As I observed last month in a comment on Rob Myer’s blog, if mass media didn’t have such an entrenched mindset that it was in the business of selling copies to the largest audience possible, it wouldn’t end up producing such ‘lowest common denominator’ pulp to meet such an objective.
But then this is what happens when you let mass producers determine what gets mass produced – instead of leaving things to peculiar artists in pure pursuit of art. Moreover, peculiar artists patronised by their peculiar audiences directly, rather than by populist publishers of copy-prohibited content via retail.
Now that the bottom is falling out of the market for copies, we are seeing the original market resume – the market for art. In this more natural market, copies are made by the audience – for why would they pay the artist for such an unimaginative task? The artist is rewarded for their irreproducible art, not the mass production of trivially reproducible copies.
This is not news to Vin Crosbie who has committed strikingly similar heresy that I wholeheartedly endorse. Read his keynote at the Second Annual Global Conference on Individuated Newspapers.
Plainly, for every artist and each of their works of art there is an audience (if only the artist themselves). But, whilst we are all artists and are all unique beings, our interests invariably overlap and we find ourselves members of many audiences. Indeed, there is a world of audiences, not just one – not just that like-minded planet the corporate publishers pretend to be serving. What’s more, the number of audiences in this world of audiences vastly outnumbers the population of individuals upon this Earth (see Metcalfe’s Law). Therefore, incredible as it may seem, there are many audiences out there for which no artist has yet produced art.
Big Buck Bunny is just a glimpse of the diversity of art that will prosper when the artist no longer pursues the greatest audience, but instead pursues the greatest art. All peculiar audiences then pursue their particular art and those peculiar artists who produce it – and this is the natural order of things.
At the end of our 300 year obsession with copies and their artificial sanctity, we now see the dawn of the second renaissance.