{"id":1206,"date":"2012-12-18T12:46:04","date_gmt":"2012-12-18T19:46:04","guid":{"rendered":"http:\/\/www.artsjournal.com\/audience\/?p=1206"},"modified":"2012-12-18T12:46:04","modified_gmt":"2012-12-18T19:46:04","slug":"prediction-for-2013-value-proposition","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/audience\/2012\/12\/prediction-for-2013-value-proposition\/","title":{"rendered":"Prediction for 2013:  &#8220;Value Proposition&#8221;"},"content":{"rendered":"<p>In today&#8217;s edition of <a href=\"http:\/\/www.thomascott.com\/\"><em><strong>You&#8217;ve Cott Mail<\/strong><\/em><\/a>, Thomas Cott invites predictions for the arts for 2013.<\/p>\n<p>I am very grateful for his question because it compelled me to sit down and articulate a concern that&#8217;s been gnawing at me for quite some time.<\/p>\n<p><strong>Here is my prediction for 2013:<\/strong><\/p>\n<div id=\"attachment_1207\" style=\"width: 241px\" class=\"wp-caption alignleft\"><a href=\"https:\/\/www.artsjournal.com\/audience\/2012\/12\/prediction-for-2013-value-proposition\/463px-waterscrewperpetualmotion\/\" rel=\"attachment wp-att-1207\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-1207\" class=\"size-medium wp-image-1207 \" title=\"463px-WaterScrewPerpetualMotion\" src=\"https:\/\/www.artsjournal.com\/audience\/wp-content\/uploads\/2012\/12\/463px-WaterScrewPerpetualMotion-231x300.png\" alt=\"\" width=\"231\" height=\"300\" srcset=\"https:\/\/www.artsjournal.com\/audience\/wp-content\/uploads\/2012\/12\/463px-WaterScrewPerpetualMotion-231x300.png 231w, https:\/\/www.artsjournal.com\/audience\/wp-content\/uploads\/2012\/12\/463px-WaterScrewPerpetualMotion-386x500.png 386w, https:\/\/www.artsjournal.com\/audience\/wp-content\/uploads\/2012\/12\/463px-WaterScrewPerpetualMotion.png 463w\" sizes=\"auto, (max-width: 231px) 100vw, 231px\" \/><\/a><p id=\"caption-attachment-1207\" class=\"wp-caption-text\">Robert Fludd&#8217;s 1618 &#8220;water screw&#8221; perpetual motion machine from a 1660 wood engraving.; the first recorded attempt to describe such a device.<\/p><\/div>\n<p>This year, the term <strong><em>\u201cValue Proposition\u201d<\/em><\/strong> will replace <strong><em>\u201cSustainability\u201d<\/em><\/strong> as the focus of public policy, philanthropic and audience development efforts for the arts &amp; cultural sector.<\/p>\n<p>In the face of strained economics, shrunken budgets and on-going advancements in communication technologies, the ambition of \u201csustainability\u201d has been revealed to be a mirage.\u00a0 Engineers and physicists long ago concluded that the laws of thermodynamics make it impossible to create a perpetual motion machine (i.e. one that continues indefinitely without any external source of energy).\u00a0 Yet, the notion of \u201csustainability\u201d has been advanced with expectations that the non-profit arts &amp; cultural sector can survive (and thrive!) exclusively from the operation of its own programs and services.<\/p>\n<p>The focus on <strong><em>\u201cValue Proposition\u201d<\/em><\/strong> drives the arts &amp; cultural conversation back to something concrete &amp; immediate: to direct accountability to audiences, members, donors, sponsors, and communities.<\/p>\n<p>This is not a minor semantic change.\u00a0 Neither is this a theoretical question for the ages .\u00a0 The focus on <strong><em>\u201cValue Proposition\u201d<\/em><\/strong> drives right to the heart of a mighty and potentially insidious question:\u00a0 <strong>\u201cWho should be paying for arts &amp; culture in America?\u201d<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>In today&#8217;s edition of You&#8217;ve Cott Mail, Thomas Cott invites predictions for the arts for 2013. I am very grateful for his question because it compelled me to sit down and articulate a concern that&#8217;s been gnawing at me for quite some time. Here is my prediction for 2013: This year, the term \u201cValue Proposition\u201d [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[25],"tags":[],"class_list":{"0":"post-1206","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-value","7":"entry","8":"has-post-thumbnail"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/audience\/wp-json\/wp\/v2\/posts\/1206","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/audience\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/audience\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/audience\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/audience\/wp-json\/wp\/v2\/comments?post=1206"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/audience\/wp-json\/wp\/v2\/posts\/1206\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/audience\/wp-json\/wp\/v2\/media?parent=1206"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/audience\/wp-json\/wp\/v2\/categories?post=1206"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/audience\/wp-json\/wp\/v2\/tags?post=1206"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}