Ok, I do have a problem with this assessment: if these festivals aren't really making enough money even to pay the performers, what's in it for the performers? Elsewhere Jenkins suggests that performance will pay the bills, yet here he references festivals that draw on free talent. Will that talent make money "in the future" (how far off, anyway)? Is that something to bank on? It's quite a gamble, imo...
Just as with music (and with the Pope, in the next paragraph below), these crowds are getting all this entertainment and experience for free. So where is the business model? (And I merely ask because Jenkins points out that the internet's making so many products *freely* available has wrecked a couple of older business models -- such as CD/ record sales.) So if "live" presence is an alternative to the internet's culture of "free," where is the business model if the crowds we're talking about still aren't paying? Or, in the case of music festivals, the organizers charge the crowds (who pay for tix), but don't make enough money to pay the performers? Hmmm?
THIS I find very compelling, and something to think about. I worried earlier about visual art, and about how it can compete unless it wants to be "performance" art.
But here's the deal: if the art is *housed* in a building that is practically a performance -- i.e., that attracts an audience by virtue of its famous architecture -- then the art can use that sort of "live" or "reality"-based popularity as its frame or as a stepping stone to access public consciousness.
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Public Stiky Notes
But here's the deal: if the art is *housed* in a building that is practically a performance -- i.e., that attracts an audience by virtue of its famous architecture -- then the art can use that sort of "live" or "reality"-based popularity as its frame or as a stepping stone to access public consciousness.
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