Tag Archives: mainstream media

Commodifying Art -Damien Hirst

All of modern life is a spectacle. Much of what contemporary man experiences in Western society is a false social construct mediated by images.

These mediated images create desires that can never be fulfilled; they create false needs that can never be met. “Many of our daily decisions are governed by motivations over which we have no control and of which we are quite unaware” (Berger 41). The constant spector of the mediated image creates an endless cycle of desire, consumption, and disinterest, fueling a banality in life that feeds the commodification of life.

Increasingly life itself becomes a commodity and the image more important than the reality it represents. This commodification infiltrates every aspect of human production, including the arts, and finds its pinnacle expression in the work of Damien Hirst. Hirst has carefully crafted a brand identity that has far surpassed the value of his art work in importance and worth. Working in tandem with former advertising executive turned art dealer Charles Saatchi, the spectacle of the Hirst image becomes the commodity. “Reality unfolds in a new generality as a pseudo-world apart, solely as an object of contemplation. The tendency towards the specialization of images-of-the-world finds its highest expression in the world of the autonomous image, where deceit deceives itself” (Debord
143).

No longer is the work of art itself a commodity, but rather the image of the artist (his/her/cis brand) that becomes the commodity.

It is this spectacle that drives the consumer to identify with a particular artist or brand. “The astronomical growth in the wealth and cultural influence of multi-national corporations over the last fifteen years can arguably be
traced back to a single, seemingly innocuous idea developed by management theorists in the mid-1980s: that successful corporations must primarily produce brands, as opposed to products” (Klein 4). The image has increasingly infiltrated and dominated the culture and the whole of society and has become “an immense accumulation of spectacles” (Debord 142).

Butterfly by Damien Hirst
Butterfly by Damien Hirst

Where once the products of labor were the commodity, now it is the spectacle that has become the commodity.

A prime example of this spectacle is Damien Hirst’s sculpture, “For the Love of God.” The sculpture consists of a platinum skull covered with 8,601 diamonds. The sculpture valued at over $100 million usd/ $129.361,000 cad [exchange rate at time of publication] is clearly out of the reach of almost any collector. The sculpture itself is not the art product, rather it is the spectacle that is the product. “Mr. Hirst is a shining symbol of our times, a man who perhaps more than any artist since Andy Warhol has used marketing to turn his fertile imagination into an extraordinary business” (Riding, nytimes.com). Acknowledging that the sculpture is out of reach for the majority of collectors, Hirst offered screen prints costing $2000 usd/ $2,587 cad to $20,000 usd/ $25,870 cad ; the most expensive prints were sold with a sprinkling of diamond dust.

Karl Marx Capital Is Money Meme

Karl Marx argued that the value of the commodity arose from its relationship with other commodities; its ability to be exchanged for other commodities. Marx used the the production of a table to illustrate his thesis:
“…by his activity, man changes the materials of nature in such a way as to make them useful to him. The form of wood, for instance, is altered if a table is made out of it. Nevertheless the table continues to be wood, an ordinary, sensuous thing. But as soon as it emerges as a commodity, it changes into a thing which transcends sensuousness.” (Marx 122)

Hirst’s diamond encrusted skull remains mere diamonds, valuable yes, but still diamonds. However, when coupled with the spectacle of Damien Hirst’s identity, the skull becomes a fetishized commodity capable of selling screen-prints valued in the thousands. The argument can be made that diamonds on their own carry value, and could be commodities themselves, however that doesn’t account for the fact the Hirst was able to sell prints of the skull for over $2000 usd/ $2,587 cad. Nor do the diamonds alone account for the spectacle surrounding the art work; it is Hirst’s brand, his image that creates the spectacle.

“The mystical character of the commodity does not therefore arise from its use-value. Just as little does it proceed from the nature of the determinants of value” (Marx 123). The value of a commodity arises from its spectacle, its ability to be desired. In Marx’s day that desire was its ability to be traded for other commodities; today that value is derived from its association to a brand, an identity, a spectacle. “Art reflects the illusory way in which society sees itself, it reflects the bourgeoisie’s aesthetic ideas as if they were universal” (Osborne 79).

The spectacle feeds itself through the mediating of the image to create desire for status and recognition, through associations.

“The ends are nothing and development is all – though the only thing into which the spectacle plans to develop is itself” (Debord 144). The spectacle’s main objective is self perpetuation. Its aim is totality. It must be noted that Hirst himself did not even create the work of art, but rather employed a studio full of jewelers to execute the sculpture, and printers to produce the prints.

Hirst exemplifies the bourgeoisie capitalist employer who retains ownership over the fruit of the employees’ labor. He is in many ways more akin to a captain of industry than he is to the romantic notion of an artist. “In the early twenties, the legendary adman Bruce Barton turned General Motors into a metaphor for the American family, something personal, warm and human” (Klein 7). Hirst has also turned himself into a metaphor, however, metaphors aren’t always true. This falsehod is at the heart of the issue. The spectacle isn’t concerned with what is true, rather it is concerned with what can be made to appear true. It is this appearance of truth that makes a commodity valuable. This fetishism of the commodity is why gold and silver have value, it is because people gave them value. It is the reason Damien Hirst, or any other brand, has value, because people gave it value.

Damien Hirst Greatest Currency on Earth Gold Diamonds and Art CNN

Damien Hirst cannot be blamed for commodifying art, he is simply following a long tradition of turning objects and products into commodities. The fact that his commodity is his own image doesn’t seem to matter. “Hirst is just playing the game. It is a game played by collectors and dealers at art fairs throughout the year; it is a game finessed as never before by Sotheby’s and Christie’s; it is a game in which, in the words of Nick Cohen, a rare British journalist to trash Mr. Hirst’s publicity coup, ‘the price tag is the art’ ” (Riding .nytimes.com).

That final statement beautifully summarizes the commodification of art, ‘the price tag is the art.’ The fact that the art is obscenely priced, and out of the reach for the majority of collectors, the fact that it is made of diamonds, a precious stone known as the blood stone because of its association with brutal and oppressive regimes, merely adds to its allure, to its spectacle. Damien Hirst is merely playing the game, like many before him. He is a part of the growing culture
industry that sells image. Images are the new commodity fetish. Images are the new mysterious commodities exchanged for more the more durable and enduring commodities. The bourgiousie sell their images, which have no real value, to the public which consumes them, in exchange for goods of real value.

“The $200 billion usd/ $270 billion cad culture industry – now North America’s biggest export – needs an every-changing, uninterrupted supply of street styles, edgy music videos and rainbows of colors. And the radical critics of the media clamoring to be ‘represented’ in the early nineties virtually handed over their colorful identities to the brand masters to be shrink-wrapped.” (Klein 115)

Nick Cohen said of Hirst, “[he] isn’t criticizing the excess, not even ironically … but rolling in it and loving it. The sooner he goes out of fashion, the better.” What Cohen fails to realize is that the spectacle is a fashion. And when one image goes out of fashion, another takes its place. Hirst may indeed go out of fashion, but another art brand will take his place, perpetuating the commodification of the arts in increasingly bombastic ways.

Equestrian Statue Of Marcus Aurelius

Perhaps art has always been a commodity?

In the past patrons would hire artists to paint them into scenes from the gospels. Patrons could be seen on the outskirts of paintings piously praying, thus creating an image of themselves as good and pious Christians. By association with the sacred art, the patron was creating a mediated image. Rulers did this all the time. The Equestrian Statue of Marcus Aurelius is a perfect example. Its a mediating image that communicates power and authority.

But none of these examples reach the level of spectacle and fetishism that is Damien Hirst. While art may have been a commodity in the past, it was never commodified. In other words, while the art itself may have been exchanged for other goods, the artist himself was not treated as a commodity. The art of the past may have served a purpose, it may have contained a mediated message, but it was still a product, and it was the product that was valued, not its brand identity.

The commodification of art creates a unique problem in history. If it is the spectacle that matters, and the artist’s identity that has value, then what value is left in the art itself?

What then separates art from ordinary objects? Is there any aesthetic emotion that remains in the work of art itself, or does the aesthetic emotion dwell completely within the spectacle? These are questions that cannot easily be answered, and ultimately will require the lens of history to answer completely. But they are a pressing concern, for when art is commodified, it may cease to be art and instead become celebrity, product, or worse, advertising. For the Silo, Vasilios Avramidis

Works Cited
Berger, Arthur Asa. Seeing is Believing: An Introduction to Visual
Communication. New York, NY: McGraw Hill, 2008. Print.
Debor, Guy. “Showing Seeing: A Critique of Visual Culture.” The Visual Culture
Reader. Ed.Nicholas Mirzoeff. New York, NY: Routelage, 1998. 142-144. Print.
Klein, Naomi. No Logo, No Space, No Choice, No Jobs. New York, NY: Picador, 2000.
Print.
Marx, Karl. “Showing Seeing: A Critique of Visual Culture.” The Visual Culture
Reader. Ed.Nicholas Mirzoeff. New York, NY: Routelage, 1998. 122-123. Print.
Riding, Alan. Alas, Poor Art Market: ‘A Multimillion Dollar Headcase.’ The New York
Times. June 2007, Damien Hirst and the Commodification of Art http://www.visual-studies.com/interviews/moxey.htm

How to Avoid a PhD (Penalty for Hardworking Dummies): Debunking the Meritocracy Myth

To All Who Will Say, “It Has Nothing to Do with Me”

This book is a profound research work that exposes corruption, censorship, and corporate tyranny in the purported democratic system of the US. Hammond reveals the subversive role of the mainstream media in deceiving the public and manufacturing consent for perpetual wars, individual responsibility for institutional failures, and social injustice presented as a meritocracy. At the same time, argues Hammond, the incessant propaganda conditions the public to accept the denial of basic human rights such as healthcare, living wages, and higher education as undeserved luxuries.

According to the author, through sophisticated mechanisms, the People Relations industry constantly disseminates the illusion of freedom and democracy and inculcates the myth. Hammond offers a brief history of media corruption through consolidation of ownership, currently reduced to five giant corporations. The author opens the first chapter with a short analysis of the classic 5 filters of mass media detailed in Herman and Chomsky’s 1988 Manufacturing Consent. Although Chomsky’s revelation is widely popular as every dissident’s bible, less known is that the authors dedicated the book to an Australian writer, Alex Carey, whom they consider a pioneer in the field of propaganda.

According to Carey, people in the US have been subjected to an unparalleled, extensive, three-quarters century-long propaganda effort, designed to expand corporate rights by undermining democracy. Hammond traces the roots of propaganda back to the 1920s, when the founder of the People Relations field, Edward Bernays, initiated his mass psychological campaigns to win public opinion. Bernay’s successes include influencing women to smoke and promoting foreign intervention in Latin American countries at the behest of corporations, later known as Banana Republics.

During that time, leading intellectuals such as Bernays and Walter Lippmann freely used the term “propaganda” as an indoctrination tool and promulgated the idea of manipulating the public.

Bernay’s 1928 book titled Propaganda, was a literal manual for the ruling intelligentsia. According to Bernays, the masses should be unaware of the source of their influencers, while the audience is overwhelmed with carefully selected images and rhetoric by unknown agents. Another source used by Hammond is George Orwell’s unpublished preface titled “The Freedom of the Press” to his 1945 Animal Farm. A curious little-known fact is that Orwell had a hard time publishing the book in democratic Britain, and took him five years to find a publisher. Moreover, the preface, in which he explains the phenomenon of self-censorship and how in Western democracies it is done in a very subtle way in contrast with dictatorships where the censoring is open. Perhaps because of this analogy, the preface is still not published within the book, although could be found separately on the Internet.

Tamara Hammond’s book extensively analyzes the current media status with emphasis on alternative media in the context of the rising censorship practiced by the owners of social media networks. According to the author, from Google to Facebook to X (nee Twitter) tne giant networks are obedient purveyors of the ruling oligarchy that transcends national borders. Hammond warns that we are being conditioned to accept a neo-feudal technocratic dictatorship based on fearmongering and deception. Much of the book is dedicated to educating the audience about the real dissidents in media and academia who fight against wars and corruption, and to liberate imprisoned journalists like Julian Assange.

The epilogue features an allegorical tale about the slippery slope of corruption and the mechanisms of power that overwhelm even the most noble minds. Available for order on Amazon.

Canadian Group: Australian Wildfire Facts Blocked by IFCN

(Calgary, Alberta) Australian wildfire facts are being blocked from public distribution by the International Fact Check Network (IFCN), Poynter Institute and facebook.  Friends of Science Society has issued a rebuttal to Climate Feedback’s Australian wildfire analysis, a member of IFCN, that claims human-caused ‘climate change’ is the culprit behind Australian wildfire stories, not arsonists or untenable fuel load.  In turn, relying on Climate Feedback’s ‘authority’, facebook has been demoting page quality of those who post Australian wildfire stories that don’t fit the climate catastrophe narrative. Friends of Science wildfire expert says “fuel rules” in the case of wildfires, not temperature.

Facebook and Poynter Institute have partnered in a journalism ‘integrity’ project intended to prevent the spread of false news, but instead, they are promoting a singular climate dogma narrative. Most mainstream media outlets toe the line on the pronouncements of Poynter’s IFCN/Climate Feedback without question. Friends of Science Society argues that this is contrary to the principles of freedom of the press and is damaging to the safety of the public. 

Decades of detailed wildfire research by the National Fire Protection Association, a global non-profit established in 1896, has shown that proper setbacks of shrubbery, removal of combustible material, and other house-proofing measures can significantly increase the likelihood that a house will survive a wildfire. Wildfire management techniques like clearing firebreaks and managing combustible fuel loads of dead or dry shrub vegetation and the cutting of firebreaks are well-known, successful wildfire risk reduction techniques.

In their rebuttal to Poynter’s “Climate Feedback”, Friends of Science Society points out that in Alberta, the 2011 statistics of human caused fires versus those caused by lightning reached 72% in the five-year average.  Human-caused wildfire includes arson, accidental or negligent activity and fires started from human infrastructure issues – like power lines sparking on contact with tree branches. Some of the largest Canadian wildfires, like the 2011 Slave Lake catastrophe, have been identified as arson.

For those people demanding climate action to reduce carbon dioxide from human industry, the grand irony is that poor forestry and fuel load management lead to wildfires which in turn emit huge quantities of carbon dioxide, as reported by Esquire.  Proper forestry management would reduce those emissions.

Many climate activists condemn Australia as being at fault for climate warming because it is a coal-producing nation. Based on those claims, Australia is facing economic trade wars by Greenpeace, BankTrack, and even Greta Thunberg.  But as discussed in Friends of Science Society’s “Burning Questions” 2015 report, wildfires, especially those that create huge Pyrocumulonimbus clouds, are a significant driver of climate change.  “The Untold Story of Pyrocumulonimbus” explains the complex findings of wildfire’s influence on climate and environment, with the research led by Mike Fromm of US Naval Research Lab. 

Likewise, Friends of Science Society’s report “Unfriend ENGOs – Befriend Facts” deconstructs the green trade wars against essential prime power industries like coal, natural gas and oil, driven by environmental groups acting as proxies for ‘green billionaires’ who are deeply invested in pushing global cap and trade, carbon pricing and their vested interests in renewables.

Climate activists, Poynter and facebook are suppressing freedom of the press and freedom of speech, while falsely proclaiming a climate emergency, a concept developed by a clinical psychologist in the US, intended to scare people into compliance. The same “Climate Mobilization” organization advocates for World War II style rationing, managed economy, and massive restrictions on freedoms.

On April 6, 2020, Friends of Science Society’s 17th Annual Event “Freedom of Speech! No Climate Emergency” will host investigative journalist Donna Laframboise to address these diminishing freedoms, and Dr. Roy Spencer, who will offer “10 Reasons Why There is No Climate Emergency.”

Friends of Science Society is an independent group of earth, atmospheric and solar scientists, engineers, and citizens who are celebrating its 17th year of offering climate science insights. After a thorough review of a broad spectrum of literature on climate change, Friends of Science Society has concluded that the sun is the main driver of climate change, not carbon dioxide (CO2).
Friends of Science Society
P.O. Box 23167, Mission P.O.
Calgary, Alberta
Canada T2S 3B1
Toll-free Telephone: 1-888-789-9597
Web: friendsofscience.org
E-mail: contact(at)friendsofscience(dot)org
Web: climatechange101.ca

Economic Aspects Of Globalization In The Past Material World

Questions and deliberations concerning globalization are more than a hot topic of extended cross-disciplinary focus in academia; they are also central to the long-simmering debates regarding policies and their implications that today often enter the public arena. For example, a quick perusal of broadly accessible media outlets from late 2013 and early 2014 reflects a suite of still unresolved but vibrant civic pondering: “When did globalization start” (The Economist 2013), “The dark side of globalization: why Seattle’s 1999 protesters were right” (Smith 2014), and  “Have we reached the end of globalization?: (CNN 2014).

Yet can such issues really be evaluated judiciously without defining the critical elements of globalization, and then dissecting and assessing its historical scope? Given the broad temporal and spatial elements implied by the concept of “globalization”, it is not most likely that the outcomes and effects of this multifaceted process would be highly variable across time and space?

But through a diachromic and comparative examination of human connections over time, might we see some commonalities and learn relevant lessons?

Continue reading this essay by Gary Feinman by clicking here.

*Banner image of Ronald McDonald -McDonalds China courtesy of image.minyanville.com