For centuries, art of all kind has been controlled to varying degrees by “gatekeepers”—those who have the power to determine which art is created or accessible, or both. There are plenty of examples: from artists who have benefitted from the largess of royalty or the Church; to gallery owners and powerbrokers in the visual arts; to publishing houses; to movie studios, and even in the recent past when some governments around the world only permitted art they approved.
As technology has developed, so too have the mediums for the exchange of ideas, and those ideas are spreading faster and farther than ever before. The result is that the gatekeepers are being marginalized, repositioned, and in some cases replaced. An example in the arts is desktop publishing, which has allowed musicians, poets, and other artists to self-publish and reap more margins. It also lessened the dependency on established publishers. Those publishers have felt the pinch in the past few years through the loss of business from self-publishing, and the ease for new and nimble publishing houses to be formed. The prevalence of home studio software caused a similar arc in the recording industry over the past 10-15 years. It’s easy for bands to produce their own music, and it’s common for musicians to record tracks in their home studios and send them to producers instead of traveling to record in a studio. We’ve also interviewed visual artists on our podcast who have vibrant websites, through which they sell much of their art.
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