Genetically engineered organisms have been at the center of ethical debates among the public and regulators over their potential risks and benefits to the environment and society. Unlike the currently commercial GE crops that express resistance or tolerance to pesticides or herbicides, a new GE crop produces two bioactive nutrients and docosahexaenoic acid ) that heretofore have largely been produced only in aquatic environments. This represents a novel category of risk to ecosystem functioning. The present paper describes why growing (...) oilseed crops engineered to produce EPA and DHA means introducing into a terrestrial ecosystem a pair of highly bioactive nutrients that are novel to terrestrial ecosystems and why that may have ecological and physiological consequences. More importantly perhaps, this paper argues that discussion of this novel risk represents an opportunity to examine the way the debate over genetically modified crops is being conducted. (shrink)

이 논문은 윌리엄 모리스(William Morris 1834-1896)가 설립했던 모리스 상회(Morris & Co.)의 경영 철학에 대한 연구이다. 모리스는 예술이 대중화되어야 예술 문화가 향상될 수 있다는 이념을 가지고 있었고 이것은 바로 상회의 경영과 연결된다. 모리스 상회의 설립자들은 19세기 미학적 상황을 파악하고 예술을 상품화하여 ‘장식예술’로 시대를 개혁하고자 하였다. 이것은 곧 확장된 예술 개념을 실천하는 장이였다. 또한 모리스 상회의 경영 철학은 모리스의 미학과 함께 하였고 그것은 예술에 대한 새로운 지평을 여는 것이었다.BR 모리스는 자신이 모리스 상회의 경영을 맡으면서 네 가지 원칙 아래에 상회를 경영하고자 했다. 첫째, (...) ‘대중을 교육’하는 것이다. 대중 교육이라는 것은 예술성과 좋은 질의 생산품을 적절한 가격에 공급하여 대중의 미적 취미를 향상시키는 것을 의미한다. 둘째, 예술생산 방식의 개선이었다. 셋째, 모든 제작품은 디자이너의 이름과 제작자의 이름을 공개했다. 이것은 예술 상품을 디자인한 디자이너의 지적 재산에 대한 존중이며 상품 제작에 참여한 노동의 가치를 존중하는 태도였다. 넷째 노동의 대가에 따른 임금 분배였다.BR 상회의 기본 원칙은 완전히 실현되지 못하였고 한계를 드러냈다. 모리스 상회의 소비자들은 부유한 사람이거나, 고등 교육을 받은 일부 사람들이었다. 임금 분배의 문제는 자본주의 시장경제 체계에 잠식당하고 있었다. 모리스는 이상적인 상회 경영을 희망했으나 절반의 성공만을 했다. 모리스가 실현하려했던 상회의 경영원칙은 이윤추구가 우선이었던 경제체계에서 완전한 성공을 거두기는 힘들었다. 그러나 상회 경영에 드러난 윤리적 태도, 노동자의 권익, 예술, 디자인, 기술의 조화 등에 대한 그의 이념은 이 시대의 지침서로서의 역할을 하고 있다. (shrink)

The mid-thirteenth-century theorist and rhetorician Brunetto Latini proposed a vigorous republican account of the art of government and the nature of community in his encyclopedic treatise, Li Livres dou Tresor. The interpretation of Latini's republicanism has been heavily based on its literary sensibilities, its attachment to rhetoric, and its praise for classical civic virtues. But Latini deserves to be classified as a republican insofar as he founds social and political order upon commercial principles—the production and exchange of material goods (...) for profit—and consequent economic defense of republican government. Hence, the example of Latini challenges one of the principal remaining barriers that supposedly separates medieval defenses of republicanism from Renaissance versions. The essay contends that Latini holds that self-governing institutions depend upon and are especially well suited to sustain a society whose conception of the common good includes the creation and exchange of those material necessities required for physical welfare and comfort. (shrink)

The mid-thirteenth-century theorist and rhetorician Brunetto Latini proposed a vigorous republican account of the art of government and the nature of community in his encyclopedic treatise, Li Livres dou Tresor. The interpretation of Latini's republicanism has been heavily based on its literary sensibilities, its attachment to rhetoric, and its praise for classical civic virtues. But Latini deserves to be classified as a republican insofar as he founds social and political order upon commercial principles—the production and exchange of material goods (...) for profit—and consequent economic defense of republican government. Hence, the example of Latini challenges one of the principal remaining barriers that supposedly separates medieval defenses of republicanism from Renaissance versions. The essay contends that Latini holds that self-governing institutions depend upon and are especially well suited to sustain a society whose conception of the common good includes the creation and exchange of those material necessities required for physical welfare and comfort. (shrink)

In a global economic landscape of hyper-commodification and financialisation, efforts to assimilate digital art into the high-stakes commercial art market have so far been rather unsuccessful, presumably because digital artworks cannot easily assume the status of precious object worthy of collection. This essay explores the use of blockchain technologies in attempts to create proprietary digital art markets in which uncommodifiable digital artworks are financialised as artificially scarce commodities. Using the decentralisation techniques and distributed database protocols underlying current cryptocurrency technologies, (...) such efforts, exemplified here by the platform Monegraph, tend to be presented as concerns with the interest of digital artists and with shifting ontologies of the contemporary work of art. I challenge this characterisation, and argue, in a discussion that combines aesthetic theory, legal and philosophical theories of intellectual property, rhetorical analysis and research in the political economy of new media, that the formation of proprietary digital art markets by emerging commercial platforms such as Monegraph constitutes a worrisome amplification of long-established, on-going efforts to fence in creative expression as private property. As I argue, the combination of blockchain-based protocols with established ambitions of intellectual property policy yields hybrid conceptual-computational financial technologies (such as self-enforcing smart contracts attached to digital artefacts) that are unlikely to empower artists but which serve to financialise digital creative practices as a whole, curtailing the critical potential of the digital as an inherently dynamic and potentially uncommodifiable mode of production and artistic expression. (shrink)

The mid-thirteenth-century theorist and rhetorician Brunetto Latini proposed a vigorous republican account of the art of government and the nature of community in his encyclopedic treatise, Li Livres dou Tresor. The interpretation of Latini's republicanism has been heavily based on its literary sensibilities, its attachment to rhetoric, and its praise for classical civic virtues. But Latini deserves to be classified as a republican insofar as he founds social and political order upon commercial principles-the production and exchange of material goods (...) for profit-and consequent economic defense of republican government. Hence, the example of Latini challenges one of the principal remaining barriers that supposedly separates medieval defenses of republicanism from Renaissance versions. The essay contends that Latini holds that self-governing institutions depend upon and are especially well suited to sustain a society whose conception of the common good includes the creation and exchange of those material necessities required for physical welfare and comfort. (shrink)

Innovation is a key driver of care provision in assisted reproductive technologies (ART). ART providers offer a range of add‐on interventions, aiming to augment standard in vitro fertilization protocols and improve the chances of a live birth. Particularly in the context of commercial provision, an ever‐increasing array of add‐ons are marketed to ART patients, even when evidence to support them is equivocal. A defining feature of ART is hope—hope that a cycle will lead to a baby or that another (...) test or intervention will make a difference. Yet such hope also leaves ART patients vulnerable in a variety of ways. This article argues that previous attempts to safeguard ART patients have neglected how the use of add‐ons in commercial ART can exploit patients’ hopes. Commercial providers of ART should provide add‐ons only free of charge, under a suitable research protocol. (shrink)

This chapter explores Pop Art's significance for Arthur Danto's philosophy of art. It looks at the views of British curator Lawrence Alloway, Danto's immediate predecessor at the Nation. In 1974, Alloway defined the core of Pop Art as “essentially, an art about [emphasis mine] signs and sign‐systems”. Danto characterized artworks as the kinds of things that prompt philosophizing, a point that proves especially helpful when attempting to discern art‐cars, art‐cheese, art‐billboards, and art‐photographs from mere things. By 1973, Danto was already (...) grappling with issues inspired by Pop Art's many conundrums. The more artists adopted imagery and formats familiar to commercial art, the more philosophers needed models to discern, for example, James Rosenquist's billboard‐size paintings publicizing pasta, lipstick, cars, and the like, from his actual roadside billboards, hand‐painted between 1957 and 1960. (shrink)

As a neo-liberal economy, India has become one of the new health tourism destinations, with commercial gestational surrogacy as an expanding market. Yet the Indian Assisted Reproductive Technology Bill has been pending for five years, and the guidelines issued by the Indian Council of Medical Research are somewhat vague and contradictory, resulting in self-regulated practices of fertility clinics. This paper broadly looks at clinical ethics in reproduction in the practice of surrogacy and decision-making in various procedures. Through empirical research (...) in New Delhi, the capital of India, from December 2011 to November 2012, issues of decision-making on embryo transfer, fetal reduction, and mode of delivery were identified. Interviews were carried out with doctors in eighteen ART clinics, agents from four agencies, and fourteen surrogates. In aiming to fulfil the commissioning parents’ demands, doctors were willing to go to the greatest extent possible in their medical practice. Autonomy and decision-making regarding choice of the number of embryos to transfer and the mode of delivery lay neither with commissioning parents nor surrogate mothers but mostly with doctors. In order to ensure higher success rates, surrogates faced the risk of multiple pregnancy and fetal reduction with little information regarding the risks involved. In the globalized market of commercial surrogacy in India, and with clinics compromising on ethics, there is an urgent need for formulation of regulative law for the clinical practice and maintenance of principles of reproductive ethics in order to ensure that the interests of surrogate mothers are safeguarded. (shrink)

Critics of commercial societies complain that the free-market system of property rights and freedom of contract tends to commodify relationships, thus eroding the bonds of personal and civic friendship. I argue that this thesis rests on a misunderstanding of both markets and friendship. As voluntary, reciprocal relationships, market relationships and friendship share important properties. Like all relations and activities that exercise important human capacities and play an important role in a meaningful life, market relations and activities are essentially structured (...) and supported by ethical norms and, in turn, support these norms. The so-called norms of the market, such as instrumentality and fungibility, come in varying degrees and characterize not only market, but also nonmarket, relationships, including friendship. Furthermore, although market relationships are primarily instrumental, the individuals involved are not. The virtues of markets have their counterparts in friendship, as do their vices. For these and other reasons, market societies are not only not inimical to friendship, they create a more secure matrix for civic and personal friendship, as well as for other important values such as art, science, or philosophy, than any other developed form of society. Key Words: commercial societies • friendship • moral norms • virtues • vices. (shrink)

Critics of commercial societies complain that the free-market system of property rights and freedom of contract tends to commodify relationships and erode the bonds of personal and civic friendship. I argue that this thesis rests on a misunderstanding of both markets and friendship. As voluntary, reciprocal relationships, market relationships and friendship share important properties. So-called market norms, such as instrumentality and fungibility, come in varying degrees and characterize not only market, but also non-market, relationships, including friendship. Further, although market (...) relationships are primarily instrumental, the individuals involved are not. Both the virtues of markets and their vices have their counterparts in friendship. Like all relations and activities that exercise important human capacities and play an important role in a meaningful life, market relations and activities are essentially structured and supported by ethical norms and, in turn, support these norms. For these and other reasons, market societies are not only not inimical to friendship, they create a more secure matrix for civic and personal friendship, as well as for other important values like art, science, or philosophy, than any other developed form of society. (shrink)

The task of finding art in the world is presented as a tale of three dynamic forces that have shaped art in recent times. The first is expansion of the domain of art. This is reflected in linguistic change. The term "art" has grown enormously in sense and extension. The second force is the public's subjective response to art writ large. Our commercial culture compels reaction. The third force is the art world's active promotion of the expansion of art's (...) domain and the contextualization of the public's subjective response to it. The aspiration of the paper is to bring some clarity to how we presently identify art, respond to it, understand it, and institutionalize it. The tale concludes with discussion of the future of art in the world today. (shrink)

I reply to Andrea Baldini's critical discussion of my "Street Art: The Transfiguration of the Commonplaces" (2010) by taking up the question: what is "the street" in street art? I argue that the relevant notion of the street is a space whose function it is to facilitate self-expression. I show how this clarifies and extends the theory developed in Riggle (2010). I then argue, contra Baldini, that street art is not always subversive, and when it is, it is not always (...) in virtue of its challenging the co-opting of public space by commercial art. (shrink)

Collaboration in the arts is no longer a conscious choice to make a deliberate artistic statement, but instead a necessity of artistic survival. In today’s hybrid world of virtual mobility, collaboration decentralizes creative strategies, enabling artists to carve new territories and maintain practice-based autonomy in an increasingly commercial and saturated art world. Collaboration now transforms not only artistic practices but also the development of cultural institutions, communities and personal lifestyles. This book explores why collaboration has become so integrated into (...) a greater understanding of creative artistic practice. It draws on an emerging generation of contributors—from the arts, art history, sociology, political science, and philosophy—to engage directly with the diverse and interdisciplinary nature of collaborative practice of the future. (shrink)

From the modern period until the present day, artworks have exhibited a well-known paradox: they promise a rich aesthetic experience and revolutionary qualities of innovation while simultaneously serving as a luxury commodity whose sale is directed toward a global class of oligarchs. Art's Properties proposes a new way of understanding this paradox, relating art's qualities-its properties-to its status as commercial property. In Art's Properties, esteemed art historian and theorist David Joselit argues that art's fundamental ontological property is its capacity (...) to give access to experiences of alterity--the state of being other, or different. These experiences may appear as the image of a god, or the utopian dimensions of a black square on a white ground. Joselit goes on to explore artwork's relation to infinitude. As he explains, every work of art, in its material and visual qualities, can be host to an unlimited number of events and encounters with spectators, which persist through and over time. This infinitude is curtailed as art becomes property and is made to serve as a representation. In the modern period, white artists have been presumed to manifest an unmarked, supposedly neutral national character in Europe and the United States, while artists of color are often made to stand in for the identity attributed to them. In place of this dynamic of representation, Art's Properties will advocate for privileging narration over representation. While representation is finite-one thing is put in the place of another-narration has no end; it can be multiplied to encompass the many stories an artwork might enable. In focusing on the forms of narration that an artwork can contain, this book explores art's infinite aesthetic and material alterity. (shrink)

High quality images sell products. Here's how you do it. From cereal boxes to billboards to photos on Amazon, product photos have a strong impact on viewers. Now you can master the secrets of effective product photography with this essential guide. Author J. Dennis Thomas guides you through the basics, from selecting the right equipment and practicing different lighting techniques to controlling exposure, using backgrounds and props, and much more. Whether it's jewelry, food, fashion, or other products, learn how to (...) photograph for effective selling, while building the skills and tools you need for a career. Explains how to produce quality photos for product or commercial photography, including fashion, food, jewelry, technology, and more The author is a professional photographer whose work has been published in major U.S. magazines including Rolling Stone, Elle, W Magazine, and US Weekly Covers choosing the right equipment, practicing different lighting techniques, controlling exposure, using backgrounds and props, and more Gives new and even experienced photographers the tools they need to build careers in product photography Take photographs that impress, intrigue, dazzle, and sell with The Art and Style of Product Photography. (shrink)

This contribution focuses on three aspects of Nietzsche’s art of living that have become relevant today especially in the United States (but not only here): first, regarding some facets of the economic-political conditions of any contemporary art of living; second, the widespread adoption of Nietzsche’s notion of self-overcoming and artistic self-design in entrepreneurship and individual’s lives; and third, how his notion of ‘incorporation’ has been further developed in current approaches to habit design. Eventually I will show via the example of (...) Anthony Robbins that some notions of Nietzsche’s art of living have become most popular outside of academia, namely in the commercial industries of what has been called ‘self-growth’ or ‘self-development.’. (shrink)

The most important modes of film practice, in my view, are art-house cinema and the avant-garde, both of which contrast with the classical Hollywood mode of film practice. While the latter is characterized by its commercial imperative, corporate hierarchies, and a high degree of specialization as well as a division of labor, the avant-garde is an “artisanal” or “personal” mode. Avant-garde films tend to be made by individuals or very small groups of collaborators, financed either by the filmmakers alone (...) or in combination with private patronage and grants from arts institutions. Such films are usually distributed through film cooperatives and exhibited by film societies, museums, and universities. (Consequently .. (shrink)

During the colonial contact and especially after the 2nd World War in the Solomon Islands local communities various traditions of woodcarving and other handicrafts have transformed from religious and ritual objects to commercial 'tourist arts' that have become economically important for local communities. In the course of culture change Western concepts such as art and culture have been adopted to local languages and they have replaced local terminologies and classifications in various ways. These processes may be described as 'conceptual (...) colonialism'. The meaning shifts and emerging new conceptual categories produce homogenising effects that transform the local ways of cultural thinking towards the direction of hegemonic Western interpretations of socio-cultural phenomena. The concept of art should be treated as one major element in this linguistic power play between the local and the global. (shrink)

This volume aims to question, challenge, supplement, and revise current understandings of the relationship between aesthetic and political operations. The authors transcend disciplinary boundaries and nurture a wide-ranging sensibility about art and sovereignty, two highly complex and interwoven dimensions of human experience that have rarely been explored by scholars in one conceptual space. Several chapters consider the intertwining of modern philosophical currents and modernist artistic forms, in particular those revealing formal abstraction, stylistic experimentation, self-conscious expression, and resistance to traditional definitions (...) of "Art." Other chapters deal with currents that emerged as facets of art became increasingly commercialized, merging with industrial design and popular entertainment industries. Some contributors address Post-Modernist art and theory, highlighting power relations and providing sceptical, critical commentary on repercussions of colonialism and notions of universal truths rooted in Western ideals. By interfering with established dichotomies and unsettling stable debates related to art and sovereignty, all contributors frame new perspectives on the co-constitution of artworks and practices of sovereignty. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Art and ReligionRichard Shusterman (bio)IArt emerged in ancient times from myth, magic, and religion, and it has long sustained its compelling power through its sacred aura. Like cultic objects of worship, artworks weave an entrancing spell over us. Though contrasted to ordinary real things, their vivid experiential power provides a heightened sense of the real and suggests deeper realities than those conveyed by common sense and science. While Hegel (...) saw religion as superseding art in the evolution of Spirit toward higher forms that culminate in philosophical knowledge, subsequent artists of the nineteenth century instead saw art as superseding religion and even philosophy as the culmination of contemporary man's spiritual quest. Artistic minds as different as Matthew Arnold, Oscar Wilde, and Stephan Mallarmé predicted that art would supplant traditional religion as the locus of the holy, of uplifting mystery and consoling meaning in our increasingly secular society dominated by what Wilde condemned as a dreary "worship of facts."1 By expressing "the mysterious sense... of existence, [art] endows our sojourn with authenticity and constitutes the sole spiritual task," claims Mallarmé.2 "More and more," writes Arnold, "mankind will discover that we have to turn to poetry to interpret life for us, to console us, to sustain us. Without poetry, our science will appear incomplete; and most of what now passes with us for religion and philosophy will be replaced by poetry."3Such prophecies have largely been realized. In twentieth-century Western culture, artworks have become the closest thing we have to sacred texts, and art almost seems a form of religion with its prophetic breed of creative artists perennially purveying new gospels and its priestly class of interpretive [End Page 1] critics who explain them to a devotional public. Despite wide recognition that art has an important commercial aspect, art sustains its cultural image as an essentially sanctified domain of higher spiritual values, beyond the realm of material life and praxis. Its adored relics (however profane they strive to be) are sacredly enshrined in temple-like museums that we dutifully visit for spiritual edification, just as religious devotees have long frequented churches, mosques, synagogues, and other shrines of worship.In advocating a pragmatist aesthetics I have criticized this otherworldly religion of art because of the way it has been shaped by more than two centuries of modern philosophical ideology aimed at disempowering art by consigning it to an unreal, purposeless world of imagination. Such religion, I have argued, is the enemy of pragmatism's quest to integrate art and life, a quest exemplified both in the classical Western notion of the art of living and some Asian artistic traditions, where art is less importantly the creation of objects than the process of refining the artist who creates and the audience who absorbs that creative expression.4There is good reason, however, why this sacralization of art should remain so powerfully appealing despite the widespread recognition of art's mercantile dimensions and worldly concerns. The reason, I believe, is that art expresses very deep meanings and spiritual insights that religion and philosophy once most powerfully provided but that they now no longer convey in a convincing way to most of today's secular populations throughout the world. So, in this essay I would like to reconsider the art and religion nexus from a different angle. I wish to explore the idea that art provides a useful, even superior, substitute for religion, one that is free from the latter's many disadvantages and that should be vigorously championed as an alternative that could eventually free our transcultural world from the hostile divisiveness and backward-looking attitudes that religions have inspired and instead lead us toward greater understanding, peace, and harmony.But a contrary yet equally interesting hypothesis likewise demands consideration: that art cannot be separated from religion, that rather than a real alternative, art is simply another mode or expression of religion. Or, to put it in a provocatively suggestive paraphrase, art is simply the continuation of religion by other means. If this hypothesis has merit—indeed, even if there is simply some deeply indissoluble link between art and religion—then we cannot simply look progressively past religion... (shrink)

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During the last two decades, the discovery of thousands of manuscripts in different regions of sub-Saharan Africa has questioned the long-standing approach of Africa as a continent only characterized by orality and legitimately assigned to the continent the status of a civilization of written literacy. However, most of the existing studies mainly aim at serving literary and historical purposes, and focus only on the textual dimension of the manuscripts. This book advances on the contrary a holistic approach to the study (...) of these manuscripts and gather contributions on the different dimensions of the manuscript, i.e. the materials, the technologies, the practices and the communities involved in the production, commercialization, circulation, preservation and consumption. The originality of this book is found in its methodological approach as well as its comparative geographic focus, presenting studies on a continental scale, including regions formerly neglected by existing scholarship, provides a unique opportunity to expand our still scanty knowledge of the different manuscript cultures that the African continent has developed and that often can still be considered as living traditions. (shrink)

In Praise of Commercial Culture. By Tyler Cowen (Cambridge: Harvard University Press, 2000), ix?+?278 pp. $14.95 paper. What Price Fame? By Tyler Cowen (Cambridge: Harvard University Press, 2000), 248 pp. $22.00 cloth.

In purity and holiness I will guard my life and my art.Every physician-patient encounter is a conflict of interest. Every physician-payer encounter is also a conflict of interest.Wide-spread criticism of the pharmaceutical industry’s extravagant marketing practices and some doctors’ undignified, even appalling eagerness to stuff themselves, their pockets and their offices with the industry’s “stuff,” prompted physician groups, the drug and device industry itself to institute reforms designed better to limit industry influence on physicians.But according to Troyen Brennan and his (...) coauthors, the reforms, while reducing some of the most egregious instances of industry influence peddling and physicians’ self-debasement, were doomed fundamentally, for three reasons. First, they were based on common sense but incorrect assumptions about the mechanism of industry influence and on myths about the efficacy of disclosure as an ethical disinfectant. Second, they relied on voluntary adherence and so failed to pinpoint responsibility for monitoring compliance and enforcement. (shrink)

The author reviews two symposia: 'The Video Arts: Demonstration and Discussion', The American Society for Aesthetics, New York City, 28 Oct. 1978, and 'The Aestheticians Look at Television', National Association of Education Broadcasters, Washington, D.C., 30 Oct. 1978. He also presents an evaluation of the current state of video art in terms of philosophical aesthetics. Furthermore, he attempts to make a clear distinction between television and video art. The differences cited include corporate studio efforts vs efforts of individual artists, (...) class='Hi'>commercial vs artistic purpose and the substantial differences between production methods. Other issues considered are style, intimacy and narcissism. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.3 (2003) 99-104 [Access article in PDF] New York Art, Pittsburgh Art, Art 1 David Carrier Champney Family Professor Case Western Reserve University/Cleveland Institute of Art I. New York Art A fully developed artworld requires not only artists, but also a support system — schools to teach the artists, commercial galleries to display art, and the connected artmarket; public museums and their curators (...) to make that art available to the public; and also, last and least, artwriters to interpret and evaluate the art. This has been true for a long time in America and Europe. I speak of artwriters as "last and least" just because we are important only in some artworlds. In the seventeenth century Poussin depended upon commentary of intellectuals, but his contemporaries Rembrandt and Vermeer did not. In this country, New York is such an artworld and so, perhaps, is Los Angeles. These are the places where young artists go to establish themselves, and so they are the places where the most original new art tends to be made. Artists outside of those centers then imitate the art made there.Artworld centers tend to be large business centers because they require major museums and many collectors. Each component of this system is dependent upon the others. Unless they have collectors, artists cannot support themselves without doing other jobs; unless there are museums, there is no public space in which art can be seen. Unless there are artwriters, there is no way to articulate shared experience of this art. This artworld is a product of modernist bourgeois democracy. Premodern cultures did not have public museums. Nowadays information is disseminated quickly, but the role of centers as places where new art is made, seen, and discussed remains essential. Our novel electronic technologies have not changed this situation.A collecting culture requires not just wealth, but also a special sort of sensibility. In fact, the number of serious collectors anywhere is surprisingly small, as one can see in Los Angeles, which has a great deal of wealth, but a surprisingly thin gallery system. Like collectors, artwriters too are odd sorts of creatures. I usually identify myself as a New York-based critic, because that is where I see most of the shows I review. Artforum, the Burlington Magazine, and Tema Celeste, the journals I now work for have a real interest in exhibitions at the Carnegie and the Warhol, in Pittsburgh, but no concern with shows like this one. Partly the problem is that reviewing space is very hard to come by, but also the difficulty is that it is difficult to make sense of a review discussing artists who are known only locally. Even were I to identify [End Page 99] someone local as a wonderful original talent, it would be very difficult for readers who have never seen her art to evaluate that claim.In Pittsburgh we certainly have good artists, and there are several universities with art departments. But here, as elsewhere in the cities I know, the artmarket is focused on New York; and there is, so far as I can see, only modest critical support for artists. Major collectors here, as elsewhere in America, look to New York, which has a critical mass of galleries, museums, and critics. The Carnegie too, tends to look to New York when planning its shows. The curators travel widely, but most of the art they show, whether American or from elsewhere, is displayed in New York galleries. If one adopts this way of thinking about an artworld, then art made in Pittsburgh inevitably will be judged as "provincial." There are a few major artists, and many derivative ones; and those major ones, the innovators, are in the artworld centers.This is the model Vasari adopts, it is Clement Greenberg's model, and it is the basic model driving the present day artworld. To describe Pittsburgh artists as provincial, then, is to identify the sociological structure of this, a typical local artworld. There is a lot of adventure and intelligence in Pittsburgh art, but inevitably to the critic... (shrink)

There is a catastrophe within contemporary art. What I call the "optically correct" is at stake. The vision machine and the motor have triggered it, but the visual arts haven't learned from it. Instead, they've masked this failure with commercial success. This "accident" is provoking a reversal of values. In my view, this is positive: the accident reveals something important we would not otherwise know how to perceive.-- Paul Virilio, The Accident of ArtUrbanist and technological theorist Paul Virilio trained (...) as a painter, studying under Henri Matisse, Georges Braque, Bazaine and de Stael. In The Accident of Art, his third extended conversation with Sylvère Lotringer, Virilio addresses the situation of art within technological society for the first time. This book completes a collaborative trilogy the two began in 1982 with Pure War and continued with Crepuscular Dawn, their 2002 work on architecture and biotechnology.In The Accident of Art, Virilio and Lotringer argue that a direct relation exists between war trauma and art. Why has art failed to reinvent itself in the face of technology, unlike performing art? Why has art simply retreated into painting, or surrendered to digital technology? Accidents, Virilio claims, can free us from speed's inertia. As technological catastrophes, accidents are inventions in their own right. (shrink)

We consider what genealogical links, kinship and sociality are promised through the marketing of assisted reproductive technologies (ARTs). Using a mixed method of formal analysis of Facebook's algorithmic architectures and textual analysis of twenty-eight adverts for egg donation drawn from the Facebook Ad Library, we analyse the ways in which the figure of the ‘fertile woman’ is constituted both within the text and at the level of Facebook's targeted advertising systems. We critically examine the ways in which ART clinics address (...) those women whose eggs they wish to harvest and exchange, in combination with the ways in which Facebook's architecture identifies, and sorts those women deemed of ‘relevance’ to the commercial ART industry. We find that women variously appear in these adverts as empowered consumers, generous girlfriends, potential mothers and essentialised bodies who provide free-floating eggs. The genealogical and fertility possibility offered through ART is represented with banal ambiguity wherein potentially disruptive forms of biogenetic relatedness and arrangements of kinship are derisked by an overarching narrative of simplicity and sameness which excludes men, messy genealogies and explicitly queer forms of kinship. This rationalisation is supported by the simplicity and certainty of the Facebook targeted advertising algorithm which produces a coherent audience and interpellates users as fertile subjects whose choices are both biologically determined and only available through clinical intervention. (shrink)

In the year 2000 the artist Eduardo Kac made TV news by declaring he had ordered the « creation » of a genetically modified bunny. In 2004 the artist Steve Kurtz was detained by the FBI on the suspiscion of bioterrorism, because of the laboratory equipment he uses in installations that demistify biotechnology. The contrast between an artist-publicist who lends a showy allure to biotech and an artist-researcher who critiques its effects serves as the departure point for an examination of (...) the functions of science and art in a neoliberal society. Faced with trade secrets, the privatization of knowledge and ever-tightening control of laboratories, the artist-researcher can intervene to make public the research process and the consequences of commercializing a given discovery, particularly by using installations that allow the participant to manipulate both lab equipment and scientific concepts. But to do so, the artist must also interrupt the normal functioning of the neoliberal art world, where institutions supported by private sponsorship retain exclusive rights over fetishized products, destined to feed financial speculation. The article closes with a look at the work of Brandon Ballangee, an artist-researcher working in the field of ecology. (shrink)

The Australian Football League (AFL) is the premier sporting competition in Australia in terms of capital outlay, breadth of industry associations, public consumption, and arguably cultural significance. The AFL competition is now a domain of specialisations and interests, which provides vast opportunity for both sporting and non-sporting institutions seeking to utilise the game to capitalise on a society of consumption, entertainment and risk. AFL officials expect high standards of their players both on and off the field. These standards are expressed (...) in various forms of Codes and Policies. Off field player misconduct is an ongoing concern not escaping media attention, which is a resounding indication more needs to be done by the AFL to improve responsible player character development. Whether the current education programmes are sufficient to meet the AFL’s own expectations is the central issue addressed in this chapter. As it stands AFL governance is deficient on several counts. In this chapter I will focus on three governance deficiencies: firstly, the AFL Illicit Drug Policy (IDP) contains unnecessary inconsistencies relative to its primary purpose; secondly, the present measures undertaken to ensure players have appropriate education to achieve the expected character development are far from efficacious and so arguably can be vastly improved; and thirdly, the promotion of live-odds gambling during televised games is culturally problematic and inconsistent with its own demands. The ethical grounds central to this investigation are ‘fairness’ and ‘cultural influence’. In order to resolve some of its governance concerns I will explain why the AFL should be characterised as a practice-community and as such should adopt a comprehensive virtue and value-based compliance ethical education programme consistent with its own vision and conduct expectation of its players and officials. I will argue that the AFL as a practice community is much more than simply a game, given its cultural influence, commercial associations and community programmes. (shrink)

In the paper we are analyzing the Polish ART market. It can be noticed that the lack of legal regulation has resulted in many discrepancies among the policies adopted by various ART agencies. The social acceptance of ART procedures available mostly in private clinics led to growing commercialization of the Polish ART market. Additionally, the language of gift and altruistic rhetoric that are overwhelmingly employed by ART agencies reveals hypocrisy of the Polish ART market.

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.3 (2003) 99-104 [Access article in PDF] New York Art, Pittsburgh Art, Art 1 David Carrier Champney Family Professor Case Western Reserve University/Cleveland Institute of Art I. New York Art A fully developed artworld requires not only artists, but also a support system — schools to teach the artists, commercial galleries to display art, and the connected artmarket; public museums and their curators (...) to make that art available to the public; and also, last and least, artwriters to interpret and evaluate the art. This has been true for a long time in America and Europe. I speak of artwriters as "last and least" just because we are important only in some artworlds. In the seventeenth century Poussin depended upon commentary of intellectuals, but his contemporaries Rembrandt and Vermeer did not. In this country, New York is such an artworld and so, perhaps, is Los Angeles. These are the places where young artists go to establish themselves, and so they are the places where the most original new art tends to be made. Artists outside of those centers then imitate the art made there.Artworld centers tend to be large business centers because they require major museums and many collectors. Each component of this system is dependent upon the others. Unless they have collectors, artists cannot support themselves without doing other jobs; unless there are museums, there is no public space in which art can be seen. Unless there are artwriters, there is no way to articulate shared experience of this art. This artworld is a product of modernist bourgeois democracy. Premodern cultures did not have public museums. Nowadays information is disseminated quickly, but the role of centers as places where new art is made, seen, and discussed remains essential. Our novel electronic technologies have not changed this situation.A collecting culture requires not just wealth, but also a special sort of sensibility. In fact, the number of serious collectors anywhere is surprisingly small, as one can see in Los Angeles, which has a great deal of wealth, but a surprisingly thin gallery system. Like collectors, artwriters too are odd sorts of creatures. I usually identify myself as a New York-based critic, because that is where I see most of the shows I review. Artforum, the Burlington Magazine, and Tema Celeste, the journals I now work for have a real interest in exhibitions at the Carnegie and the Warhol, in Pittsburgh, but no concern with shows like this one. Partly the problem is that reviewing space is very hard to come by, but also the difficulty is that it is difficult to make sense of a review discussing artists who are known only locally. Even were I to identify [End Page 99] someone local as a wonderful original talent, it would be very difficult for readers who have never seen her art to evaluate that claim.In Pittsburgh we certainly have good artists, and there are several universities with art departments. But here, as elsewhere in the cities I know, the artmarket is focused on New York; and there is, so far as I can see, only modest critical support for artists. Major collectors here, as elsewhere in America, look to New York, which has a critical mass of galleries, museums, and critics. The Carnegie too, tends to look to New York when planning its shows. The curators travel widely, but most of the art they show, whether American or from elsewhere, is displayed in New York galleries. If one adopts this way of thinking about an artworld, then art made in Pittsburgh inevitably will be judged as "provincial." There are a few major artists, and many derivative ones; and those major ones, the innovators, are in the artworld centers.This is the model Vasari adopts, it is Clement Greenberg's model, and it is the basic model driving the present day artworld. To describe Pittsburgh artists as provincial, then, is to identify the sociological structure of this, a typical local artworld. There is a lot of adventure and intelligence in Pittsburgh art, but inevitably to the critic... (shrink)

Louis Jacques Mandé Daguerre was a true nineteenth-century visionary—a painter, printmaker, set designer, entrepreneur, inventor, and pioneer of photography. Though he was widely celebrated beyond his own lifetime for his invention of the daguerreotype, it was his origins as a theatrical designer and purveyor of visual entertainment that paved the way for Daguerre's emergence as one of the world's most iconic imagemakers. In Speculating Daguerre, Stephen C. Pinson reinterprets the story of the man and his time, painting a vivid picture (...) of Daguerre as an innovative artist and savvy impresario whose eventual fame as a photographer eclipsed everything that had come before. Drawing upon previously unpublished correspondence and unplumbed archival sources, Pinson mixes biography with an incisive study of Daguerre's wide-ranging involvement in visual culture. From his work as a commercial lithographer to his coinvention of the Paris Diorama—a theater in the round in which Daguerre employed natural light and special effects to simulate time and movement in large-scale paintings—here we are given access to Daguerre the artist, whose tireless experimentation, entrepreneurial spirit, and exceptional talent for popular spectacle helped to usher in a new visual age. Filled with more than one hundred illustrations and including the first complete catalogue of Daguerre's paintings, works on paper, and daguerreotypes to appear in print, the publication of Speculating Daguerre will be a much-heralded event for anyone with even a passing interest in one of the most fascinating characters in the history of photography. (shrink)

This overview of the "sister arts" of the nineteenth century by younger scholars in art history, literature, and American studies presents a startling array of perspectives on the fundamental role played by images in culture and society. Drawing on the latest thinking about vision and visuality as well as on recent developments in literary theory and cultural studies, the contributors situate paintings, sculpture, monument art, and literary images within a variety of cultural contexts. The volume offers fresh and sometimes extended (...) discussions of single works as well as reevaluations of artistic and literary conventions and analyses of the economic, social, and technological forces that gave them shape and were influenced by them in turn. A wide range of figures are significantly reassessed, including the painters Charles Willson Peale, Washington Allston, Thomas Cole, George Caleb Bingham, Fitz Hugh Lane, and Mary Cassatt, and such writers as James Fenimore Cooper, Nathaniel Hawthorne, Henry David Thoreau, and William Dean Howells. One overarching theme to emerge is the development of an American national subjectivity as it interacted with the transformation of a culture dominated by religious values to one increasingly influenced by commercial imperatives. The essays probe the ways in which artists and writers responded to the changing conditions of the cultural milieu as it was mediated by such factors as class and gender, modes of perception and representation, and conflicting ideals and realities. (shrink)

A study of Picasso's status in the art community and his influence on the avant-garde market follows his early year search for a gallery and his monumental rise to fame, noting his popularity among dealers and his commercial strategies.

Stanley Cavell’s writing about movies, from the more theoretical and general The World Viewed (1971) to the later works on specific genres (Pursuits of Happiness, Contesting Tears), has a unifying theme: some movies as (successful) art investigate conditions of accomplished selfhood and interest in experience in medium-specific ways. This claim is explained and defended by explicating the details of the medium-specificity of the moving photographic image (and its history of uses) and by focusing on Michael Verhoeven’s film The Nasty Girl (...) (1990). Though the very ideas of accomplished selfhood and interest in experience naturally prompt some suspicion in a commercialized, pluralistic society, our responses to some movies show that we continue to aspire to a life that embodies them. (shrink)

In this paper the exclusive focus on large firms in the field of business ethics is challenged. Some of the idiosyncrasies of small firms are explained, and links are made between these and potential ethical issues. A review of the existing literature on ethics in small firms demonstrates the lack of appropriate research, so that to date we can draw no firm conclusions in relation to ethics in the small firm. Recommendations are made as to the way forward for small (...) firm business ethics research. Questions for investigation are suggested using micro, meso and macro perspectives. Much exploratory work needs to be done to lay the groundwork for this important area of social and commercial research in the future. (shrink)

Cirebon as we know for its commerce and name of the city of Wali. Commercially Cirebon is also famous called as the city of shrimp and geographically is labeled to as the center of the earth. Culturally Cirebon is recognized as an art city like other regions in Indonesia. This paper aims at analyzing one of the popular Cirebonese arts called Brai art containing Sufism messages. Brai art is the heritage of Cirebon containing messages of education in managing the mind. (...) The message highlighted in the Brai arts was more on exoteric religious worship. Arts express a sense of a esthetics with God by dancing and praising in five rituals. Every single ‘ raka’at ’ designates ‘ suluk ’ to God. This Brai art proves that Cirebon is recognized as the central area for the spread and development of Islam and Sufism because Cirebon has astrategic area both of the Pacific as well as and the maritime area. (shrink)

In the Olympic Art Competitions (1912–1948) Pierre de Coubertin expresses his conception of both sport and art as instruments of moral renewal. In this paper, this conception is criticised for failing to appreciate art and sport as necessary manifestations of modernism. The Art Competitions were informed by a traditionalist aesthetic, and thus played a highly conservative role within Olympism. A modernist art about sport, in contrast, would have been a source of critical reflection, potentially protecting the Olympic movement from corrupting (...) exploitation by commercial and nationalistic interests. The conclusion defends the need for Cultural Olympiads, as a source of such critical reflection, that are at once modernist in conception and yet, unlike their current expression, are centrally about sport. (shrink)

The use of cross-media and transmedia-based art installation has generated new ways for the audience to appreciate, understand and experience art. Transmedia, the integration of multiple media forms to augment a single narrative, has not only been largely used in commercial films, but has also been used by artists to communicate their message more effectively. In this article, we explore some remarkable multi-channel video installations and transmedia artworks to highlight how this technology has shaped new uses of technology as (...) a new medium to express artistic concepts. We discuss one artwork, an experimental collaboration between artists and scientists, entitled Reefs on the Edge, which communicates valuable information about climate change to a general audience. (shrink)

As a product of the tourism performing arts industry in culture–tourism integration development, to develop a featured culture–tourism town is a new trend for tourism development in the new era. To analyze the social benefit of the culture–tourism industry, in this study, an artificial intelligence model for social benefit evaluation is constructed based on backpropagation neural network and fuzzy comprehensive analysis, with Yiyang Town taken as an example. The criterion layer in the model includes three indexes, and the index layer (...) contains 11 indexes. The weight values of cultural inheritance and protection, ecological environment improvement, and commercial economy development to the social benefit of the town are 0.522, 0.570, and 0.424, respectively. For G1, 41.20% is excellent; for G2, 39.5% is excellent; and for G3, 40.5% is good. In general, 30.76% of the total social benefit is excellent, with 37.69% being good, 21.48% being qualified, and 10.07% being unqualified. It is inferred that the total social benefit level of Yiyang Town is good according to the constructed model. Therefore, the culture inheritance and protection, the ecological environment improvement, and the commercial economy development are the key evaluation factors of social benefit. (shrink)

Although film for Adorno is first and foremost the principal agent of culture industry, he takes on an equivocal stance towards the medium and its aesthetic potentials for reasons inherent to the medium itself. Indeed, its disinterested recording of the empirical world leads to both, a semblance of immediacy easy to instrumentalize for propaganda or advertising purposes, and a non-subjective access to the world of objects, which disclose their societal imprint. Despite (or because of) its technological basis, film is inherently (...) concerned with the society it both mediates and addresses, and has to be understood as a collective medium in either of its formats: commercial productions, because they address the masses (which they manipulate and distract from reality’s inherent antagonisms by reproducing pseudo-realistic, stereotypical representations in a totalitarian manner), independent films, because they unearth something non-identical nestled in the folds of the ideological totality, through a montage “which does not interfere with things but rather arranges them in a constellation akin to that of writing”. This article aims to deploy the complex constellation through which Adorno approaches film, its embedding in the capitalist world, its inherent aesthetic force and its complicated relation with the reality it mediates. (shrink)

Turning animals into art through genetic manipulation poses many questions for how we think about our relationship with other species. Here, I explore three rather disparate sets of issues. First, I ask to what extent the production of such living “artforms” really is as transgressive as advocates claim. Whether or not it counts as radical in terms of art I cannot say: but it is not at all radical, I argue, in terms of how we think about our human place (...) in the world. On the contrary, producing these animals only reinforces our own sense of our importance. The second theme I explore is the extent to which making transgenic organisms for any purposes is radical in terms of complexity. Here, I focus on the idea of complexity as a concept in developmental biology; genetic manipulation may be successful to commercial companies, but it is deeply troubling to many biologists who consider that its deeply entrenched reductionism is enormously problematic. What risks do we run by ignoring nature’s own complexity—and creativity? And—in particular—what risks do we run of damaging or compromising animal welfare? The third theme turns to public perceptions of these new technologies (whether in science or art), and notes the extent of public unease. This unease is not simply a question of public ignorance about the technology, but reflects the enormously rich ways in which we make meanings about animals, and relate to them. These are, I suggest, a far more potent source of creativity than simply moving genes around to make photogenic animals. (shrink)

This lavishly illustrated book establishes the towering influence of the scientist Victor Regnault in the earliest decades of photography, a period of experimentation ripe with artistic, commercial, and scientific possibility. Regnault has a double significance to the early history of photography, as the first leader of the Société Française de Photographie and as the maker of more than two hundred calotype portraits and landscapes. His photographic and scientific careers intersected a third field with his appointment in 1852 as director (...) of the Sèvres porcelain works. Readers are treated to Regnault's own beguiling pastoral, garden, and forest scenes; striking portraits of the scientists and artists in his circle of friends; quirky images of acoustic experiments; and an insider's view of the Sèvres porcelain works. Regnault's richly varied photographs also encompass perhaps the most extensive group of family portraits in early photography, and his romanticized landscapes reflect a moment when the rural outskirts of Paris were being aggressively suburbanized and industrialized. Occupying a unique and powerful position in the overlapping spheres of photography, science, industry, and art, Regnault was elected president of the newly formed S.F.P. in 1855. By examining his intertwined activities against the backdrop of French photography's nascent pursuit of institutional legitimacy, this book illuminates an important and overlooked body of images and the irregular cultural terrain of early photography. (shrink)

In response to globalization, is there to be a single, homogeneous set of aesthetic values governing the production and consumption of art? I focus on a newcomer to globalized contemporary art, China, and argue that artworld art is far from the only art currently being produced. I describe four connected kinds of art currently made in China: Modernist, traditional, and avant-garde, which are artworld art, and mass commercial, which is not. Practices in all four conform to expectations globally that (...) Chinese art of all kinds should exemplify imitation, emulation, and copying. Such conformity entails what Winnie Wong has termed ‘staging Chineseness’. I conclude with an examination of this process in two recent exhibitions before proposing that a proliferation of a variety of values is unavoidable while contemporary artworld practitioners continue to introduce local concerns, and while the self-claimed high status of artworld art is progressively challenged by the vitality worldwide of non-artworld art. While some of these values are resistant to Western globalizing homogenization, others conform to it. (shrink)

This article uses Jeremy Bentham's notion of disambiguation, which links language to power and ‘sinister interest’, to analyse criticisms of the Royal Academy of Arts by Benthamites and Philosophic Radicals at the Select Committee on Arts and Manufactures of 1835/6. This practice of disambiguation aimed to produce a distinction between the Royal Academy of Arts and the publicly funded art school. I situate this activity within the linguistic turn taken by Bentham's ethics, and its relevance to a dilemma of pedagogy (...) in commercial society framed by Adam Smith. Smith's dilemma turns on the conflict between the requirement for a pedagogy that conforms to the principle of free trade, and an equally binding requirement for a virtue ethical model of pedagogy that offers a remedy for the corrupting effects of commerce on character. Adam Smith's support for private academies of art asserted a hierarchy of virtue ethics over utility, thus safeguarding autonomous ethical reasoning within capitalist forms of social life. Bentham's thought, in contrast, eschews the link between ethics and character, and places ethics itself within normative rules of language and cognition. (shrink)