On my way to that rather long discussion of ARGs the other day, I fielded something Pat Kane said to me a while back about the growing importance of live gigs to the income of musicians.
So I was tickled when Paul Miller pointed me to a piece Chris Anderson blogged yesterday about the same thing. Increasingly, musicians are giving their music away for free in order to drive gig attendance – and it’s driving music reproduction companies crazy. And yet, what can they do? “The one thing that you can’t digitize and distribute with full fidelity is a live show”.
A minor synchronicity; but then I stop by here and find Gary Frost and bowerbird vigorously debating the likeliness of the digitisation of everything, and of the death of ‘the original’ as even a concept, in the context of Ben’s piece about the National Archives sellout. And then I remember that, the day before, someone sent me a spoof web page telling me to get a First Life. And I start to wonder if there’s some kind of post-digital backlash taking shape.
OK, Anderson is talking about music; it’s hard to speculate about how the manifest ‘authentic’ appeal of a time-bound, ephemeral ‘gig’ experience translates literally to the field of physical books without falling back into diaphanous stuff about tactility and marginalia and so on. But, in the light of people’s manifest willingness to pay ridiculous sums to see the ‘real’ Madonna in real time and space, is it really feasible to talk, as bowerbird does, about the coming digitisation of everything?
As far as I can see, as more digitisation progresses, authenticity is becoming big business. I think it’s worth exploring the possibilities of a split between ‘book’ as pure content, and book as ‘authentic’ object. In particular, I think it’s worth exploring the possible economics of this: the difference in approach, genesis, theory, self-justification, style and paycheque of content created for digital reproduction, and text created for tangible books. And finally, I think whoever manages to sus both has probably got it made.