Category: Non-fiction

Friction

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As I grew up, grew old, got married, and had children, my schedule became increasingly tight, and with more and more people involved, my obligations became increasingly difficult to manage. People introduce chaos into life, and that chaos can only be tamed to an extent with careful scheduling and time management. What I discovered and then communicated in my book The Keys to Prolific Creativity is that getting many different things done is much more about assigning priorities and learning how to focus than it is about tight time management. To that, I want to add another concept that crosses…

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Usury

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Usury is a term that is now near-universally misunderstood, perhaps by design, because usury is a very popular practice, and many important people benefit from it. The most common definition you will see for it is “charging excessive interest,” probably from American legal issues and legislation that don’t deal with usury at all. Usury’s actual definition is “charging interest on a mutuum loan.” The word usury comes from charging interest on the use of money rather than the use of an asset. Mutuum is not a very common word. A “mutuum” means a loan of fungible things to be replaced…

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Men Crying in Public

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I’ll take a break from writing about art and deal with something that seems to crop up at least once per year: Men crying in public. In this case, the instigator is a woman complaining about a man crying on his wedding day: Once again, the typical response is to state that men should be able to cry or that a woman ought not to say what is and is not manly. Both of these miss the point, which is that our public behavior is subject to judgment by both women and men, and the reality is that it is…

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The Corporate Period in the Arts, part 8

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Ideological Capture and its Cure Within the corporate system, counter-cultural ideological capture requires that a few conditions be met. First, the company in question must be large enough to have a bureaucracy with a highly distributed power structure. Small publishers can’t be converted because owners and presidents have too much direct knowledge of the employees and too much direct control over the final product. A large conglomerate with a strong HR department and many independently empowered units with many managers is ideal. Second, the market must have enough total conglomeration that competition is either weak or also in the process…

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Beyond Profits, The Corporate Period in the Arts, part 7

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Some interesting effects occur when a company grows large and powerful or even hegemonic in a given market. You can expect it to exploit the lack of competition and raise prices for consumers, and perhaps also exploit labor with low wages if it is the sole employer in a given labor specialty or geographic location. This inverse is called a monopsony, a single-buyer situation. However, for the purposes of the arts, the corporation becomes not just an economic force but a cultural force, and that draws certain people to it as well as allows for an approach to production that…

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The Corporate Period in the Arts, part 6

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Unavoidable Conglomeration Books from major publishers have suffered stagnation and decline since the 1990s, but contrary to popular belief, this is not because schools are failing to teach kids to read. The hegemonic nature of the corporate system has a specific weakness that is also its strength, which is the concentrated power of management. Since trends are subject to the whims of a small number of people, all one needs to do to shift trends and culture is capture the management positions of the corporation, and that’s what happened in the literary world. It actually began decades before 1997, when…

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The Corporate Period in the Arts, part 5 – The Corporate IP Death Cycle

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The Corporate I.P. Death Cycle The decline of creative industries has given rise to what I call the “Corporate I.P. Death Cycle,” wherein corporations routinely resurrect their nostalgic franchise properties to return them to relevance and profitability. I.P., in this case, means “Intellectual Property” and composes the copyrighted works and rights to derivative works, as well as trademarks. Like real property, intellectual property is expected to generate a return in the form of rents or other products for sale. A movie or similar entertainment product is not viewed by the corporation that produced it as a work of art existing…

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The Corporate Period in the Arts, part 4 – Cultural Ground Zero

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Cultural Ground Zero If you aren’t familiar with the concept of cultural ground zero (a term I owe to authors JD Cowan and Brian Niemeier), it is the idea that the major entertainment industries reached a zenith, and after this, quality began to decrease, and all trends lost their forward momentum. The exact year is 1997, in case you were wondering, though the video game industry continued to progress for another ten years on the back of new technology and industry growth, reaching its own ground zero in 2007. For most media, 1997 was the last year consumers could reasonably…

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The Corporate Period in the Arts, part 3

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Popular Art “Popular culture” as a term is nearly a tautology; it follows that if we share a common culture, the elements that make up that shared culture are popular. In use, “pop culture” refers to the art that, in the free market, gains ascendency to the point where knowledge of it becomes part of the common culture. This idea only has meaning in contrast to other origins of culture—constructs such as “high culture,” “fine art,” “literary fiction,” and my favorite tautology, “art music.” These later ideas are defined primarily by not being popular culture and, therefore, in an unfortunate…

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The Corporate Period in the Arts, part 2

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Hyperdrive Media The model which defines the corporate period could not function without two important factors. First, the model requires the ability to legally collectivize resources and use them as if they belonged to a single person. This is the concept of the corporation, with “corporate” meaning body, as in the company acts like a person and can own property like a person without being “a” person. The other critical ingredient is mass media, which allows the distribution of a media product to large numbers of people while maintaining a low cost to the end consumer. The technological revolutions of…

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