As Dean of Fine Arts, Doug Dempster explained, it’s been a few years in the making. But, now that it’s here, the CAET figures to quickly become a significant magnet for UT-Austin’s Fine Arts school.
Why? Because, the CAET’s new Bachelor of Science degree in Arts & Entertainment is the quintessential Gen Z major.
It is the true expression of STEAM – Science Technology Engineering & Math (or STEM) education, with the fundamental integration of Arts, be it performing, visual, digital, or more.
Congratulations to Dean Dempster, Bruce Pennycook (the CAET Director), long-time Austin colleague Paul Toprac (Assoc Dir of Game Design & Dev at UT-Austin), and all of the other faculty and staff for the program.
I, for one, look forward to vetting some of the first crop of BS in AET students, in 2017 and 2018, for internships with our new ventures…the CAET program is fine-tuned to produce future great product, tech strategy, and creative directors, ready to unleash some innovation on the world – can’t wait!
Before I get to the “bond genius” part of the title, a personal moment, to share my 3 Bowie favorites:
Album: Diamond Dogs – nothing like it. On first listen, it’s nearly repelling, in its unconventional musicianship and song-writing. But, listen closely and play it again, and the whole thing starts to become absolutely mesmerizing – an other-worldly lyrical vision and sound.
Song: Rebel, Rebel – ironically, the “hit” from Diamond Dogs. The irony is from the fact that the song sounds nothing like the rest of the album. Being over 40 years old, the track is far lesser-known to the Gen X and Y kids. It gets lost because it’s sandwiched in between the original Ziggy tracks and the latter-day, far better known Let’s Dance tracks. But, for my money, Rebel, Rebel is one of the most hard-charging rock-and-roll riffs of all time.
Video: Heroes – just watch…
Live: The Backyard, Austin TX, April 27, 2004 – An amazing night. The Austin Chronicle’s review is on target, but of course comes up short with being able to capture the magic of the night.
Bowie was “on” and the crowd ate it up, me included. He and the band delivered the perfect set list. A night and a concert performance I’ll never forget.
* * *
Ok, now for the “bond genius” part. For this, I have to give full credit to one of my new favorite, morning newsletters, Quartz. I recommend that you check it out. It’s become part of my morning routine, with multiple round-the-clock issues available to be sent to your email. I get the early morning edition that hits my inbox around 5am.
This past weekend, they editors did a marvelous intro to the daily edition, talking about Bowie’s forward-thinking, on multiple levels. I really can’t improve on what they wrote, so I’m citing it here, in full – all credit (copyright) goes to Quartz. (Keep up the good work, Team Quartz!)
The late musician was always internet savvy—he started his own ISP way back in the AOL days, and was among the first artists to offer a downloadable album, just when Napster was starting to scare the bejesus out of the record labels.
His insight into digital music led him to predict the internet’s disruption of the music industry and cash out early. Back in 1997, he created an entirely new financial instrument: “Bowie bonds” were essentially a bet against the recorded-music business, providing the musician a $55 million payout, secured by future royalties from his enormous back catalog.
”Music itself is going to become like running water or electricity,” he told the New York Times in 2002. “The absolute transformation of everything that we ever thought about music will take place within 10 years, and nothing is going to be able to stop it. So it’s like, just take advantage of these last few years because none of this is ever going to happen again.”
In 1999, global music industry revenues were $14.6 billion; by 2009, they were only $6.3 billion. The entire offering of Bowie bonds was sold to Prudential Securities, which didn’t turn out to be very prudent: The 10-year bonds were eventually downgraded to junk status as music sales, including Bowie’s back catalog, evaporated.
Not all of Bowie’s predictions came true: He also told the Times that copyright itself was doomed. Due to the lobbying prowess of major media companies, copyright protection is stronger than ever—not that it has helped musicians much.
Streaming music services like Spotify pay out tiny fractions of a penny for every song played, making most professional musicians dependent on touring and other revenue streams. (Bowie predicted that too.)
Incidentally, the banker who helped to create Bowie bonds is now securitizing the royalty streams of one-hit wonders like Right Said Fred, the luminaries behind “I’m Too Sexy.”
RIP, indeed. Carpe diem, my friends.
I’ve been so busy, I’ve not yet had time to share any reflections on the 2015 SXSW Interactive sessions.
Among my favorites was Paolo Antonelli, curator of the Museum of Modern Art (MoMA).
Her keynote, entitled “Curious Bridges: How Designers Grow the Future” was, in my opinion, this year’s example of why I always plan to return to SXSW the next year.
If you wish, you can watch the entire, delightful and borderline provocative keynote, courtesy of the good people at Southby.
Much of her presentation revolved on the notion of “designing for the ‘in between’.” While I may be slightly off in my interpretation of her intent, this phrase seemed to be Paola’s way of referencing the essential role designers play connecting the imagined to the real.
Among the examples that she shared (and there were many) during her remarks, I was especially drawn to the ones that had bio- and nanotech references. This is largely due to one of the Powershift Group projects I’ve been supervising for the past six months, called Nano Global Corp.
Nano Global is focused on nanotechnology-based products into direct everyday consumer uses. These include skin protection, surface cleaning, safe food preparation, water and air purification, and many other practical applications.
Nanotech-based consumer products have the potential to improve the lives of tens of millions around the world. This is an especially urgent need, in the post-antibiotic age we’ve entered, where superbugs and fast-mutating germs are resistant to conventional treatments.
One was the pointy, polygon-shaped structure in the picture that almost looks like a building-sized virus itself.
But, far from being a virus, the structure is coated with nanoparticles that were meant to neutralize pollutants in the air.
In other words, it’s a giant air filter, sucking bad stuff out of the air.
Paola spent a significant portion of her time describing ways that science, design and architecture can work together. Artists want to share their art with the world; scientists want to make their science more useful.
Architecture provides a fascinating third way for these other two to come together in a way that is both pragmatic and beautiful.
This is a manga story about a boy who passionate about agriculture. In the story, the boy can see and talk to bacteria.
It’s a lovely way to represent what designers are actually thinking about, in terms of harnessing bacteria as worker bees that enable us to build a better future.
One example she showed was Autodesk’s design of its own virus, in-vitro.
Another example she showed was MoMA’s latest acquisitions from the Wyss Institute, called organs-on-chip.
The point of these designs is very real: it is to create new, validated means of speeding new pharmaceuticals through their trials, to get life-saving and other beneficial drugs to market rapidly.
All-in-all, I found it a riveting SXSW keynote that will have me thinking about the possibilities of design, at least until SXSW 2016!