I suggested that conceptually the 21C Museum Hotel and Destination Gallery at First Union Tower are similar. For the purposes of CURSOR, this contention is easy to illustrate. Although there are millions of corporations, it is not unhelpful to reduce the corporation to a construct in order to identify its general functions and attributes. Art and Democracy are messy.Ĭorporations as they now exist evolved on a timeline. There is little in the creation of art or the defense of representative, bottom-up Democracy that prioritizes risk aversion and damage control. One need satisfied by the corporation in service to its owners that has proven particularly onerous for art and culture, and by extension, Democratic freedoms, is that of risk minimization, and its close relative damage control (not speaking of the common welfare, but rather solely with regards the corporate welfare). To begin to profile the corporate AI, one only has to research the needs a corporation satisfies, the mechanisms it employs to achieve its aims, and the effects the corporation evidences in the world. I have suggested that the Golem possesses a sort of artificial intelligence that operates relationally and congruently to the corporate body, its artificial personhood. The Cyclops in my work is the anti-golem, a construct I intend to explain in detail, but which I have already begun to comment on fairly extensively. I have established a symbol to personify that culture. With any field and class there is culture formed. The primary vehicle for design implementation of the will of the Superclass upon the rest of us is the field and class of Management. I have devoted significant resources to identifying and documenting through dimensional analysis the implications of this phenomenon, which is now approaching the twilight of its second century in operation. It arises from two key components: private ownership (especially of land) and artificial personhood. The tool of implementation utilized by that Superclass to substantially dominate global affairs in Drucker’s three sectors (government, business and social) is the multinational corporation. In my Thesis I reductively identify this contingent as the “Davos Man” or “Superclass,” to use another writer’s assignation.
I have suggested that these threats not only endanger the survival of traditional forms of discourse and the preservation of our shared cultural assets, but also threaten the enlightened civilization that deemed humanistic enterprise valuable.Īt the top of the list, I have suggested, we find ensconced or embedded (in a broadly relevant usage of the term, in both old and new media) a minutely fractional portion of the civilization that benefits massively from an epistemological status quo. In previous CURSOR entries, we have at least superficially raised warnings about environmental threats to art and the Humanities. (Please refer to “Maciariello’s Proof” for a structural diagram of the vision-enabled society, and for the structural diagram of the anti-visionary society.) A determination of what social elements pose the internal threat of anti-vision, is therefore of vital interest to the sustainable society. In a vision-enabled society, reliant upon dimensional tools and methods, one important job-description of the visionary is to see a potential threat (the “T” in SWOT), and alert his fellows to the impending danger. CURSOR 10: 21C Artists and the Big “T’s” On the immediate need for Digital Humanities and strategies for implementation in the dimensional art production schematicįor a presentation in Humanities 340 (Research Tool for the Digital Humanities)