MELD is a new initiative based in Greece which understands the arts to be part of the means to address Climate Change because the arts can be a collaborative catalyst as well as a catalyst of social change, a catalyst for economic growth and also a marketing tool.
These two are perhaps at opposite extremes of the range of practices addressing socio-economic environmental issues.Â Didnâ€™t Einstein say â€œWe canâ€™t solve the problems using the same thinking we used when we created them.â€
ecoartscotland is a resource focused on art and ecology for artists, curators, critics, commissioners as well as scientists and policy makers. It includes ecoartscotland papers, a mix of discussions of works by artists and critical theoretical texts, and serves as a curatorial platform.
I have been spending time in the presence of cyber-dystopians.
Last Tuesday I went to great talk byÂ Evgeny Mozorov at the RSA, to hear Mozorov pour scorn on the idea that the internet is the harbinger of a new democratic personal freedom. He suggests that totalitarians and corporate astroturfers alike love it when we unthinkingly accept the internet as a force for good; it makes their work so much easier for them. Institutions are weakened by social media? Bah! It strengthens their hegemony.
I went toÂ Art of Digital, hosted by FACT in Liverpool, where a great line up includedAndrew Keen rehearsing the thesis he put forward inÂ Cult of the Amateur, namely that the internet is destroying the underpinnings of our culture by making conventional cultural transmission valueless, destroying newspapers and publishers and replacing erudition with Wikipedia. (Actually heâ€™s moved on a little since then â€“ but Iâ€™ll come to that in a minute.)
Itâ€™s true we have lived in the age of technological positivism for a little too long. When I freelanced forÂ Wired it seemed almost heretical to suggest that some of the things we were writing aboutÂ might not actually ever happen. A little corrective to that relentless utopianism is no bad thing. However the new public speaking circuit â€“ something which has blossomed unexpectedly in the virtual age â€“ naturally magnifies the extremes of the argument. Youâ€™re more likely to be listened to if you say something is either brilliant or crap.
While itâ€™s true that the internet is altering culture fundamentally, maybe itâ€™s time we started being a little more systematic about finding out exactly what it is thatâ€™s really going on.Matthew Taylor said this in his blog yesterday; any change produces results that are likely to be both positive and negative; we need to start understanding what they are. So what does this mean for the arts?
The Art of Digital strand has, naturally, been looking into that. Iâ€™veÂ argued elsewhere that arts institutions donâ€™t fully understand the unfolding changes that are taking place â€“ and the various consultants speaking earlier in the day, who didnâ€™t go much further than describe social media as much more than a particularly whizzy new marketing tool, werenâ€™t doing a great deal to change that outlook.
It was, paradoxically, Andrew Keen who pointed out one silver lining for the arts â€“ and one that is going to be undoubtedly very powerful in years to come. We live in a world in which almost anything can now be copied for free. As the financial value of anything that can be copied disappears, so too the cultural value becomes undermined. For instance, recorded music, one of the greatest forms of the 20th century, is in a major slump from which it will never recover. Sure, there is great music still being made, but itâ€™s a lot harder to get paid for it, and as a consequence, its cultural heft is drifting away. We are unlikely to see a cultural force as strong as, say, The Beatles â€“ whose greatest music was never performed live â€“ ever again.
But â€“ sticking with music â€“ weâ€™re living in a golden age for performing artists. Never have as many people flocked to live concerts. The recession hasnâ€™t even begun to put a kink inÂ box office receipts.
As the value of the reproducible declines, the value of the irreproducible rises. A DVD of a performance is relatively worthless. ActuallyÂ being there is invaluable. We are becoming a culture that wants the experience, as much as the content itself. Keenâ€™s idea is an extension of Walter Benjaminâ€™sÂ The Work of Art in the Age of Mechanical Reproduction. What we want is the â€œauraâ€ of the work of art, to use Benjaminâ€™s word â€“ and in the digital age, that aura becomes the uniqueness of a single performance. We want the now. We want the one-off. We want to be able to say we were present.
Not only does this mean that all arts that have that specialness of performance, from music, to live arts, to drama, can expect to thrive, but exisiting art forms seem to be changing too â€“ and in the oddest way. For the last decade anybody whoâ€™s written a book knows youâ€™re likely to make more money giving readings of the work than you ever receive in royalties. The literary festival â€“ quite the most ungainly of arts events â€“ has become a monster. Even the most tepid reader of their own work gets a look in. Crowds, who more likely than not havenâ€™t even read the book, pay the price of a new book to hear the author read a small fraction of it. The â€œauraâ€ becomes all important.
Of course that doesnâ€™t mean that the world wonâ€™t still be full of struggling actorsâ€¦