The 2000 United States Census revealed that there are more people who identify their primary occupation as “artist” than as lawyer, doctor, or police officer combined. And each year, our schools graduate another 100,000 students with arts-oriented BFAs, MFAs, and PhDs. Since 7 of the 10 most expensive schools in the country are art schools, artist-graduates live with unprecedented debt burdens. Looking at the Census Bureau’s 2010-2012 American Community Survey, BFAMFAPhD Census Report shows that most artists (85%) in New York City have non-arts-related day jobs. The few people with art degrees who make their living as artists (15%) in New York City have a median income of $25,000. This is one-half of the median income of other professionals. With elite art schools charging $120,000 for an art degree, and with tuition rising at public universities, both artists and culture are under threat.


See what we are doing to raise awareness, and build an art world we would want to live in.

(via Report Finds NYC’s Art World 200% Whiter Than Its Population [UPDATED])
Proud to be helping these folks get the word out.

(via Report Finds NYC’s Art World 200% Whiter Than Its Population [UPDATED])
Proud to be helping these folks get the word out.


Maps that show the world to be wholly divided among sovereign countries, each with meaningful boundaries and a central government, reflect an organizational model that has never been practical in many places and now seems increasingly obsolete. Globalization, communication, fast transportation, and the easy availability of destructive technologies have something to do with this, as does the fact that all systems eventually tire, and the future cannot be thought up in classrooms. For whatever reason, the world everywhere is getting harder to manage, and governments are increasingly unable to intervene.
If you want to read about myth don’t read Joseph Campbell, read about convulsive religion, read about voodoo and the Millerites and the Munster Anabaptists. There are hundreds of years of extremities, there are vast legacies of mutants. There have always been geeks. There will always be geeks. Become the apotheosis of geek. Learn who your spiritual ancestors were. You didn’t come here from nowhere. There are reasons why you’re here. Learn those reasons. Learn about the stuff that was buried because it was too experimental or embarrassing or inexplicable or uncomfortable or dangerous.
But the thing about the new literary theory that’s remarkable, is that it makes a really violent break with the past…. These guys don’t take the books of the past on their own cultural terms. When you’re deconstructing a book it’s like you’re psychoanalyzing it, you’re not studying it for what it says, you’re studying it for the assumptions it makes and the cultural reasons for its assemblage…. What this essentially means is that you’re not letting it touch you, you’re very careful not to let it get its message through or affect you deeply or emotionally in any way. You’re in a position of complete psychological and technical superiority to the book and its author… This is a way for modern literateurs to handle this vast legacy of the past without actually getting any of the sticky stuff on you. It’s like it’s dead. It’s like the next best thing to not having literature at all. For some reason this feels really good to people nowadays.
I don’t think you can last by meeting the contemporary public taste, the taste from the last quarterly report. I don’t think you can last by following demographics and carefully meeting expectations. I don’t know many works of art that last that are condescending. I don’t know many works of art that last that are deliberately stupid. You may be a geek, you may have geek written all over you; you should aim to be one geek they’ll never forget. Don’t aim to be civilized. Don’t hope that straight people will keep you on as some kind of pet. To hell with them; they put you here. You should fully realize what society has made of you and take a terrible revenge. Get weird. Get way weird. Get dangerously weird. Get sophisticatedly, thoroughly weird and don’t do it halfway, put every ounce of horsepower you have behind it. Have the artistic *courage* to recognize your own significance in culture!
— Bruce Sterling, "The Wonderful Power of Storytelling" (1991), on how computer game designers might hope to achieve a lasting impact beyond the temporal boundary of their obsolescing platforms (via notational)

(Source: allenhjohnson)

Reblogged from Rafael Fajardo
The conditions of labor must always be obscured,” she said. “Work is good, work is noble, work is disciplining, work is what gives you social meaning in your life, so you can’t say, ‘Oh, this job is killing me.’ And they certainly don’t ever want you to talk to other people and realize this is structural, this is planned, we are the effects of other people’s choices and perhaps we should have a bigger voice here.
I saw one really amazing game at GDC that stood out from the rest. It had all the players instantly smiling and laughing. It was fun for kids and adults. It created a feeling of group affinity. Everyone around wanted to join in. It was even beneficial to the body. It was an inflatable ball.
Charles Bloom, Some GDC Observations (via maxistentialist)
Reblogged from Not Even Sure Why
When I started out with my first company, Zip2, I thought patents were a good thing and worked hard to obtain them,” Musk wrote. “And maybe they were good long ago, but too often these days they serve merely to stifle progress, entrench the positions of giant corporations and enrich those in the legal profession, rather than the actual inventors.