If We Want More Non-Commercial Art, We Must Support Artists

I wanted to comment on “New-Media Pioneers Talk Art, but Commerce Rules” (July 13) by Jonathan Weber. First of all, it is important to distinguish between the entertainment and fine arts. Traditionally, the fine arts have existed within the protected walls of universities, nonprofits and alternative organizations. This has allowed for experimentation and cutting-edge creation. On the other hand, the entertainment arts have traditionally been more involved with business concerns, since one of the primary goals is to make lots of money.

So when these conflicts arise around creative expression and commerce, it is because of the nature of the entertainment industries, and it has always been this way. If we are ever going to be able to focus on the creative issues surrounding multimedia art, and do this without the constraints of commercial interests, then we have to support the artists and institutions that can make this happen.

We need to invite the great artists of our time, young and old, to create multimedia art by commissioning and supporting their efforts. We then have to value their work, without considering the commercial application of their ideas.

In essence, we have to value the aesthetic, experimental, theoretical aspects of the creation of art. I believe this will radically further the cause of a “multimedia” art form, because we can free ourselves of the more superficial interests that often constrain entertainment art.

RANDALL PACKER

Director, Multimedia

Studies Program

San Francisco State

University

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Weber’s column comes to several erroneous conclusions.

Assumption 1: Record companies will define the future of the recording industry. While this is true for the short term, the prospects of musical artists bypassing traditional methods of marketing loom larger and larger. Will tomorrow’s musicians go through all the trouble of setting up their own record companies on the Web? Yes! As a musical artist, I can say that while having to acquire the skills and equipment necessary to make this possible is cumbersome, it is a far more attractive solution than chasing after record companies, trying to get them to deal honestly and fairly.

Assumption 2: Prices increase. If compact discs are marketed directly to the consumer via the artist, as I believe they will be, the price will be far lower than it is today. Competition will drive the prices down.

Assumption 3: Art and commerce can’t find a happy balance. Don’t forget that the artist is at the center of the whole equation and that while many are driven by greed (hence record companies will be around for a long time), a far greater number are driven by other motivations, such as self-expression.

Assumption 4: The consumer is the loser. While these emerging technologies offer artists more opportunities to create, the real winner is the consumer. Competition will drive prices down and offer a far greater number of choices.

WILLIAM F. KECK

Westminster

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My experience has shown me that multimedia production is not “terribly” expensive. The only terribly expensive part is marketing and distribution. I have produced two small multimedia titles. They prove the point that any educated person can produce new-media works. It is education and access to information that gets the production done.

I sincerely hope the media will not become star-struck by celebrities and big corporations. The most successful art-entertainment CD-ROMs were made by individuals or small groups. Let us forget the mogul concept and really look for new Picassos and Kandinskys. They are out there.

With regard to distribution, the Internet at its current bandwidth is best for getting samples of the work to the public. I am giving away my little pieces of art in order to make a name for myself so that later I can come back and sell a polished product.

In the meantime, everything is a labor of love. As long as the Internet remains free and fair competition exists in software companies--and perhaps, if the media would do more to free itself of stereotypes based on the political concept of race--there will be little guys like me out here in cyberspace doing “true” art with no apparent economic incentive.

BRYAN D. WILHITE

Inglewood