Wednesday, January 9, 2008

Unrecorded Minstrels with Previous Popularity


Many performers in this day and age run out of contracts and they choose not to sign with other labels for one reason alone: utter creative freedom. At least that is what they tend to say.
The question I have when reading about performers who have already enjoyed a successful career is the following: would they be embarking on the ars gratia artis ship if they did not already have a critically and commercially successful career?
The Times features Natalie Merchant this week. Merchant made a name for herself in the 90's and while I would choose to see her perform live in 2008, I think I'd make such a decision on account of her previous success and popularity.

The article observes:

Ms. Merchant, who sold millions of albums in the 1990s, has an adoring audience and no record label behind her. She’s not alone. As contracts end, more and more well-known musicians are trying to reinvent their careers for the era of mass downloading and plunging album sales. At the Hiro Ballroom, when a voice in the crowd asked when Ms. Merchant would release a new album, she said with a smile that she was awaiting “a new paradigm for the recording industry.”

Merchant and such performers as Radiohead may engage in marketing novelties more easily and comfortably than other unsigned artists because they are already sufficiently marked and recognized. This is primarily a question of economics. What do you think?
graph per ny times

"Humanities are Not For Something, But Everything Else Is For Them"

As I mentioned in December, this month I am happy to be featuring contributions from some of my favorite bloggers, as well as some folks in the sciences and the arts who have been asking themselves the kinds of questions I have as of late.

The first piece comes to us from my good friend, Dimitri, with whom I have had many a conversation abut the Humanities over the years. Dimitri first contributed this piece today per comment regarding the Stanley Fish post I featured yesterday. Dimitri is a Ph.D. in Bioengineering and his most current neuroscience research is at the level of a single synapse or small local circuits of neurons. He hopes to move in the direction of computational neuroscience of larger circuits of neurons such as the ones responsible for decision making or object recognition and affective response. Dimitri is also a closeted literary person.

Here are his thoughts on the Humanities:

I wonder how many of those who question the 'use' of the humanities have followed through with questioning the 'use' of other endeavors, including science. Although I value the pursuit of knowledge using rigorous methods and scientific humility (tentativeness of truth), I find artistic expression, emotive rhetoric, collective effervescence, and cultural fads to be a major source of intellectual stimulation and of research ideas. My question "what do you set out to do when you write?" was not one of ridicule but of genuine inquiry.

To divide disciplines into 'hard' and 'soft' is to miss the main premise of science: all knowledge is uncertain. As long as you can make an experimentally falsifiable explanatory hypothesis, it's science. Economics can be good science. John Nash and Jon von Neumann used economics to start new branches of mathematics. Neuroscience leaves little in humanities outside the reach of its inquiry. Humanities are us, our brains, they are cingulate cortex talking to cingulate cortex.

The boundary between humanities and 'hard' disciplines is an illusion (unless you are a robot following written procedures). This boundary is the product of dualistic thinking (soul vs. flesh, reason vs. emotion, good vs. evil) -- damn Zoroaster, damn Descartes and Hegel -- it's hard to shake them off, but we'll have to eventually.

I have observed that there is a strong correlation in individuals between scientific achievement and deep engagement in questions of the human condition, philosophy, motivation and emotion, society, and free artistic expression.

I disagree with Steven Pinker's belief that art, music, literature are artifacts of sexual selection, the proverbial 'peacock's tail' whose only function is to get chicks (okay, hens). Pinker comes from 'inhumane' computational sciences. Thinkers who are closely related to 'wet' empirical neuroscience are beginning to understand how emotion and conscious reasoning are inseparable (e.g. see Antonio Damasio's work). Art, emotion, and verse are but expressions of mutual limbic regulation and serves as communication device of vast subconscious processes of the limbic system. Love and relationships are stable regulatory networks that establish themselves with little consultation from your conscious self.

Perhaps the answer is that the use of sciences and other vocations is simply to create a context and a disciplined bloodline for the humanities -- free exploration of possibilities? Humanities are not for something, but everything else is for them. Perhaps it's just that the technical types feel left out burdened by the illusion of perpetual intellectual discipline? :-)

Why Germany's Uwe Boll, Supposedly the Worst Living Film Maker, Keeps Making Movies


This from the Box Office Junkie. Here are the stats on his failed filmic projects:
1) House of the Dead (2003)
Production Budget: $12 million
Final Gross: $10.2 million
Reviews: 10% fresh
2) Alone In The Dark (2005)
Production Budget: $20 million
Final Gross: $5.2 million
Reviews: 1% fresh
3) BloodRayne (2006)
Production Budget: $25 million
Final Gross: $2.4 million
Reviews: 4% fresh
4)In the Name of the King: A Dungeon Siege Tale (2008)
Production Budget: $60 million(!)
Final Gross: ???

And yet studios keep hiring him to make even more flops? I couldn't help but think of Mel Brooks' The Producers.... What does Max tell Leo? 'You can make more money with a flop?'
Hm.
graph per box office junkie

Zeitgeist

Tip of the hat to Richard over at Creative Classroom.

Best paragraph I read today comes from Jim Kunstler:

'2008 will be the year that celebrity wealth goes into hiding. A land full of people crying into their foreclosure notices will take a dim view of the Donald Trumps and P. Diddys luxuriating out there and may come looking for scalps -- though in the case of Mr. Trump they'll be sorry they woke up the wolverine that lives on his head. Basically, though, I'm not kidding. Conspicuous displays of wealth will be so "out" that Mr. Diddy might take to club-hopping in a 1999 Mazda. Lindsay Lohan and Paris Hilton may have to double-up living in a minuteman missile silo to keep the angry mobs of fans-turned-vengeful-berserkers away.'

Just where are we headed?

Deconstructing the Mac


David Pogue's book Mac OS X Leopard: The Missing Manual provides an excellent explanation of all the great things that Leopard, the new Mac OS, can do.
Of special interest are the rather detailed mini-manuals on iLife applications such as iMovie, iDVD, and iPhoto.
I highly recommend.