Friday, May 04, 2012

Worth a Look

Here are a few posts from the last week of the Greenpage that might be worth your time:

Artist Payments at Nonprofits, By the Numbers As a supplement to “Why Are (Most) Artists (So Fucking) Poor?” here is some of the data from the 2010 W.A.G.E. survey of payments received by artists who exhibited with nonprofit art institutions in New York City between 2005 and 2010.

Heather Knight and Data: A Researcher and a Robot Walk Into a Bar...

Creating - When they appear on stage, Heather Knight, a robotics graduate student, and Data, her stand-up-comedy-performing robot, seem like a futuristic Odd Couple. Ms. Knight is tall, blond and human while Data—sheathed in a white plastic shell and about a third her size—resembles a RoboCop action figure. Data plays the feisty star; Ms. Knight takes on the role of the "straight man." At a performance last year, Data, perched on a stool, waved to the crowd. "I would say it's a pleasure to be here, but I am a robot and don't know emotion," he said in a fittingly electronic voice. Then he turned his head slowly toward Ms. Knight and pointed at her with his left arm. "Heather, how about you get working on that emotion program?" he asked. "I am, Data!" she responded, in a mock-defensive tone.

How Grad School Changed (and Didn’t Change) My Life

HowlRound: For some, the experience was positively transformational, but several of my friends simply returned three years later older, poorer, and more disillusioned with the profession than when they left. Many were quietly humiliated to have to return to the temping or the barista counter—the only difference now being the three letters behind their name and a percentage of their infrequent artistic paychecks going to union dues and their new-found agent/manager.
Am I being unfair? Perhaps.
You see, as Clayton Lord points out in his Intrinsic Impact essay, any time you try to apply an economic model to an art form, the results are disappointing. Going to grad school merely to “improve your career” is like starting a theater company merely to spur economic growth in a community. It’s missing the point, and for a long time, so was I.

The Wire’s David Simon Teaches Us How To Spot Fabulists Like Mike Daisey

The Daily Beast: No one could ever accuse David Simon of a lack of ego, but in recent days, even his most devoted fans might have had trouble figuring out why, exactly, the creator of The Wire had grown so weary of their love. In an interview with The New York Times, Simon expressed “amused contempt” toward viewers who discovered the series long after it went off the air, or who found the show’s characters more compelling than its treatment of larger social issues. Although he later apologized, he still seemed to insist that those who enjoyed the show for its drama and storytelling—for “all the things that television usually affirms”—were missing the point. His remarks were widely picked apart online, but for those of us who have been watching Simon for years, the interview was only the latest in a long series of prickly, hectoring, often belligerent public pronouncements from one of our most talented writers.

In Silicon Valley, designers emerge as rock stars

Reuters: Five years ago, Justin Edmund arrived at Carnegie Mellon University, a floppy-haired freshman, with artistic talent and dreams of joining a venerable design firm like IDEO or Frog. But during his sophomore year, a recruiting pitch from a Facebook employee turned his head, and prompted a detour of his ambitions.
"It didn't even occur to me that working at a tech company was something I could do," Edmund said. "I switched my trajectory completely."

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