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Posts Tagged 'amanda palmer'

Amanda Palmer’s TED talk

I’m not a humongous fan of Amanda Palmer’s creative output. I like the idea of it more than I like its execution. I find her creative processes and chances to be intriguing, and on the whole I guess I’m glad that there are people trying to push the envelope of the present day economic model for the arts, particularly since I’m also somebody who is hoping that there are alternate funding models out there that can work. I’ve bought some of her music; as I say, it’s more interesting than enjoyable to me, on the whole, but the stuff that’s interesting can be pretty interesting. As I’ve said elsewhere, I’m an Oingo Boingo fan from way back in the day, and her “punk cabaret” thing is sort of a de-professionalized version of the the same idea. Sort of.


Ms. Palmer’s TED talk appears to be tearing up the Internet, and there are a couple of things I’d like to throw out there about it.

First off, I recently attended a seminar by a political theorist who is proposing that, along with liberty and equality, dignity is the third necessary precondition for democracy to work — that is, there has to be some way that the intrinsic worth of the participant is going to be preserved in the democratic process. This is interesting to me on a number of different levels, but for present purposes, I will say that it seems to me to be a big part of Ms. Palmer’s point. What she’s saying, essentially, is that if you ask for something in a way that affirms the dignity of both the person asking and the person being asked, rather than demanding in a way that assumes you’re asking from a position of authority or begging in a way that debases yourself as the petitioner, but that just says, “Hey, one human being to another, can you do something that’s in your power to do?” — that is, presents the proposed transaction as something mutual and participatory — then you’re more likely to get what you’re asking for, you’re also more likely to broaden your social network in some way through that person, that person’s social network is reciprocally expanded, and they are likely to feel like they got something of value out of the transaction. It’s a really lovely idea, no question.

I have no doubt that there are game theoreticians out there who will have plenty to say about Ms. Palmer’s model. My amateur’s observations are this:

Crowdfunding amounts to the thought I think probably every college student has ever had — “You know,” they say to themselves, walking to their next class, “if I could figure out a way to get a dollar from every person on this campus, then my tuition bill would be covered.” It’s a perfectly sensible thought if you can just figure out how to do it — why shouldn’t it be easier to get $1 from 40,000 people than to get $40,000 from a single source?

Well, there are a lot of reasons, it seems, why it isn’t easier, but Ms. Palmer starts out by saying, well, that’s the model that I followed as a street performer, and I did okay enough to see it as being fundamentally worthwhile. Here’s the thing, though — what she doesn’t tell you is that she did it in Boston. In order for something like that to work, you basically have to assume a certain size city, with a certain density of people on foot, and you have to assume a critical mass of a certain kind of person with a certain amount of cash on their person.

To put it another way, you couldn’t really do it in Bloomington.

Second, Ms. Palmer presents it as a model of “all you have to do is ask and anybody can do this”, and I’m just not convinced that it’s at all that simple. She at once talks about the value of expanding one’s social network through the average person on the street while also downplaying her own not-inconsiderable non-Average-Joe social network. She’s married to Neil Gaiman, is my point. That’s wonderful that she can get a Neti pot delivered to her at a coffee shop within 5 minutes of Tweeting the need for same; if only it were that easy for me to find Theodore a babysitter that way — but that’s just not my (or my wife’s) social network. Our networks are largely outside of Bloomington, which means they’re not terribly useful for immediate and personal needs — that’s what happens when you live in this kind of town for ten years, all your friends move away.

(Mr. Palmer — er, Neil Gaiman — also has a talk floating out there online that I intend to comment on soon. All in good time.)

All of that said, there is absolutely an art to asking, and fearlessness in reaching out really is the first step. I have found in my own projects that, if you’re hoping that somebody can give you $100, it’s better to ask for $400 and have them give you $200 because they really are happy to help than to ask for $100, have them figure you don’t really need the money if you’re asking for so little, and they give you $50. That doesn’t work in all cases, but it works in a reasonable proportion of them.

At the same time, there is no bigger draw to my blog than the materials under the tab “Greek Resources”. I have put them up for free, there are a lot of links out there to them, and I have tried to suggest over the years — Hey, if you think there’s a value here, then it’d be great if you expressed that value somehowAnd, well, that’s generated all of I think $20 a year since I started putting them up. That’s fine; I’m not going to take them down, and I’ll keep plugging away at them eventually, but that tells me something about how Ms. Palmer’s economic model works — that is, there’s more to it than simply putting up what you got and asking people to pay what they can. Along those lines, the funniest moment in the movie Julie and Julia to me is when Julie’s complaining about what she spends on cooking, somebody suggests to her that she put a PayPal button on her blog, and next thing you know, gifts and checks just start rolling in. Yeah, it’s just not that simple, kids. Would that it were.

The Saint John of Damascus Society is about to try to crowdsource a particular creative project, or at least the first stages of it, and I will be very curious to see how it goes. I do have a particular social network made up of particular kinds of people I’ve gotten to know over the years, and while it can’t get me a babysitter, I will be very interested to see if it can generate support for something creative. We shall see.

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Τι κάνω;

Aaaaaaaaaaaaaaaaaaand the end of week 3 of a new semester has been reached.

I’m having fun with Modern Greek thus far; given that much of what has been covered is stuff that hasn’t changed much from Attic usage (with the exception of pronunciation), I’m having, shall we say, a relaxed time of it. The prof says that he will start getting together with me and the other grad student to pick up the pace a bit, so that we can jump to the fourth semester next term, skipping the 150 and 200 level classes altogether. This doesn’t altogether depress me; the class so far certainly has been hardly anything about which I would lose sleep, but it would also be nice to untether myself enough from the pace needed by a freshman who after three weeks is still struggling to read the alphabet so that I feel like my own time is being spent wisely.

Modern Greek has also opened up a new possibility for me; in my ongoing quest to not have 30+ graduate credits just sitting as an unusable blob on my transcript that won’t transfer anywhere, I’ve brought up the possibility with my Greek teacher of doing a Masters in West European Studies, looking at the Greek diaspora in places like Germany and examining issues of religious identity and so on. He was supportive of the notion, and is reviewing my personal statement. I have to say, I’m not totally in love with the idea, but I’ve got half of the coursework done, I’d be able to finish in about a year, and it is something in which I’m legitimately interested. If I leave IU with a Masters in a field that isn’t directly related to where I go from here, I’ll at least leave here with a Masters (and keep up the pattern started with my undergrad), as opposed to a boatload of credits that nobody will care I have and won’t transfer anywhere.

The demographic makeup of the class is interesting; I’d say it’s about 3/4 Greek-American kids. I can’t tell if they’re trying to (re?)connect with their heritage, shooting for an easy A after years of Greek school growing up, or just want to be able to talk to Yia-Yia.

We use “Greek names” in class. The professor originally suggested Ριχαρδός, which is just “Richard” with a Greek masculine ending added, but thinking about it, I decided to go with a name that had the same meaning rather than the same sound. “Richard Barrett” roughly translates to “King Troublemaker” (I’m not kidding, although it depends on which part of Europe your particular Barretts are from — it can also mean “hatmaker” or “fortress”); in Greek, according to my friend Anna, that can be rendered more-or-less as ο Βασίλης Ταραχοποιός, and thus I am now called in class.

(By the way, Anna has some interesting observations which are perhaps not entirely unrelated to some I have made before. I have a hard time relating fully to either person she describes for various reasons, but have certainly encountered similar people myself. The convert friend sounds like he’s exactly the kind of guy who needs to hear The Divine Liturgy in English. Anyway, her post is, as is typically the case with Anna’s blog, worth reading.)

I have finally started the notes for Hansen and Quinn Unit III; I hope to have them in done in a week or so (once I’ve got a particular writing assignment done this weekend). If you’re waiting for them and have that particular unit staring you in the face in class — well, I’ll do my best.

(And perhaps next week I’ll finish translating the Meyendorff article, too.)

If you recall a rather cryptic post from a couple of weeks ago, I’ll add only that another very interesting (and positive) dimension has emerged from this set of circumstances. More to come once it happens.

A couple of completely random bits —

I bought a treadmill about a month and a half ago, and except for days I’ve been out of town and two somewhat exceptional evenings, I’ve been good and have used it for a half hour every day since it was delivered. I watch episodes from the various series making up the DC Animated Universe; including stretching, I usually manage to watch two episodes in one shot. I started with the second season of Justice League (when it became Justice League Unlimited); since that season ends with what is, effectively, the chronological end of that universe, it seemed only fitting that I move on from there to the show that started it all, the very first season of Batman: The Animated Season. All I can say is, it never ceases to amaze me how good these shows are on an extremely consistent basis — and as much as I think Christian Bale has become the definitive live-action Batman, there is no question in my mind that Kevin Conroy is the definitive Batman of any medium. (You know what I’d love? Bruce Timm and Paul Dini to write the script for the next Christopher Nolan Batman. It’ll never ever happen, but just imagine…)

Anyway, it keeps me excited about exercising. It begs the question what I might do when I’ve burned through them all — but hey, I’ve still got the season box sets for Babylon 5. That’ll keep me busy for a few months once the Timmverse goodness runs out.

After an interesting reference to their singer on a particular celebrity blog I read, out of morbid curiosity I bought the eponymous first studio album by the so-called “Brechtian punk cabaret” act the Dresden Dolls. I’m an Oingo Boingo fan from way back, and this is certainly within that tradition; the artists involved are definitely talented and creative; nonetheless, I can’t quite figure out if it’s my cuppa or not. I may give Amanda Palmer’s solo album a shot and see if that convinces me; at the very least, the companion book sounds intriguing.

OK — have a good weekend. I’m needing to get some sleeping done, some writing done, and some birthday parties done by Monday; let’s hope.


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