No, I don’t mean Marshall McLuhan.
I’m doing some research on Glenn Gould at the moment, and was floored at the prescience of this passage:
“Electronic transmission has already inspired a new concept of multiple-authorship responsibility in which the specific functions of the composer, the performer, and, indeed, the consumer overlap. We need only think for a moment of the manner in which the formerly separate roles of composer and performer are now automatically combined in electronic tape construction or, to give an example more topical than potential, the way in which the home listener is now able to exercise limited technical and, for that matter, critical judgments, courtesy of the modestly resourceful controls of his hi-fi. It will not, it seems to me, be very much longer before a more self-assertive streak is detected in the listener’s participation, before, to give but one example, “do-it-yourself” tape editing is the prerogative of every reasonably conscientious consumer of recorded music (the Hausmusik activity of the future, perhaps!). And I would be most surprised if the consumer involvement were to terminate at that level. In fact, implicit in electronic culture is the acceptance of the idea of multilevel participation in the creative process.”
– From “Strauss and the Electronic Future” which appeared in the Saturday Review on May 30, 1964
I wonder what he’d make of GarageBand, MySpace and YouTube?
Kevin Kelly proposed a model for how artists can make a living without striving — and compromising — for a blockbuster hit:
“One solution is to find 1,000 True Fans. While some artists have discovered this path without calling it that, I think it is worth trying to formalize. The gist of 1,000 True Fans can be stated simply:
A creator, such as an artist, musician, photographer, craftsperson, performer, animator, designer, videomaker, or author – in other words, anyone producing works of art – needs to acquire only 1,000 True Fans to make a living.”
In response, Robert Rich explains what a Sisyphean task this can be:
“The sort of artist who survives at the long tail is the sort who would be happy doing nothing else, who willingly sacrifices security and comfort for the chance to communicate something meaningful, hoping to catch the attention of those few in the world who seek what they also find meaningful. It’s a somewhat solitary existence, a bit like a lighthouse keeper throwing a beam out into the darkness, in faith that this action might help someone unseen.”
And references evolution to explain the risks of creating within and for a small community:
“Evolutionary biology shows us one metaphor for this trap of stylistic boundaries, in terms of species diversity and inbreeding (ref. E.O. Wilson). When a species sub-population becomes isolated, its traits start to diverge from the larger group to eventually form a new species. Yet under these conditions of isolation, genetic diversity can decrease and the new environmentally specialized species becomes more easily threatened by environmental changes. The larger the population, the less risk it faces of inbreeding. If that population stays connected to the main group of its species, it has the least chance of overspecialization and the most chance for survival in multiple environments.
This metaphor becomes relevant to Artists and True Fans because our culture can get obsessed with ideas of style and demographic. When an artist relies on such intense personal commitment from such a small population, it’s like an animal that relies solely upon the fruit of one tree to survive. This is a recipe for extinction. Distinctions between demographics resemble mountain ranges set up to divide one population from another. I prefer a world where no barriers exist between audiences as they define themselves and the art they love. I want a world of mutts and cross-pollinators. I would feel more comfortable if I thought I had a broader base of people interested in my work, not just preaching to the choir.”
A world of mutts and cross-pollinators? Count me in!
Kelly returns with a roundup of what he has heard from other artists, and more doubts. Is the number 5000? Or does it start creeping back up towards stardom again?
“Micro patronage has always been an option, and indeed a part of, most artist’s livelihood. What is different now is the reach and power of technology, which makes it much easier to match up an artist with the right passionate micro patrons, keep them connected, serve them up created works, get payment from them directly, and nurture their interest and love.”
No definitive conclusions, but all worth a read…
(A hat tip to whomever added the original link to the cre8camp Portland page.)
