Mitch Said, the artist responsible for the innovative TreeID project  (the launch of which was posted on ATjoburg a few weeks ago)  has just told me that the Mail&Guardian online have published a story on the topic.   Great!  At last some recognition.  The only problem is the editors have seen fit to categorise the story under the "Business" section of the site.  An intriguing choice which will no doubt add to the confusion over the status of the project.  It is probably the fate of all truely innovative work to be misrecognised if not misunderstood.  This is, of course, exactly what the "camo trees"  at the heart of the TreeID project, aspire towards:

_{Detail of a "camo tree" trunk on fake rock
podium.  Befordview, Johannesburg. 
Photo by Christo Doherty.}

The ‘fateful question’, in my opinion, is not ‘painting’ or ‘film’ but rather the advance of optical creation into all the places where it may legitimately go.  Today that means photography and film, as well as abstract painting and play with coloured lights.
The new generation, which does not have as much sentiment and tradition to shed as we do, will profit from the problem when it is phrased in this way. (Dessau, 26 April 1927)

Lazlo Moholy-Nagy, Bauhaus Photography

In another step towards making their video service more legally acceptable, YouTube/Google have  reached licencing agreements with  the bodies in the US and UK which collect  music royalties on behalf of musicians.  In other words, YouTube have agreed to pay  performance fees for the use of such music whenever their users upload a video containing a copyrighted music track.

 In essence the deal gives online video creators the same freedom to use music that actors and comedians have at events  such as the Edinburgh Festival fringe, which operates a PRS waiver. But for online content creators, it is YouTube that picks up the bill for any music they use. (The Guardian:Technology)

There was no indication of how much money YouTube agreed to pay for this PRS waiver; but it is no doubt a hefty whack.  How musicians from other countries, who are not covered by these agreements in the USA and UK, will benefit is not clear.  Will YouTube have to negotiate with the equivalent bodies internationally?  This is clearly one of the major dilemmas facing the providers of an international service, such as YouTube.

Roelof is the creative head of Trigger, one of the most innovative online marketing agencies in South Africa.  Under his direction the company have designed a number of programmes for clients such as Nike.  These programmes incorporate brand development with detailed market research  and have led to fascinating insights into "the internal vision of the real South Africa."