Jot. Spelled like Thought.
No idea left behind.

Jought vision

The Art Industrial Complex

Did you know that HugJot is an anagram for Jought? That's really what we're about. And not just because it's easier to spell. Jought is about the up-and-coming Art Industrial Complex (as we call it) that we aim to further establish. We connect art with industry, stimulate efficient business operations, artistic ambiance, and ethical practices, raise awareness about important current issues, and perform marketing that gives credit to establishments that encourage good habits like these, all while improving profitability for everyone involved.

The Jought Vision

Every idea or cause can use a tangible manifestation, and delicate physical realities need a shelter. Sound familiar? Translation: all art work needs a museum. Jought not only drives traffic to businesses that host particular artistic originals associated with an idea or cause; it also litters the world with good art by connecting with these establishments in a financially self-sustaining manner.

Many an artist has been an unsung hero. We aim to change that. Art should not exist only at elite institutions like art galleries and museums. We do not believe that artificially withholding supply is necessary in order to keep the price of good artwork high. Art work is an innovation, and should be treated with the same economic status as a copyright, patent, or other piece of intellectual property.

By driving customers to conscientious establishments, Jought creates an economically-viable complex and a market with high liquidity for conscientious goods and services. Even if customers are not in the area to support an idea, art piece, or establishment, Jought and its affiliates accept donations on behalf of the museum/host, as well as the artist. When this happens, an idea is said to have been "Joughted".

A Jought is a complex. This complex is comprised of: an idea (string) or slogan or title which is no more than 42 characters in length, an original piece of static visual art that exists in a physical location, a host establishment (called a museum or gallery) that gives shelter to that original piece of art and which has an economic relationship with the artist, and a book that is sponsored by that piece of art. In order for this complex to be Jought-certified, all parties must agree to be a part of this complex. This complex must exist in association with one unique physical location.

If one piece of art is too similar to another, it will be construed as "plagiarism" by Jought, and the complex will be dissolved and not hosted on the site or pushed in the feed. This is because we feel that an art work is an innovation and a piece of intellectual property, and should not be mass-produced. The artist should do what he or she does best: create, innovate, and conjure new ideas and insights.

The Economics of the Liberal Artist

It is natural for the artist to want to live in denial of the fact that the manifestation of his or her passion is a tangible good that happens to exist in the real economy. The artist will always live in cognitive dissonance in this respect. Any object that can be traded exists in the market. Even intangibles and non-objects have economic value; arguably, everything has economic value, even if its price is difficult to determine. This goes without saying, as pricing itself is an art, not a science. If there were an easily determined market price, there would be no profit from market speculation; wall street traders would be out of the job. So it is impossible for the artist to produce art *for* society while completely extricating her art from market forces. The only art, the only *things* in general really, that can be extricated from the global economy, are things that exist in a vacuum, and has the same existential value as the exemplary philosophical tree that falls with no one else in the vicinity to hear the "non-existent" sound.

However, there are personal mechanism self-designs that any conscientious individual can implement for herself to ensure that she is insulated well enough from economic incentives that would otherwise create for her a conflict of interest. Although the artistic objects of her creation will still be subject to the market forces of the secondary market, a zero-valued primary market offering can insulate this artist from such incentives that may otherwise taint the outcomes of her intended craft. Then, it boils down to a choice by the individual as to how much control she needs over the business considerations of her "entrepreneurial" endeavors. An artist can exist anywhere on the spectrum from entrepreneur to pure liberal artist (in both the literal as well as etymological senses of the phrase) and must make a choice. Even more difficult for the artist is that this is not a binary choice, but one on a continuum, which makes the artist subject to the psychological complication of the temptation that accompanies being put in a foot-in-the-door situation. Thus, amongst all professions, the liberal artist's cognitive dissonance is almost inarguably one of the most complicated psychological positions to be in. A further yet more obvious complication is that the artist must find a way to "finance" her artistic endeavors, not only at the level of survival, but from a more pragmatic perspective on the level of the impact of ambiance on the cognitive conditions of the artist's mind which are often neglected perhaps because of the unattainable standard of stoic self-sacrificial passion of craft demonstrated by the archtypal artist of a protagonist in Ayn Rand's Howard Roark, the architect by profession of her novel The Fountainhead who has become capitalist literature's quintessential "starving artist". This neglected fact, that ambiance is critical to the shaping of any artistic outcome, can be summarized by pointing out that, after all, art is nothing more than a tangible and usually "objectified" manifestation of an artist's mind, as much as the art critic who aims for as much impartiality as possible would attempt to view all artistic production through an ad hominem lens. The extremist might accuse any artist who holds such a view or behavior thereof to be a "sellout", but one must remember that artists happen to be human (in the biological sense, as difficult as it might be to conceptualize this species in this framework).

The difficulty of extricating the artist from economic forces and societal pressures means that the artist is just as much a product of his society as artistic objects are products of the individual artist. If art can be viewed as a historical artifact, then this harsh reality seems to prove itself somewhat philosophically convenient in this regard. However, there must be at least a few philosophers who would contend that art transcends philosophy, and philosophy transcends history, and so there is conceivably a place in this world for art produced in a vacuum if at all possible.

Thus, the seemingly elitist institutionalism and esotericism of the avant-garde may be a necessary evil, if evil at all, whose existence helps to finance a market-insulation that may otherwise not exist but which can be seen as beneficial to the liberation of those who are privileged enough to reap the benefits of such affiliation.

Altruistic Marketing

Open mic nights and local businesses, especially restaurants, are a great marketing conduit. Open mic nights can reach a small number of people intimately and effectively. There is a tradeoff between how organic the art or message can be, and how large the marketing conduit is, and the type of conduit. But marketing shouldn't just be used for profit-motives; rather, it is one of the best ways to raise awareness of important issues, and to litter the world with good art. There is, however, something to be said about localization in terms of how organic that art and those issues can be. If more local art and issue awareness were tightly linked to local business, or even business in general, then this would provide a global systemic mechanism in which all "liberal art" decisions would need to be made by the consent of the people. That is, any business that did not satisfy the political and artistic tastes of its consuming population would either suffer profit losses, or would cease to exist. The greatest existential threat to anything is lack of acknowledgement of its existence. Any piece of art that is subpar or unsatisfactory will not be looked at again, and the land property or establishment on which that piece of art was held will be held accountable for approving of such a piece. Subsequently, those places will fail to "exist". Likewise, establishments that promote the wrong message, or are more or less a waste of marketing resources, should also be existentially ignored if they do not meet the requirements of the consumers. Of course, the consumers are a collective, so it is the responsibility of individual consumers to stop giving money to establishments that, by transitive accountability, should not exist.

Corporate Interests and the Democratic Process

Given the recent changes in the policymaking landscape, corporations now play a very large role in the shaping of ethics in American institutions. This is just one extra incentive to be a (small) business owner. Of course, there is the caveat that, in this new democratic framework, political efficacy is directly proportional to the amount of monetary resources the corporation has at its disposal to be able to influence elections and legislation. Nonetheless, since one of the main objectives of most corporations is to maximize profit, this link is still strong for successful small business owners. There may also be political efficacy benefits solely arising from owning a corporation itself, regardless of how lucrative the business is.

Menu: Our Vision


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