Posts Tagged ‘Economics’

Trouble in Tahiti, er, Sweden

Tuesday, March 9th, 2010
Swedish police car (Volvo), new livery (accord...
Image via Wikipedia

I have to be honest, my fiction consumption is woefully lacking, replaced in recent years with poring over economic tomes and a little too much time on Facebook and Twitter.

But there is nothing that tickles me more than when fiction is just as strange as the truth, and this description of Swedish crime novels (a genre which I am a huge fan of, crime novels, that is) makes me want to dive back into the fiction pool.

Via the humanities via n+1 magazine,

Swedish crime fiction—and in our historical moment, Sweden is the crime fiction capital of the world, with growing suburbs in Denmark and Norway—owes its greatest debt to its British forebear, whose plots it cheerfully rips off. But the Swedish model distinguishes itself by infusing these plots with a social and political consciousness.

My husband is always playfully chiding me that he can tell within the first 10 seconds of a film if it is one that I will like: blue lens filter with an aerial shot of Washington DC, courier type scrolling across the screen revealing confidential information where we find out a government agent has gone rogue.

So, you can imagine a trilogy set against the backdrop of the wretchedness and treachery of the world’s most beloved quasi-socialist state would pique my interest.

To read the 1,802 pages of the Swedish crime novelist Stieg Larsson‘s Millennium trilogy is to be told that, for all their perceived virtue, the institutions of social democracy are a farce. In Larsson’s books, American readers will find the Sweden they expect: the welfare-state comforts, Volvo security, and Ikea practicality for which the country is known. But they will also find a country they didn’t expect. In this Sweden, the country’s well-polished façade belies a broken apparatus of government whose rusty flywheels are little more than the playthings of crooks. The doctors are crooked. The bureaucrats are crooked. The newspapermen are crooked. The industrialists and businessmen, laid bare by merciless transparency laws, are nevertheless crooked. The police and the prosecutors are crooked. And the criminals, of course, are crooked, though not always: it’s often the case that criminal acts committed by do-gooders in the name of justice—from petty larceny to massive bank fraud—are the only means by which to overcome the comprehensive failure of the world’s most comprehensive welfare system.

I think it is interesting to show that empirical evidence may verify the tales the book tells. Although folklore from those in love with government intervention and centralized control would have us believe Sweden is a rich, happy, and smoothly-running socialist country (just LOOK at Ikea!), this video shows us that Sweden’s roots are in the free market, and is just now recovering from a bout of poor decision-making throughout the 1970′s by releasing government controls to right the economic wrongs of their recent past.

In fact, the biggest marks against Sweden are their prohibitively high tax rates, outrageous levels of government spending, and stifling labor laws. While at the same time, their protection of property rights, ease of investing in and operating businesses, and trade policies are remarkably free and guided by rule of law. Check out the strange disparity in economic freedom ratings here.

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Arts Labor Markets: An Informal Case Study

Thursday, March 4th, 2010

I did not think my last post would generate such lively discussion – so I propose we refocus and delve deeper into one particular economic aspect of the conversation that I think is critical. While this informal case study I offer is by no means exhaustive, I hope it will be informative to readers interested in arts labor market economics. Having said that, it is rather long for a blog post, so I hope you will all bear with me or bookmark for later.

In discussing whether the proposed legislation of setting a maximum duration/minimum wage for arts internships makes economic sense (in that it achieves its intended effects), we should first review the effects of setting price floors and determine if, indeed, there is an economic benefit to imposing a maximum duration/minimum wage for internships.

According to the economic laws of supply and demand, setting a price floor for wages above the equilibrium wage, ceteris paribus, will do two things:

  1. Increase the demand from workers for the wage.
  2. Decrease the supply of the jobs offering the wage. (Hubbard and O’Brien, 2006)

Looking at each of these points individually, we can see that imposing legislation requiring arts organizations to pay interns a minimum wage after a certain period of time would likely result in more interns wanting those higher-paid jobs (point 1), as well as a decreased ability for organizations to offer the jobs due to the impact on their budgets (point 2). As a result, the increase of interns supplied will cause net higher unemployment in the arts, not less. However, it does not seem this is a point of concern for those in favor of the legislation so we will not address it here. Instead, I suggest we focus on the net effect on the poor, since that is what seems to be a main point of contention.

Now, it is likely that point 1 will not be considered significant or negative by those supporting the legislation – as they may consider an increase in potential interns a benefit (perhaps due to the externality of arts appreciation, etc). However, a closer look at the effect can be seen as detrimental in particular to the poor (who the legislation is ostensibly attempting to help obtain gainful employment), due to the fact that flooding the market with additional supply of workers will result in even stiffer competition, with those winning the even better paid positions being those who already have more experience (who we seem to agree are more likely to be those already better off or able to afford the unpaid internships).

As we’ve already agreed thus far, poorer interns are unlikely to have such experience, and as a result they are even less likely to win the paid internships than when they were unpaid. This is because an organization offering work for free is likely to be more discriminating about their intern choice once the same position is  offered for pay and can have a positive or negative effect (however small) on their bottom line. Furthermore, we are not talking about hiring relatively unskilled labor where the difference in prior experience is largely irrelevant, such as janitorial services or working in a fast food restaurant.  We are talking about serving the needs of arts organizations, which would seek to hire interns with basic proficiency in computer skills, verbal and written communication, and some prior education in the arts for a paid position.

As already noted in the comments, volunteers are more likely to fill unskilled positions like ushering, stuffing envelopes, or posting signage for events, for example. There is no reason to believe organizations offering new paid positions are going to seek less qualified interns to fill them. So, the effect of the legislation will be to price poorer/inexperienced potential interns out of the market altogether, effectively eliminating the bottom rung of the ladder as it were, leaving them with less opportunity to advance their arts careers, not more. Therefore, the effects of the legislation will actually harm those it is purporting to help and simply help more experienced interns get better jobs – which is not in and of itself negative on an absolute basis – but it is certainly not achieving the intended effects of the legislation.

Point 2 is likely to be explained away as it was in an earlier comment as to have a negligible change on the finances of a larger arts organization. This may be true, but it may also not be true – we cannot know without additional information and review of the finances of arts organizations, which are often far more sensitive to changes in allocation of capital due to the volatile nature of their business, so it would stand to reason that imposing additional financial burdens (however small) would affect them on a more than negligible basis*. Furthermore, the point is not only to address the finances of larger arts organizations as they are not the only ones affected by the legislation, but all arts organizations that offer internships, which no doubt span small to large in size of operations.

However, even if we accept a high likelihood of larger organizations being able to afford paid interns (and even if we neglect to perform financial feasibility studies to determine the marginal revenue product of labor – which is clearly more important when paying employees than when letting them work for free), the replacement rate of paid jobs for the previously unpaid jobs is unlikely to be 100%, otherwise there would be no need for legislation and interns would already be paid (that is, if we accept the premise an equilibrium wage rate can and should be found). So, otherwise, under force of legislation would the paid job replacement rate be 90%, 50%, or 10%? Again, we cannot know without additional information.

But even if we accept a generous 90% rate of ability to pay interns providing the same amount and duration of internships (i.e. opportunity) by larger organizations after legislation is imposed, we can then anticipate that rate will decrease in some proportion (more or less) in relation to the decrease in size of an organization’s operations and their particular financial situation. We can probably also agree smaller organization’s finances are likely to be even more volatile than large ones, have less expendable income, and rely more heavily on both volunteers and unpaid interns. As a result, this legislation is likely to more than proportionately negatively affect the operations of smaller arts organizations because it is well-known that small arts organizations struggle more than their larger counterparts to win both private and public dollars.  The likely result of forcing them to pay their interns will be less ability to offer positions than their larger counterparts and may require downsizing their operations and offerings, again due to their heavier reliance on volunteers and interns.

It can be seen that the result of the legislation in economic terms is a net loss of opportunity offered by all arts organizations and made available to all arts interns, affecting smaller organizations and poorer interns more than larger organizations and well-off interns**. While economics cannot determine with finality which decisions should be made, it allows the conversation to then inform the philosophical arguments of whether or not more or less opportunity in the arts is beneficial and whether offering more or less opportunity to the poor is good or bad. Clearly those in support of the legislation are not concerned with the net loss of opportunity and are misguided in thinking the poor would be the primary beneficiaries of what positive results (possibly more paid positions) are obtained.

Another correct point mentioned above is that this type of legislation is administratively and logistically laborious to police and punish, if not near impossible. This is another point against it, since the addition of government employees needed to monitor the exploitative behavior will probably not be made due to low priority (since the type of so-called exploitation is hardly as serious as other criminal activity that is far more prevalent and detrimental than the supposed horrors of lengthy unpaid internships in the arts) or monitoring will be unsuccessful due to the ease of participants finding loopholes.

So in reality, this may be glamour legislation that can do little to stop the unwanted and promote the intended behaviors, but may win legislators some votes come election time because it sounds like a nice thing to do according to those who have imperfect information regarding economics. I can only hope what is more likely is that its net effect on actual finances/interns in practice is very small. I imagine there are/will be more “volunteer” opportunities in the arts than “internships” and that hopefully they look just as good on these poor struggling student’s resumes.

* A highly-contested study, Minimum Wages and Employment: A Case Study of the Fast-Food Industry in New Jersey and Pennsylvania (Card and Krueger, 1995) on price floors in labor markets have offered some evidence that the net effect of price floors in the fast food industry has negligible effects in terms of decreasing the supply of labor (and by extension wages set at a minimum) and output of businesses in that industry. However, these studies are not the final word on price floors, and even if they were, they cannot provide us significant insight into the arts industry’s labor market – which is vastly different than the fast food industry whose price elasticity of demand (for labor) is relatively inelastic (meaning when the price/cost of labor increases, there will be little impact on amount supplied to workers), whereas the price elasticity of demand in arts markets is arguably more elastic (meaning when the price/cost of labor increases, there would be more impact). This analysis is only theoretical at this point, and would require further study to determine with finality.

** Which proves my original quick analysis of the legislation was faulty! Since the title of the original post was “Let’s Level the Playing Field by Making Everyone Worse Off” and I have determined that not everyone would be worse off, only the poor would be worse off, I think this has been a valuable exercise.

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Let’s Level the Playing Field By Ruining Everyone’s Chances

Tuesday, March 2nd, 2010

Sometimes I am so baffled by new legislation and the arts.

Via Arts Admin via Createquity

Getting a degree in arts administration is expensive, and that has an impact on who is financially able to pursue the degree. Does the prevalence of unpaid internships exacerbate the issue? Via Createquity*, the Guardian says that a report by the UK’s Arts Group

… has called the large number of unpaid jobs in the creative sector “exploitation” and is calling for legislation to regulate the use of unpaid internships by arts organisations, suggesting that all placements over a month should be paid the national minimum wage.

As someone who had chosen to work for free in order to gain valuable experience and is not a trust fund baby, I can assure you I am perfectly capable of deciding whether and when I am being so-called exploited or not. Certainly if I have decided to volunteer my time and services to an activity I feel will benefit me in the long run, or if I’m simply feeling altruistic – I should be allowed to do so and organizations should be allowed to offer such opportunities in abundance as long as there are takers!

Legislation does not need to “fix” what simple economics has been capable of solving since the dawn of time: supply and demand. Clearly there is ample supply of free workers as well as work for them to do. I must be missing the handcuffs in this equation.

Furthermore, the additional perks of working at arts organizations, for free or paid – are numerous! In college, while I had a paid (state subsidized) internship with an arts organization – I had access to incredibly valuable networking opportunities, social and educational events, not to mention incredible performing arts programming almost every day of the organization’s season! I would have done this work for free.

As I commented on Michael Rushton’s blog,

I can’t imagine what forcing arts organizations to pay minimum wage will do other than dramatically decrease the availability and duration of internships.

The idea is so comical and detrimental to the arts I have a hard time believing something like this would pass. But satire is dead, and I’m shocked on a daily basis by the things people will allow governments to do to routinely erode their freedom of choice – even when it comes to volunteerism!

A Scathing Admonition for The Artist

Thursday, December 10th, 2009

I was delighted today to come across this lively, and at times, painfully honest speech given by Ismail Mahomed of South Africa’s National Arts Festival. I recommend reading Arts Entrepreneurship Can Smash the Begging Bowl it in its entirety. He begins,

When for far too long we have attributed the term “artist” to an individual or organisation that holds a paintbrush in one hand and a begging bowl in the other hand, is it possible to associate the term “artist” with the now much brandished about term “economic development”?

Mahomed is adamant that individual artists are obligated to change this stereotype, that is, if they expect to make a living and to be taken seriously,

How much of this can be attributed to the fact that the artists have often define themselves in the ways which serve to entrench their un-employability and their positions of poverty? Take a walk down Commissioner Street in Johannesburg and ask any entrepreneur what he or she does. The answer will be clear and unambiguous. “I am a banker” or “I sell insurance” or “I am a lawyer”, “Here is my business card”.

Conversely, walk around the Newtown precinct and ask any artist what work he or she does and you are likely to receive an answer such as, “Eish! I am an artist. Sometimes, I sing. Sometimes, I dance. Sometimes, I act. But eish! It’s tough so I try to do anything.”

Often, the “I can do anything” doesn’t reinforce the versatility of the artist. In fact, the message that it conveys is that the artist is a Jack of all trades and a master of none. In an environment where there is a shortage of resources for the making of art; and where there is a competition for the limited resources, the artist can no longer afford to be complacent about his or her career.

I have had the honor of knowing or meeting many working artists (meaning they make their entire living from the arts). They all have one thing in common: keen business sense and artistic direction. Without naming names, many times these people are not always the most talented, and in fact, they are quite amused to tell you this. A famous composer I once met told me about how there were so many more students more talented than he, but he simply worked harder than any of them and has had a wildly successful career as a composer.

Mahomed’s example reminds me of when I was once criticized for not being a “real artist” because I had little experience begging on the street corners of New York City for people to come see my Off-Off-Broadway show. Now, that strikes me as a peculiar qualifier. I would hope that an artist can be defined by a combination of talent and marketability, whether on the streets of New York, or here in Detroit.

Another “real artist” I once met became very annoyed when I asked him “what kind of music he composes.” He looked extremely put out, and then, as if doing me some kind of favor, gave a speech about the ineffable in art and how his music is beyond definition. Wow. Maybe that kind of bumptious discourse lands him oodles of commissioned work, but my guess is that it does not.

Knowing that these people exemplify the commonly accepted definitions of “real artists,” I’m more than happy to be excluded from their company. Yes, perhaps I am a bit more career-oriented than most “artists,” and perhaps I don’t have a career that most “artists” would call “real art-making,” but that is no matter to me. What I do know is that a “real artist” can and should sell his work and make a living at it.

Arts Funding Woes and Solutions?

Monday, November 30th, 2009

A recent blog post at the blog Arts Admin by Michael Rushton (the director of the Arts Administration programs at Indiana University at Bloomington) talks about scarcity in the arts market,

It’s a struggle to run a nonprofit performing arts organization and stay in the black. That goes for theatre companies as well as performing arts centres. Given the demand for theatre performances, and opportunities for fund-raising for theatre companies, there is only so much money to go around.

Through this long newspaper story, the only clear take-away is that a coalition of arts groups wants more of that scarce pool of money in their accounts, and less in the BAAC’s. And the BAAC doesn’t agree. Not a surprising conflict, and each side is trying to make their case publicly.

So, let’s turn to policy – how should rental prices be set?

Performing space is a scarce resource that costs money to provide. It is not clear to me, and is not made clear anywhere in this long article, why one arts organization ought to provide it at well-below cost to other organizations.

I commented that I have often wondered why more organizations don’t consider consolidating their operations as a way to take advantage of economies of scale, thereby sharing/cutting costs and increasing profits. This kind of talk is usually considered pretty dirty in the arts world. Collaboration, in particular for profit motive, can be seen as tainting the original goal, or perhaps the soul of the original work. Collaboration may require an expanded mission or re-thinking a season’s shows or a gallery’s offerings. However, I would argue this is likely seen more in individual artists or smaller arts organizations, where their focus many be a narrow niche.

I’m of the opposite mind. I believe that collaboration (and thereby, increased dissemination of art) enhances, strengthens, and preserves art.

The Financial Times recently discussed this issue as well,

One of the biggest operatic successes on the London stage in recent years has been the production of Madam Butterfly by the film director Anthony Minghella at English National Opera.

But the critically acclaimed show might never have made it to the stage had it not been for the company’s ground-breaking partnership with New York’s Metropolitan Opera, which enabled it to share production costs.

John Berry, artistic director of ENO, says the company’s emphasis on artistic collaboration over the past three years has enabled it to achieve its target of mounting up to 12 new productions a year. “The amount of public funding is simply not enough to sustain the amount of new work we are creating…What is important is that [the collaborations] are artistically driven. They don’t dilute the product; they strengthen it.”

I believe many artists fear sharing or opening their work to collaboration with other people/groups/countries/ethnicities because they feel there is something so special about what they are doing, that they and only they can preserve it.

The Art and Economics of Epilepsy

Saturday, November 28th, 2009

The British online magazine TimesOnline.com reports about a fascinating trend in the arts and epilepsy:

The Arts Council has given a epileptic dancer £14,000 to stop taking her medication and have a seizure on stage.

Rita Marcalo’s 24-hour performance, involving strobe lights and sleep deprivation, is billed as a study of the “conceptual and physical interfaces between dance, movement and epilepsy”.

Rita Marcalo - dancer, epileptic
Rita Marcalo – dancer, epileptic

I think this show has the potential to be an interesting experiment, a study, but not a completed work of art. So much of contemporary art falls into this category for me. I have been told I ascribe to the formalist theory of art, in that I believe art requires some level of technical ability applied in such a way as to achieve a specific artistic outcome. So, given my limited understanding of art philosophy, I don’t believe anyone having a seizure, even a trained dancer, qualifies as art. It would seem the seizure is distinct from what may or may not be her talent at dancing.

Of course, I’m open to arguments I have not considered and I do understand the appeal of and find value in this type of quasi-art event: engage, entertain, and educate. Still, the event should be interesting, if not artistic. Plans include inviting audience members to capture a possible seizure on their mobile phones.

The Playhouse [the venue where the performance will take place] says: “At any point in the event Marcalo might have an epileptic seizure. Whenever this happens, a loud alarm will sound, lights will brighten, music will stop and a series of cameras will start recording her seizure. Audience members will be encouraged to record it on their mobile phones.”

As an economist I wonder whether The Arts Council’s use of funds for this project does much to serve either art or epilepsy? Looks like I’m not alone.

Stage fighting coach Jonathan Hartman shares a recent job he got, courtesy of funding from The Arts Council,

…when an actress whose demise I had once staged (gunshot wound to the head, brains on the backdrop) rang to ask if I could spare some time from my impossibly crowded schedule to teach two mature acting students some stage combat, I was delighted.

Then she offered a suspiciously high fee for the job – £500 – and I waited for the catch.

‘They’re both legally blind,’ she said casually.

At first I was sure that this was a wind-up – then afraid that it wasn’t. ‘Is there a disability grant involved?’ I sighed.

‘Yes. That’s where the money for teaching is these days,’ came the reply.

Hartman continues that the profligate expenditures of The Arts Council don’t stop there,

I wondered how teaching blind actors to fight would rank alongside the more ridiculous excesses of the Arts Council over the years – £75,000 spent on a festival in which people could take striptease and poledancing lessons; another £70,000 on changing its own name from The Arts Council of England to Arts Council England.

Most recently, it asked British artists to invite their counterparts from countries such as Afghanistan, Libya, Iran, Iraq, Saudi Arabia and Syria to spend two weeks here – with no pressure to actually produce anything. As the advert stated: ‘The emphasis is on the development and research process rather than production, free from any obligation to produced a prescribed outcome.’

Is public funding for the arts really serving the needs of public in these cases?

Spread the Wealth for Artists Series: Take 2

Wednesday, November 4th, 2009

Andrew NorcrossHere is the second installation in our Spread the Wealth for Artists series. And by the way, David Bruehan’s book, Spread the Wealth: More Haves Fewer Have-Nots came out the first of the month, so go order it, read it, and then let’s put our heads together to truly spread the wealth for artists.

Contributor Andrew Norcross is a financial advisor, tech wiz, and one of my regular Twitter (@Norcross) politics and econ sparring partners, so of course I asked him to weigh in here.

Question: Why Are Artists Poor? (a great question, I think, and the title of a book by economist Hans Abbing)

a. Why are so many people who pursue “art” for a living poor, or simply unable to lead a stable financial life?

b. What do you think is the greatest roadblock to artists being able to make a steady living in their craft? Do they trap themselves into thinking financial success=selling out?

Andrews’s Response:

A. For some, I believe it’s a self-imposed choice. They feel as though the only way to truly be ‘inspired’ is to struggle. They aren’t adept at working a ‘real’ job while pursuing their art, and often times aren’t able at doing anything that ‘interferes’ with what they feel is their artistic vision.

For others, it’s other factors in their life completely unrelated to their art (drug and alcohol addiction, mental illness, etc). They just happen to be an artist as well.

B. I believe for many, the “selling out” factor is legitimate. But more often than not, it’s a matter of their particular craft not being commercially viable. Because the masses aren’t usually interested in anything that isn’t mainstream. And most art certainly isn’t mainstream.

Question: A recent article “Chinese Graduates Increasingly Drawn to the Arts” highlights a significant shift in Chinese culture and art.

a.  Based on what you’ve read, what is your opinion of the recent surge of contemporary art in China? What has allowed this to happen?

b.  Consider the following quote about Chinese artists in recent history,  and compare to the current evolution, “A recent survey [2001] notes that unlike many countries that intervene in the arts, the Chinese government has gone to an unusual extreme.  ‘China…has a totally different structure. Performers do not normally have to take up another activity and they often do not have the right to.’” [emphasis mine]

Andrew’s Response:

A. I believe it’s a shift in China’s social structure. As the modern culture advances, there is a natural growth in the arts, from both a creation / development and financing [standpoint]. Given China’s pseudo-communist government structure, it’s natural that the country would be at the forefront.

B. I’m no expert on China. But it would seem to be that they (the government) have a real interest in fostering a healthy and prosperous arts community for the benefit of their entire country. Seeing how artists “struggle” in other countries, they may believe that allowing the artist to solely focus on their skills and craft is the best way to achieve that.

Question: Property rights are a hallmark of a free society. How do property rights affect an artist’s ability to make a living? How can we balance the freedoms of globalization and technology and protecting artist interests online?

a.   Is “crowd-sourcing” killing the individual artist?

b.   How has creative commons changed art, music, and social media?

Andrew’s Response:

A. I believe it’s killing out the marginal artists. While somewhat sarcastic in thought, I really do believe that if your job / skill can be crowd-sourced to achieve the same product that you can individually, then you weren’t very good to begin with. You could probably crowd-source a Thomas Kinkade, but you couldn’t crowd-source a Dali.

[Note from Milena: I've heard from a number of unverified sources that Kinkade's paintings are crowd-sourced. Of course, the Kinkade brand would keep this tidbit rather quiet, but if indeed true, it would add to your point. According to said sources, Kinkade's got a whole team of "painters of light" that fill in his lithographs and he may go add a daub of paint here and there. Though, artists throughout history have used this method as well - painting in teams. It appears crowd-sourcing is really nothing new, but simply evolving with technology.]

B. It’s given many artists the ability to find a channel to distribute their works, without a large barrier to entry. Almost anyone can get webhosting / social media space / etc.  to display their works worldwide without needing a benefactor or other sorts of ‘gatekeepers’, whereas in the past that was simply impossible.

Spreading the Wealth for Artists Series: Take 1

Wednesday, October 21st, 2009
Hubert at Tyree Guyton's "The Dotty Wotty House"

Hubert at Tyree Guyton's "The Dotty Wotty House"

About a week ago, I invited a handful of creative types, econ types, or both, to participate in a blog series I’ll be featuring here on Art and Avarice called, “Spreading the Wealth for Artists.” I’m writing this in coordination with a book release from Professor and Economist David Breuhan entitled, Spread the Wealth: More Haves, Fewer Have Nots, which is going to be released November 1st.

I asked a variety of questions relating to how artists can earn a living in their craft, and why do they often fail to do so? A subset of labor economics, this inquiry into cultural economics is particularly fascinating to me because the incentives for artists are quite unlike other fields, where the primary motivators are intrinsically linked to financial success. In the arts, financial success can ironically mean failure as an artist! Let that sink in while you read Hubert Sawyer III’s (@HubertGAM and blogger at Frying in Vein) take.

Question: Why Are Artists Poor? (a great question, I think, and the title of a book by economist Hans Abbing)

a. Why are so many people who pursue “art” for a living poor, or simply unable to lead a stable financial life?

b. What do you think is the greatest roadblock to artists being able to make a steady living in their craft? Do they trap themselves into thinking financial success=selling out?

Hubert’s Response:

A. I think it has been an age-old exercise for artists to try to keep their influences pure – as money tends to put a cloudy haze on one’s perspective, at least in contemporary times. The moment you realize you are creating art for money, the question become “Is the art earnest?” As most artists are a passionate bunch, they would rather not deal with that existential question, so they would rather starve that pollute their artistry.

Some artists are fortunate enough to have financiers, who allow them to create without worrying about when their next meal is coming or if they can afford to buy more material to create. This is an outlier group though, so you have legions of artists who are forced to make a hard choice of doing what they love for little or no money or get a job to keep a roof over their heads.

B.  I think the greatest roadblock is the perception that the arts is not an industry where people can really make money while they are earning a living.  With so many posthumous success stories, how can one believe they could make a living creating art? Even in the music arena, where it was a lot easier to sell wares, you hear the success stories of pop stars selling millions of albums, not many of those in more modest situations that still are able to live comfortably with less sales.  It would help if artists were given more stories of ambitious, hard-working individuals who made it their business to build sustainable careers.

I don’t think there are as many artists who worry about “selling out” as there are cynical artists who do not mentally commit to being career artists.  It is not all their fault though.  Mass media does not share much about the arts, so how could they think differently?

Question: Property rights are a hallmark of a free society. How do property rights affect an artist’s ability to make a living? How can we balance the freedoms of globalization and technology and protecting artist interests online?

a. Is “crowd-sourcing” killing the individual artist?

b. How has creative commons changed art, music, and social media?

Hubert’s response:

A. Heck no, crowd-sourcing isn’t killing the individual artist!  If anything, crowd-sourcing has galvanized individuals as crowd-sourcing makes it easier for one to get engaged. Now this has decreased the cost of entry, so the quality of the art has diminished somewhat. Crowd-sourcing has its pros and cons, but I feel that it is good. It just means new jobs need to be commissioned to control/curate the content being made, so we can pull out the genius when it’s createdand it does not get lost in the white noise.

B. Creative Commons forced the status quo to consider what art really is.  We now have a community of folks that believe that sharing is good and it is better to build something great than capitalize on something that hasn’t reached its full potential.  The open source movement has been successful because of similar ideology.

On the question of property rights and the arts, that presents a slippery slope.  Talk about instability, there is no reason anyone should really feel that they deserve to make money off of material that is normally judged with subjective methods.  This question is what ties this entire discussion together, because while we want to encourage artists to make a go at being financially-stable, we also need to make it clear that it is quite possible that they may never be.  How do you do that without resetting the status quo?

It is a delicate situation.  You want to encourage content creation, but you cannot ensure a financial reward.  I think this is where crowd-sourcing and community-driven initiatives help, but there needs to be some semblance of leadership to keep things going in the right direction.  Build communities for artists to foster and sustain creation and let the communities champion those that really deserve to see commercial gain.

Learn from Girl Talk’s Pay-As-You-Like Strategy

Sunday, October 18th, 2009

I may be late to this party, but DJ Gregg Gillis has me laughing, dancing, and marveling at the same time. I’ve been a huge fan of mash-ups ever since I got my first Best of Bootie remix from my sister, but Girl Talk takes it to a new level.

A recent article in the Kentucky Kernel, Music mash-up DJ Girl Talk creates art amid controversy, comments perfectly on the Girl Talk phenomenon,

“He’s definitely electronica,” said WRFL General Manager Ainsley Wagoner, an interior design senior. “He plays to the Twitter generation. He condenses dance tracks into just the hooks.”

Describing one of his albums,

It bangs as a continuous mix packed with wildly disparate Top 40 genres and eras. Current hip hop hits, soft rock radio standards, party classics, grunge masterpieces, R&B singles, glossy club-shakers, and rock anthems are all layered and pieced meticulously together into one non-stop celebration of pop and excess. Only Girl Talk’s magical touch could please both dance-crazed teenage masses and mashup geeks with equal love. Mark Hosler of Negativland has declared it “a plunderphonics party record.”

It’s true, I will wager if you are at all into pop music, you will immediately love any and all tracks from Girl Talk’s Feed the Animals, despite its electronica label. And, while the music and video mash-ups are cute, it’s the economics of his schtick that intrigues me. His album is selling pay-as-you-like off his website.

But does it pay the bills?

I’m going to guess his sponsorship by KIA Motors says yes. But to be clear, giving your stuff away as your only artist marketing strategy is putting the cart before the horse. Really, watching the cart roll down a hill, if you do not have the audience development skills Girl Talk has been cultivating for years. At this point, giving away his CD is part goodwill (which, if you are familiar with corporate finance, has an intangible value and gets its own line-item on a balance sheet), and part “traditional” profit.

So, Girl Talk shows he works his ass off (literally: he strips for many of his college shows) and whether or not you like his musical taste, his mash-ups really are remarkable, not just for content, but because of the nature of the content. Mash-ups are, by definition, stolen material, so Gillis plays the edge of copyright and supposedly pisses off the artists he samples. But you have to think that what’s good for Gillis is good for Kanye, (whose Flashing Lights I just YouTubed, inspired by a GT Mash-up) the Beatles, the Rolling Stones, and even Avril Lavigne.

Gillis contends his music is protected by the fair use doctrine on the grounds that the amount of material he pulls from each song is not large enough to constitute copyright infringement.

The fair use doctrine contains four main pillars, and Gillis must be able to argue that he is protected against the other three to be safe from lawsuit. Courts take into account whether the infringing work is being used for profit, the nature and content of the infringing work, and the effect on the market value of the copyrighted work.

Gillis’ argument has the edge in the legal community, and he has yet to be the target of a copyright lawsuit. Peter Friedman, a University of Detroit Mercy Law School professor, said in a July 2009 article on the Web site techdirt.com that he would advise the RIAA not to sue Gillis.

“Gillis’ argument that he has transformed the copyrighted materials sufficiently that his work constitutes non-infringing fair use is just too good,” Friedman said in his article.

Artists, take note.

The Art and Economics of Rape-Rape

Friday, October 2nd, 2009

Rape and The Polanski Effect

There has been a lot of talk about rape lately. As Jonah Goldberg mentions, this is surprising due to the fact there should not be considerable talk, debate, or open discussion about rape. Rape is rape. Rape is not sex. There is no distinction between rape or Whoopi Goldberg’s bizarre definitions of “rape-rape” versus mere rape.

For those of you just tuning in, yes, she said that. I, too, thought, “There is no way she meant what it sounds like she meant.” Watch the video. Not only did she mean to say it wasn’t “rape-rape,” but she goes into a thorough (yet indefensible) personal opinion about what rape is and isn’t.

Can’t make up your mind? Swayed by Whoopi’s cogent analysis? Try reading the actual 1977 Grand Jury transcripts first.

Whoopi is not the only name in entertainment to show support. On The Polanski Effect* from NPR’s Jack Dunphy,

So it has come to this: Drugging and raping a 13-year-old is now a “so-called crime,” for which artistic talent, the approbation of peers, and the passage of time can coalesce to earn the rapist immunity from official sanction, if indeed any was called for in the first place.

“Whatever you think about the so-called crime, [Roman] Polanski has served his time,” says film producer Harvey Weinstein in The Independent. His piece is notable not only for its moral obtuseness but also for its sickeningly unctuous tone. “I was with him the day he won the Legion of Honour in France,” writes Weinstein, “which was a spectacular day. I remember the incredible love and affection that people have for him.”

Mr. Weinstein overlooks the fact that the history of mankind is liberally dotted with despicable men who could draw an adoring throng. Even so, there is another, more compelling (at least to Weinstein) reason Polanski should be freed: His peers in show business demand it. “I hope the US government acts swiftly,” he writes, “because film makers are looking for justice to be properly served. I will be organizing the effort myself by emailing everybody I know to sign the petition.” [FYI - Big Hollywood has started acounter-petition.]

By justice being properly served, Weinstein means that Polanski should be freed from Swiss custody and the original rape charge against him should be dismissed. This opinion is evidently shared by a growing number of people affiliated with the movie business, including Martin Scorsese, David Lynch, and that paragon of virtue Woody Allen, all of whom have added their names to a petition in which they “demand the immediate release of Roman Polanski.”

*This goes back to a post I wrote recently regarding what I called The (other) Wagner Effect. We can update it now to The Polanski Effect. As in, the effect someone’s artistic skill has in sanctifying their crimes or otherwise heinous personal dogma. To be clear, I have no problem with people enjoying his movies, or even giving him awards based on artistic merit. Whether or not he is deserving of art prizes and approbation for filmmaking is distinct from whether or not he is deserving of punishment for the crime he committed, and from which he then fled the country. What I have a problem with is people thinking his talent makes him innocent or undeserving of punishment for rape. The fact anyone would make this connection is troubling and conflating the two is leading to some bizarre thinking among Hollywood and feminist elite.

The Economics of Rape

That’s right, even feminists are supporting the release of Polanski. How delightfully forward-thinking. From the LA Times, quoting feminist leader Peg Yorkin,

“My personal thoughts are let the guy go,” said Peg Yorkin, founder of the Feminist Majority Foundation.”It’s bad a person was raped. But that was so many years ago. The guy has been through so much in his life. It’s crazy to arrest him now. Let it go. The government could spend its money on other things.”

Yorkin’s appeal to the economics of the matter is sickening. The expense to put Polanski on trial is insignificant compared to the precedent that would be set that no matter how famous, rich, or important you are, the law will still apply. That benefit would far exceed the cost in my opinion.  The government’s job is to protect its citizens from aggression. There is not a time limit on this. If there ever was a legitimate use of taxpayer dollars, it is for arresting criminals who harm others and jailing them!

Rape as Art

Despite my backward thinking that rape and art don’t mix, Rape-as-Art may not be as far-fetched as some think. A contemporary art piece, The Rape Tunnel, was recently featured in Artlurker article indicating the artist would try his best to rape anyone who entered a tunnel he constructed as an installation. Most thankfully, this has turned out to be a hoax, and yet, was picked up by a variety of news sources. Though astonishing, The Rape Tunnel seemed entirely believable. Artlurker (who’s site is down, hence, no link) said, “Our intention was to spark conversation.” The fact the story enjoyed even 24 hours of serious consideration is a sad commentary on art today.

If art is to serve the issue of rape and violence against women at all, it is should not be to make light of it, or claim that exceptionally talented artists should be allowed to rape freely. As artists, we should not let the tradition of art serving to alert society of serious deficiencies in the treatment of social issues move towards acceptance of heinous crimes.

What’s more, the fact that I have even been moved to type these words is incredibly alarming, and I do hope to see more vocal opposition to Polanski among artists. If you write a blog post, please link to it in the comments section here as a virtual petition against Polanski and the Hollywood elite who want to set him free.

 
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