The 1st Anniversary Special

Welcome one and all to a very special Anniversary episode of Professor Metal’s Irate Debate and Calamitous Commentary with The Philosophical Chain Gang

The Philosophers introduce the creation of the episode, and discuss the origins of The Philosophical Chain Gang

The Philosophers talk about the gritty reboot of a wide variety of movies, from Batman to The Big Lebowski.

Ryver discusses the appeal of the old Batman TV Series and the cultural changes that lead to it

Bruce presents his problem with Michael Keaton as Batman

The Philosophers discuss the career arc of Tim Burton

Professor Metal talks about his hopes for Charlie and The Chocolate Factory and why the dream could never be

Ryver presents the existential terror not quite hidden with the Gene Wilder version of this movie

Bruce discusses the tone of the movie as relates to the source material

Sean and Ryver expand on the horror aspect of the movie

The Philosophers discuss the seemingly predetermined nature of the children’s selection, and the possible moral tale that accompanies each character

The Philosophical Chain Gang discusses Charlie and The Chocolate Factory as an allegory for a variety of biblical scenarios

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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.

And as always please give us your honest review on iTunes and Stitcher. It helps us make the show better with every one we get to read.

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Social Contract of a “Totalitarian Dictatorship”

-the-dictator-wants-to-know-if-you-can-survive-the-wadiyan-games-exclusive--84c2ce85d0Social Contract of a “Totalitarian Dictatorship”

By Professor Metal

I am often told that the people of Metalonia suffer under my rule, that they are not “free”, and that they want to live in peace. I can only say that these people, organisations, and international courts do not understand our culture or the relationship my people and I have. There is, like in every society, something of an unwritten contract between the people and those who govern them. I keep a copy in my vault in case anyone needs to consult it.

The people of Metalonia, by and large, enjoy a great standard of living. Anyone what can work, does. Healthcare, housing, and basic necessities are all taken care of, and though the quality of these things are based on your value to our society, no one fails to receive things they need to survive. Roving Death Squads keep the populace safe, Re-Education Centers teach both young and old the laws and customs of the land, and Subjugation Stations rehabilitate criminals, often into some of the most loyal of all subjects of the Metal Empire.

To be sure, there are things I do not grant my people that some governments do. But really, how many of these freedoms do you really use? Are you a journalist? You still have a job in Metalonia telling people what I want them to know. Are you a firearm enthusiast? There are always positions open in the Roving Death Squads. Are you a religious leader? You can practice here in one of our “Religion Zones”, though you may have a skill-set that lends itself well to our Ministry of Propaganda.

There has also been some discussion as to the privacy allowed my citizens. Yes, there is an Elusive Yawing Examination Camera (colloquially referred to as the “All Seeing E.Y.E.”) on every street corner and public building. But those are simply to track foreign journalists and to make certain everyone’s Citizen Registration is up to date. There is nothing nefarious about them if you have nothing to hide. I, Professor Metal, wish only to keep the citizens of Metalonia safe and up to date on their vaccinations and medical enhancements.

These and many other things are why people should think before making outlandish claims about my “human rights record” and my “totalitarian rule”. The people of Metalonia, at the absolute minimum, are sheltered and fed. How many countries can say that of their people? These aspersions being cast at our fine nation are slander by those who envy our order and prosperity, pure and simple. Look at my biggest detractor, America: They claim to be an advanced and democratic society, yet their people are kept complacent and ignorant to the point that they actively vote against their own interests. In the interest of transparency, I must admit that am a little in awe of this. I’ve never had so much as a single citizen vote, much less directly against their own interests.

Let’s not forget that every loyal citizen chooses every day to be a part of this society by continuing to be in it, by receiving the benevolent gifts of the Ministry of Public Good, and most importantly, by not leaving to go somewhere else. Are there disloyal individuals who take my food and my homes whilst plotting to destroy me and the nation I have built? Yes, and they are hypocrites of the worst kind. Some receive money from foreign governments, some are dissatisfied with their place in society, and some are simply fooled by the propaganda of our enemies. Yet even they have a place within our society. Once they have completed a Thought-Police taught Re-Admittance course from an accredited Subjugation Station, they are welcomed back into our society with open arms.

So yes, people in Metalonia cannot own guns unless they are a member of a Roving Death Squad. Yes, the people of Metalonia have rights freedoms of speech or religion(outside of the Religion Zones) that are able to be revoked by any member of a nearby Roving Death Squad, Propagandist, or Re-Education Specialist. Yes, the news agencies of Metalonia must run each story they wish to report on past the Ministry of Totally and Completely Fair and Open Journalism. But even then, the people of Metalonia are free to do as they wish. They simply must accept that there are consequences for certain types of actions. That is our social contract. That is both the blessing and curse of radical freedom. I do my best to keep my people safe, and sometimes they must be kept safe from themselves.

Ep 28: Art and Subsidization; Who Is Paying the Piper?

Sean talks about the development of using municipal art projects to stimulate the local art scene

Ryver discusses the Portland, OR art scene as an example of this

Bruce compares this to the history of music

The Philosophers discuss the benefit of a well-developed local art scene

Sean proposes the idea that a thriving of a local art community can enrich the inner life of the people in that place

The Philosophers talk about another common form of art, that of so-called “corporate” art, and how this is distinctly different

Bruce explains why he feels that corporate art is a lesser form of art

Sean expands on the points Bruce brings up, and why corporate art is different

Bruce talks about the arbitrary nature of the price of art

Sean and Ryver propose and discuss the idea of corporations having a direct financial incentive to produce art that makes people feel a particular way

Ryver discusses the similarities between this and native advertising

Bruce compares this to propaganda

Sean expands on this idea

Bruce and Sean talk about the factors that determine the success of certain art forms and the exceptions within those criteria

The Philosophers encounter an Existential Crisis; find out what happens during the thrilling conclusion of Art and Subsidization: Who Is Paying the Piper?

And as always please give us your honest review on iTunes and Stitcher. It helps us make the show better with every one we get to read.

Help keep the show going and the moon safe by supporting us on Patreon

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