Ep 29: Art and Subsidization; Who’s Paying the Piper? Part 2

Welcome one and all to Professor Metal’s Irate Debate and Calamitous Commentary with The Philosophical Chain Gang

Today’s Episode is Art and Subsidization: Who is paying the Piper? Episode 2

Sean and Ryver talk about the possible consequences of over-saturation of art funding

Bruce and Sean discuss how this relates to the subjective value of art

The Philosophers examine the idea of art that is not appreciated during the time or life of the author

Sean and Ryver talk about the category of movies known as “Cult Classics”

Bruce explains the idea of how a movie is determined to be successful

Ryver talks about the difference in standards amongst movie directors

Sean discusses how we approach movies as both an entertainment medium and art form

Bruce proposes an issue with the distinction between entertainment and art

Ryver addresses the issues concerning these categories

Sean interjects that there are also dark sides to the art community

Ryver expands on art dealership as an example of this dark side

Sean and Ryver discuss the paintings of dubious provenance stemming from World War II

The Philosophers talk about the use of art as a way to make large sums of money whilst doing no actual creation of content

Ryver and Bruce address the associated value of media such as music or movies, specifically as relates to piracy

The Philosophers bring up artists that literally create their own money, such an Banksy and Emperor Norton

Sean transitions into a discussion of how the digital revolution has effected art world

Bruce talks about how the value becomes what appreciation of the art is worth when there is no physical medium

Ryver expands on this by discussing the role of crowd-funding plays as a replacement for the historical system of patronage

Sean explains why and how Patreon makes it possible for artists to be supported for whom systems such as hermitage would not work particularly well for

Ryver explains what Data-moshing is, and how this relates to what is called remix culture

Sean expands on this to explain glitch art

Bruce and Sean talk about how this is both similar to and distinct from physical art media

Ryver goes on to discuss how a similar model to crowd-funding is used in creation, both in remix culture and in more traditional art media

Sean questions whether or not the artist involved in remix culture are themselves creating the art or, if monetary gain is to be made, if it should be made by the original artists

The Philosophers discuss this question as an examination of how one could divide up these things, and whether or not some societies that have rules in place concerning this have handled it well

Sean brings up a slightly more old-school way of taking someone’s art and making it your own: Forgery

Bruce posits that there is no money going to the original artist at that point, and that it largely does not matter if the value of the art is appreciation of the piece of art in questions

Ryver counters with the idea that the value of the art itself stems from the authenticity of the piece as much as the piece itself

Sean takes the last word to discuss funding projects that we feel are important to the world, such as Professor Metal’s Irate Debate and Calamitous Commentary with The Philosophical Chain Gang, and how this funding can help each of us improve our lives as both intellectual and emotional beings. He also discusses the benefits of art to share experiences, such as what the artist has experienced that the viewer may wish to understand without needing to actually experience them, such as the horrors of war.

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