Posts Tagged ‘momus’

the art of money

Saturday, December 15th, 2007

The other day imomus mentioned that when money people get together they talk about art and when art people get together they talk about money. The money of art is something that can be rather difficult to talk about. I think this is a primary reason professional artists generally have agents. Leave the money dealings to someone else so the artist can focus exclusively on the art.

But the business of art is very important. After all it is with money that food and shelter are procured. In the theatre the business of the art is at the fore. Unlike disciplines like painting or sculpture that one might do in seclusion and then, once completed, present to the market, theatre is done from the beginning in collaboration and those collaborators must agree on what fees are paid, to whom and when. They must agree as to who controls the rights to what and under which circumstances.

Working in the theatre it is necessary to be at once a “money person” as well as an “art person.” But often one is a “money person” without much actual money. Or at least with an income with as much fluctuation as the stock market. Since all my work is on a contract basis and my checks(portions of the total design fee) are paid on an irregular schedule it can be very difficult to organize this financial situation.

I am a big believer in saving and investing and find the typical American’s reliance on credit cards as a “cash reserve,” or worse yet supplemental income, to be reckless at best. At the same time, due to the often inconsistent nature of my work, I have at times been forced to use this less than ideal “cash reserve.” But how does one save and invest reasonably and responsibly with such a fluctuation in income?

What I have found to be of greatest use is to treat everything I make in terms of percentages. I do have fixed expenses, things like rent and utilities, so there is a minimum I must make each month. But after that, everything can easily be scaled to the amount of money I take in. I put away a certain percentage for taxes, and another percentage for savings. Then what is left over is free for all other expenses.

By dealing with my money on a check by check basis(as opposed to yearly or even monthly), I am able to save money during the leanest times. If I try to save ten percent of my income, when a thousand dollar check comes in I can take out one hundred dollars and this is not noticeable in the regular flow of things. Certainly not when compared with attempting to gather thousands of dollars at the end of the year to put in savings.

Breaking finances down to small easily manageable increments makes the whole thing a lot easier to understand. This is why I enjoy sites like Get Rich Slowly. It takes a reasoned approach to personal finance and breaks everything down into components that are easy to manage. So much so that almost insurmountable feats like paying off credit cards is broken down into five easy steps.

The business of art need not be something to fear. With a little planning and research even the most organizationally averse can practice the art of money.

Cultural Perspectives

Saturday, March 10th, 2007

Link

To say that an animal is like a human, or one culture is like another culture at a different phase in its history, is a metaphor, nothing more. It cannot be the case, non-metaphorically. Even when different calendars co-exist — and they do; for the West this is 2007 years after the birth of Jesus Christ, for the Japanese it’s Heisei 19, for Muslims it’s Hijrah year 1428 — we’re all living in the same moment. And we’re all living with each other, changing each other’s context, redefining each other. Today’s postmodernism has been influenced by Islamism, as Islamism has been influenced by postmodernism. Even if the Islamic 1428 resembled the Christian 1428 in every way, the fact that we were around would change the situation utterly. Context changes everything. Imagine a 1428 in which Christendom lived alongside a postmodern culture with TV stations, pop stars and the internet. It would be an utterly different 1428, one which defined itself (probably negatively) against the postmodern culture next door.

Think, too, of how insulting it is to say “They’re living our 1428. They’re just like we were.” What would we think of a Japanese writer who said the West had just about reached Japan’s Meiji 18? He’d be dismissed as an incredibly arrogant nationalist.

Borges has two short stories which have a lot to tell us here. One is about a poet who’s writing an epic poem describing everything in the world using an Aleph in his basement — a wondrous little model which makes the whole universe simultaneously visible in a space just a few centimeters across. The West really seems to think it’s the Aleph, the model, the place from which everything can be seen, and in which everything is contained. We really act as if we’re up on the hilltop, and have the answers. The trouble is that in our Aleph, everything looks suspiciously like us. The rabbits in there all have eyes on the front of their heads. Maybe we haven’t kept it clean. Maybe it’s a mirror.

The other story is Pierre Menard, Author of The Quixote, in which a 20th century man attempts to rewrite Cervantes’ 16th century novel from memory. Borges makes clear that even if Menard had succeeded (and of course he can’t, just like the famous monkeys with their typewriters and their infinite bits of paper containing close-but-no-cigar versions of “Hamlet”), he would still have been an utterly original writer, doing something Cervantes wouldn’t have dreamed of: reproducing Cervantes word-for-word.


Creative Commons License

All text on this site, unless otherwise noted, is licensed under a Creative Commons License. All other rights reserved.