Several years ago, as a music student in college, I remember hearing constant complaints about “lack of funding for the arts.” Hardly a day would go by without a classmate or professor bemoaning the thin and fickle pockets of the bourgeoisie or Uncle Sam’s lack of artistic initiative.
Little did we know, a shake-up was already taking place, driven by a mysterious mix of newfound prosperity, entrepreneurial innovation, and the market forces behind it. The digital revolution was beginning to level the playing field and drain power from tanks and banks of all kinds, from the Hollywood execs with dollar signs in their eyes to the aesthetically enlightened cronies at the National Endowment for the Arts. Despite the many prophecies of a creative apocalypse, a bottom-up revolution was taking place.
Amid the sea of new technologies and tools that were soon to emerge — streaming music, streaming movies, ebook publishing — crowdfunding rose as a powerful path to creative independence: artistic, economic, and otherwise. Leading the pack is Kickstarter, with success stories abounding, from inventors to thespians to foodies to photographers, and with routine funding results that actually surpass the NEA. (more…)
Capitalism is routinely castigated as an enemy of the arts, with much of the finger-pointing bent toward monsters of profit and efficiency. Other critiques take aim at more systemic features, fearing that the type of industrialization that markets sometimes tend toward will inevitably detach artists from healthy social contexts, sucking dry any potential for flourishing as a result.
But what if the opposite is true? I offer the argument over at The Federalist.
Free economies introduce their own unique challenges for artists and consumers alike. We are justified in cringing at the array of bottom-dollar record-company execs and merchandising-obsessed Hollywood crackpots (though I will always prefer their ilk to your run-of-the-mill Commissar of the Arts). But the increases in economic empowerment that have led to these many marketing machines have also led to plenty of artistic empowerment in turn.
In an article for New York Times Magazine, Steven Johnson reinforces this very point, observing that the many apocalyptic prophecies about arts in the digital age have not quite manifested. “In the digital economy, it was supposed to be impossible to make money by making art,” he writes. “Instead, creative careers are thriving — but in complicated and unexpected ways.” (more…)
Friedrich Hayek once called intellectuals “professional secondhand dealers in ideas.” And the Preacher proclaimed, “There is nothing new under the sun.” So perhaps it shouldn’t be surprising when ideas, memes, and other cultural phenomena pop up again and again.
I first noticed the song, which heretofore had been background Christmas muzak, when we screened the new documentary Poverty, Inc. earlier this year at the Acton Institute offices. That film includes a section discussing “Do They Know It’s Christmas?”
When Christmas rolled around, I had the idea to write something about the song, and connected it with William Easterly’s analysis of the differing perspectives on development offered by Gunnar Myrdal and Hayek. But I now think that even though I hadn’t read Loftis’ piece, I had seen the title before I wrote my piece. In fact, I checked Ben Domenech’s excellent email newsletter The Transom, to which you should subscribe, and there on December 3 is the following: ‘“Do They Know It’s Christmas” is the worst Christmas song ever. http://vlt.tc/1qf7‘
No doubt I saw the link, and got the idea for calling it the “worst ever” into my head. Then some days later I connected it to the Poverty, Inc. clip and wrote my piece. So the idea for calling this the worst Christmas song ever must be credited to Loftis and The Federalist. I’m sorry that I didn’t realize that Loftis’ piece had already appeared, or I would have pointed to it earlier, and given credit for the idea straight away. So in the interests of disclosure, I certainly haven’t been the only one to criticize this song or even to call it the “worst Christmas song ever.” I guess I’ve got egg(nog) on my face. The variety of voices that find the song problematic, however, should be a indication that there’s something rotten in “Do They Know It’s Christmas?” It is, after all, a song that includes a toast like this: “Here’s to them underneath that burning sun.”
“Do They Know It’s Christmas?” is like a bad earworm that won’t go away. And now I really, really hate that song!
Acton broadcast consultant, Paul Edwards, will guest host West Michigan Live on Tuesday, October 21 at 9:00 am EST on WOOD Radio in Grand Rapids. His guest at 9:30 a.m. is artist Makoto Fujimura, whose 2014 ArtPrize entry, Walking on Water, was exhibited at the Acton Building.
At his blog, Mako has written an engaging and thoughtful piece about his experience at ArtPrize which will be the focus of Paul’s conversation with him. In West Michigan, you can listen live on Tuesday, October 21 at 9:00 am EST on WOOD 1300/106.9. The interview will also be live streaming at www.woodradio.com for those listening elsewhere.
Gilbert Keith Chesterton (1874-1936) is considered by many to be one of the most brilliant thinkers of the 20th century. But you’d be hard-pressed to find him discussed in any public high school (or even most colleges or universities, for that matter.) A prolific writer (he penned everything from a popular mystery series to epic ballads), he thought himself mainly a journalist. While he never attended college, his knowledge had both depth and breadth:
Chesterton was equally at ease with literary and social criticism, history, politics, economics, philosophy, and theology. His style is unmistakable, always marked by humility, consistency, paradox, wit, and wonder. His writing remains as timely and as timeless today as when it first appeared, even though much of it was published in throw away papers.
Mako Fujimura, one of the artists hosted by the Acton Institute for ArtPrize 2014
Here in Grand Rapids, we are awaiting the beginning of ArtPrize (Sept. 24-Oct. 12.) For those of us who live or work in the city, we are seeing signs of it: posters hung in coffee shop windows, artists installing pieces, restaurants adding waitstaff, and venues getting spit-shined. It’s a big deal: in 2013, ArtPrize brought in 400,000+ visitors to this city, an estimated $22 million in net growth and hundreds of jobs. Not too shabby for an event that didn’t even exist a few short years ago.
The genesis of ArtPrize was the mind of Rick DeVos, a man focused on entrepreneurship and starting conversations. DeVos started ArtPrize not as a way to bring money to his hometown (“a happy accident“), but because:
…his forays into tech startups had made him love the democracy of the Internet and the possibilities afforded by crowdsourcing. Why not a contest with an open call for artists and an open vote? “I was always intrigued with the X-Prize model,” he said, referring to the $10 million prize offered for private-sector space flight. “This whole idea of putting a big prize out there and then putting as few rules around it as possible, not trying to dictate what the outcome should look like.” The idea expanded from there, and in 2009, five months after he first announced it, ArtPrize opened to the public.