googlemail.com>  wrote:


There is no question that copyright violations are utterly
unacceptable. Just ask the former(!) German Secretary of Defense (Dr.
[not so] zu Googleberg... erhm zu Guttenberg). You're being too nice
with your statement.

There is also no question that your drawings and restorations have
had a profound (positive) influence on dinosaur palaeontology and its
public perception - thank you very much! I ripped into two of them
pretty hard in my papers, but that was about tiny details, not about
the basics. I'm really pissed off to hear that people are ripping you

There is also the sad fact that Dan Varner is right: you need a good
lawyer, and you need a war chest. A big one. :(


Dr. Heinrich Mallison
Museum für Naturkunde - Leibniz-Institute
for Research on Evolution and Biodiversity
at the Humboldt-University Berlin
Invalidenstrasse 43
10115 Berlin