In this article, I engage with aesthetic experience as a central hermeneutic endeavour for theorising performing arts audiences in the Arab region. I argue that a critical engagement with Arab performing arts audiences’ aesthetic experiences necessitates both an archaeological manoeuver and a re-articulation of two keywords: ‘experience’ and ‘everyday’. The article advances, using evidence from research, that allowing the audiences of performing arts in the Arab region to speak may be a step towards democratising the triangular meaning making process among (...) the performer, the audience, and the art institution, and a means towards dislocating, if not liberating, the categories Arab culture, art, performance, and experience, from their teleological articulations. (shrink)

Karl Marx’s socio-economic analysis of capitalism and the conditions of industrial production are meant to imply the competitive alienation of workers in at least two important senses: Workers are alienated from their tools and materials because under capitalism they generally do not own, develop or cultivate the means of production or market for products themselves; and Workers are alienated from one another in competitive isolation prior to the evolution of assembly-line production in the classical progression of capitalist manufacturing. The present (...) essay develops two main aspects of the art of alienation in this characteristically Marxist aesthetic – directly influenced by Marx, as opposed to existential or atheistic among other kinds of alienation. Focus is placed on Marx’s PhD dissertation and Philosophical and Economic Manuscripts of 1844, as a reflection of the state of social life, philosophical perspectives on the human condition, in a time of mechanization, consumerism and godless materialism. The history of artistic developments offers independent confirmation of Marx’s thematization of alienation objectifying itself as a sign of the times in artistic production and aesthetic theory. (shrink)

This volume is by no means out of place for a reader in the twenty first century as resemblances between the age of the machine and our own digital age are surprisingly numerous, particularly with reference to the patterns of intellectual response to unprecedented stimuli. The worrisome parallelisms and analogues are purposefully kept off stage for the imaginative audience to complement the plot of the real drama of the Industrial Revolution as it was witnessed by such imaginative medievalist 'knights' as (...) Carlyle, Cobbett, Southey, Pugin, Ruskin and Morris, intelligent thinkers who performed the universal 'type' rather than the subjective or egocentric in so far as their intellectual responses to the discrepancy between two dissimilar epochs was concerned. The reader is, therefore, expected to be engaged with the arguments of the 'neo-feudal', the 'moral-aesthetic' and the utopian 'social-aesthetic' arguments at the core of the book both imaginatively and intellectually. On the first level, he is requested to shuttle between two centuries separated by the length of a different century. On the second, however, he is expected not only to appreciate the artistically excellent literary works of prominent belletrists, but also to examine the clever polemics they developed as methods of treatment and persuasion aiming at a solution of the social and psychological problems that arose from the incongruity between the present and the past, with specific references to such significant concepts as those of time, history, progress and authority which are examined against the superheated touchstones of democratization, liberty, laissez-faire ethics, mechanization, poverty and social protest in the industrial city. (shrink)

This article analyzes the changing politics of hands-on display at the New York Museum of Science and Industry by following its urban deambulation within Midtown Manhattan, which went hand in hand with sharp shifts in promoters, narrative, and exhibition techniques. The museum was inaugurated in 1927 as the Museum of the Peaceful Arts on the 7th and 8th floors of the Scientific American Building. It changed its name in 1930 to the New York Museum of Science and Industry (...) while on the 4th floor of the Daily News Building, and it was close to being renamed the Science Center when it finally moved in 1936 to the ground floor of the Rockefeller Center. The analysis of how the political agenda of the different promoters of the New York Museum of Science and Industry was spatially and performatively inscribed in each of its sites suggests that the 1930s boom of visitor-operated exhibits had nothing to do with an Exploratorium-like rhetoric of democratic empowerment. The social paternalistic ideology of the vocational education movement, the ideas on innovation of the early sociology of invention, and the corporate behavioral approach to mass communications are more suitable contexts in which to understand the changing politics of hands-on display in interwar American museums of science and industry. (shrink)

Adorno’s extended conception of ‘culture industry’ renders the usual criticism of his views as ‘elitist’ meaningless. The same expansion creates, however, logical strains and contradictions in his analysis of the character and function of the culture industry: a strain in its ‘psychosocial’ and ‘status compulsion’ interpretation. In his late work Adorno attempts to solve this contradiction, but at a heavy price, by creating a conceptual barrier between pleasure and happiness.

The truth potential of art is realized not only by great art (of educated elites) but also by the cultural industry that has become the art of the masses. Great art and cultural industry do not only contradict one another but often interpenetrate and overlap subversively. Especially in critical periods of crisis (and revolution) great art and cultural industry go together with political action. However, in more counterrevolutionary periods as nowadays post-truth democracy, Adorno's gloomiest interpretation of the (...) cultural industry becomes topical again. (shrink)

Industrial design and the visual arts share a common aesthetic basis as demonstrated by their common use of aesthetic principles and by designers who are also visual artists. The author examines the rationale for exhibiting industrial products in art museums and the similarities and differences between industrial design and the fine arts. He argues that industrial design shares important theoretical concepts with the visual fine arts.

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)

Adorno and Horkheimer critically develop the concept of the “culture industry” in the third chapter of Dialectic of Enlightenment. The treatment there has some right to be considered one of the core texts in Critical Theory's philosophy of art. This essay discusses the main claims and arguments of that work, as well as earlier essays in Adorno's music theory and later essays that turn to film aesthetics. Attention focuses on illuminating the basis for Adorno and Horkheimer's views on the (...) culture industry in light of their social ontology and epistemology, their account of aesthetic form, and their conception of commodity as style. (shrink)

El siguiente artículo toma como punto de partida al concepto de industria cultural desde sus principales exponentes, para exponer sus usos actuales. Este nació como concepto filosófico como parte de la obra de los autores representantes de la llamada Escuela de Frankfurt, Theodor Adorno y Max Horkheimer, con valiosos aportes de Walter Benjamin. En la actualidad ha mutado su definición, siendo utilizado de manera instrumentalpor parte del Estado y organismos internacionales, para definir al grupo de sectores de producción cultural y (...) simbólica de acuerdo a sus parámetros económicos. En este sentido, desde aquél concepto de industria cultural de los años cuarenta podremos ver que hay un recorrido en el cual se van transformando las posturas acerca de lo que el arte y la cultura posibilitan. La función social del arte va escondiéndose detrás de su inmersión cada vez más visible dentro de la producción mercantil, si bien en los últimos años la cultura aparece como motor de desarrollo económico e identitario. Esta transición será ilustrada con el caso argentino, dando cuenta de los cambios en el sector. The following article takes as its starting point the concept of Culture Industry from its leading exponents, and exposes its current uses. The Culture Industry began like a philosophical concept, as part of the work of the Frankfurt School authors, Theodor Adorno and Max Horkheimer, with contributions of Walter Benjamin. Nowadays, this concept definition has mutated, being used instrumentally by the state and international organizations, to define the cultural and symbolic production according to economic parameters. In this sense, paying attention to that idea of Culture Industry, we can see that there is a path in which the possibilities of meanings of art and culture are changing. The social function of art is subordinating behind the commodity production, although in recent years the culture appears as an engine of economic development and identity. This transition will be illustrated accounting for changes in the sector in the case of Argentina. (shrink)

This article provides a comprehensive synthesis of state-of-the-art approaches used by industry to improve human, social, and environmental sustainability. Currently available methods such as product stewardship, industrial eco-park design, industrial ecology, Design for Environment (DfE), and others areexplained and their contribution summarized. Particular attention is paid to practices that make the material flows of a society more circular, as in natural ecosystems, and to the idea of companies selling services rather than products. It is concluded that the widespread implementation (...) of these frontier practices are a necessary but not sufficient condition for achieving human, social, and environmental sustainability. Nevertheless, the methods synthesized in this paper reveal a largely untapped potential for improving industrial practices. (shrink)

This paper looks at the themes of nature, humanity, and military and industrial development in the nineteenth century American painter Winslow Homer through the lens of the Hegelian theory of art. Robert Pippin's After the Beautiful has recently put the Hegelian framework to very fruitful use in understanding pictorial modernism. This study of Homer follows a similar approach but argues that Homer's canvases represent a development in the modern spirt which, in many ways, goes beyond the canvases of Manet – (...) a very tight modernist contemporary of Homer's. Homer communicates a presentment of the immense and, in certain profound respects, horrifying power of humanity's growing industrialization. I trace the development of this idea over the course of his career, from this early Civil War canvases to his final seascapes and argue that an understanding of Homer's work is important for understanding the modern spirit of the nineteenth and twentieth centuries. (shrink)

Industry involvement in the machine learning (ML) community seems to be increasing. However, the quantitative scale and ethical implications of this influence are rather unknown. For this purpose, we have not only carried out an informed ethical analysis of the field, but have inspected all papers of the main ML conferences NeurIPS, CVPR, and ICML of the last 5 years—almost 11,000 papers in total. Our statistical approach focuses on conflicts of interest, innovation, and gender equality. We have obtained four (...) main findings. (1) Academic–corporate collaborations are growing in numbers. At the same time, we found that conflicts of interest are rarely disclosed. (2) Industry papers amply mention terms that relate to particular trending machine learning topics earlier than academia does. (3) Industry papers are not lagging behind academic papers with regard to how often they mention keywords that are proxies for social impact considerations. (4) Finally, we demonstrate that industry papers fall short of their academic counterparts with respect to the ratio of gender diversity. We believe that this work is a starting point for an informed debate within and outside of the ML community. (shrink)

This paper examines therelationship between industry and academia withregard to pharmaceutical research. Thecontinuous technological flux in researchpresents challenges to industry in obtainingadequately prepared scientists withoutinterfering in or disrupting a youngscientists' academic preparation. We presentour recommendations concerning the kinds ofskills required by changing technology andobserve the increasingly collaborativerelationship between academia and industry. Wesuggest the need for broader education forPh.D. and post-graduate students, inducing inthem transferable and productive skills for arapidly changing market. These skills,typically acquired in the liberal arts, (...) wouldprovide young scientists with an awareness oftheir position in the process of scientificdiscovery process. Such scientists will bebetter prepared for making discoveries inscience, as discovery is less the result of anindividual's effort and more the result ofconcerted team efforts. (shrink)

In this paper, I argue that the concept of culture industry developed by Max Horkheimer and Theodor W. Adorno had a decisive influence on Jean Godefroy Bidima’s critique of black African modernity. Drawing on some of his writings, I seek to demon- strate how Bidima’s philosophical endeavor inherits the concept of culture industry and applies it to the modern context of black Africa, where it is transformed into the concept of colonial industry. In both cases, the same (...) critical perspective is at play, namely to formulate a broad critique of how cultural products (artworks in Horkheimer and Adorno, and philosophy in Bidima) are deprived of their substance to align with the mystification of the masses. The critique of the culture industry, which serves in Adorno as a fundamental criticism of the production of modern art and its decadence into mass production serves, revisited in Bidima, as a critique of the modern black African philo- sophical discourse. With the light provided by this connection, I propose a rereading of Bidima’s critique of Fabien Eboussi Boulaga, the latter being presented as a promoter of a “discourse of mastery” in black African modern philosophy. (shrink)

Helps individual readers to overcome procrastination and build self-esteem Reveals how to create a culture of accountability, and how to hold someone accountable Gives leaders a step-by-step process for helping team members become more self-responsible Explains commitment reluctance and how to encourage self-responsibility among team members Uncovers why we blame others and shows how to defeat a blame culture Provides an easy read with no consultant-speak In recent years, HORN Training and Consulting was awarded the distinguished Gold Medal by the (...) Canadian Society for Training and Development for its leadership development program designed for one of the world’s largest international banks; and HORN is currently executing leadership development projects on a global scale for companies in the consumer packaged goods and pharmaceutical industries. (shrink)

This book offers an historical and critical guide to the concepts of the post-modern and the post-industrial. It brings admirable clarity and thoroughness to a discussion of the many different uses made of the term post-modern across a number of different disciplines (including literature, architecture, art history, philosophy, anthropology and geography). It also analyses the concept of the post-industrial society to which the concept of the post-modern has often been related. Dr Rose discusses the work of many theorists in the (...) area, including Hassan, Lyotard, Jameson and the architectural historian Charles Jencks, and also looks at analyses and uses of the concepts of the post-modern and post-industrial by Frampton, Portoghesi, Peter Fuller and others. (shrink)

Arts and Humanities in Higher Education, Volume 21, Issue 1, Page 3-20, February 2022. As graduate labour market conditions have become increasingly challenging, higher education institutions have intensified their focus on ‘employability’ via strategies such as work placements. Focusing on work placements in the media and creative industries, this article identifies and analyses three key discourses that animate the pedagogical literature in these sectors: work placements as facilitating a ‘smooth transition’ to the labour market; work placements as a place in (...) which inequalities in the labour market are produced; and work placements as a space for fostering resilience and adaptation to labour market precarity. The article argues that critiques of inequalities based on race, class or gender are marked by a transformative impulse that is largely absent in critiques of those based on worker precarity. This highlights a need to adopt pedagogies that similarly unnaturalise the economic conditions of neoliberal capitalism to discursively construct work in new, more socially just, ways. (shrink)

Our life, by its biological nature, is in an indestructible dependence on energy. At the same time, energy is an important criterion on which we report the progress of humanity. Historically, progress divides our world into distinct stages, called Industrial Revolutions. Each stage has encompassed more fuels, new technologies, inventions, humans behavioural changes and much more worrying environmental issues. Energy techniques, new extractions and transportation improved in nineteenth and during twenty-century energy consumption, especially electricity, rise significantly with, on the one (...) hand, a continuous influx of fossil fuels and, on the other hand, continuous increase of the quantities of toxic waste, visible or not, from the other industrial branches and human activities, consequences of the energetical progress. The purpose of this paper is to point out some aspects regarding ecological footprints of electrical industry and energy industries during their development and to establish connections between the distinct role of energy in each period of industrialization and its impact on the environment, education, science, arts and cultural dimensions of life. (shrink)

Artificial Intelligence (AI) has the potential to influence people’s lives in various ways as it is increasingly integrated into important decision-making processes in key areas of society. While AI offers opportunities, it is also associated with risks. These risks have sparked debates about how AI should be regulated, whether through government regulation or industry self-regulation. AI-related risk perceptions can be shaped by national cultures, especially the cultural dimension of uncertainty avoidance. This raises the question of whether people in countries (...) with higher levels of uncertainty avoidance might have different preferences regarding AI regulation than those with lower levels of uncertainty avoidance. Therefore, using Hofstede’s uncertainty avoidance scale and data from ten European countries (N = 7.855), this study investigates the relationships between uncertainty avoidance, people’s AI risk perceptions, and their regulatory preferences. The findings show that people in countries with higher levels of uncertainty avoidance are more likely to perceive AI risks in terms of a lack of accountability and responsibility. While people’s perceived AI risk of a lack of accountability exclusively drives their preferences for government regulation of AI, the perceived AI risk of a lack of responsibility can foster people’s requests for government regulation and/or industry self-regulation. This study contributes to a better understanding of which mechanisms shape people’s preferences for AI regulation. (shrink)

I critically engage Max Horkheimer’s “Art and Mass Culture” from Critical Theory. I split Horkheimer’s essay into three parts, which correspond to the three sections of my essay. The first section details the objective historical conditions that have lead up to Horkheimer’s diagnosis. The second section describes the change in consciousness that corresponds to these conditions, and the third section outlines Horkheimer’s critique of Mortimer Adler and art that belongs to “the amusement industry.” I describe the basic elements of (...) Horkheimer’s aesthetic theory, use several pieces of art as examples of the application of the theory, andprovide contemporary analogues in order to illustrate the relevance of the essay to today’s world. (shrink)

In this paper, we present the methodology we used in the European Horizon 2020 AI-PROFICIENT project, to evaluate the implementation of the ethical component of the project. The project is a 3-year collaboration between a university partner and industrial and tech partners, which aims to research the integration of AI services in heavy industry work settings. An AI ethics approach developed for the project has involved embedded ethical analysis of work contexts and design solutions and the generation of specific (...) and evolving ethical recommendations for partners. We have performed an ongoing evaluation and monitoring of the implementation of recommendations. We describe the quantitative results of these implementations: overall, broken down by category, and broken down by category and responsible project partner (anonymized). In parallel, we discuss the results in light of our approach and offer insights for future research into the ground-level application of ethical recommendations for AI in heavy industry. (shrink)

What was once the factory is now the university. As deindustrialization spreads and the working class is decentralized, new means of social resistance and political activism need to be sought in what may be the last places where they are possible: the university and the art world. Gerald Raunig's new book analyzes the potential that cognitive and creative labor has in these two arenas to resist the new regimes of domination imposed by cognitive capitalism. Drawing on Gilles Deleuze's concept of (...) "modulation" as the market-driven imperative for the constant transformation and reinvention of subjectivity, in Factories of Knowledge, Industries of Creativity, Raunig charts alternative horizons for resistance. Looking at recent social struggles including the university strikes in Europe, the Spanish ¡Democracia real YA! organization, the Arab revolts, and the Occupy movement, Raunig argues for a reassessment of the importance of cultural and knowledge production. The central role of the university, he asserts, is not as a factory of knowledge but as a place of creative disobedience. (shrink)

This study attempts to determine a correlation effect between people’s perception and awareness of the operationalization of artificial intelligence in their everyday lives and in the production, presentation, and publication of news media in the U.S. By looking at the effect individual characteristics may have on a person’s perception and awareness of AI operationalized for news media and looking at whether perception and/or awareness of AI operationalized in a person’s daily life affects their perception and awareness of AI operationalized for (...) news media, we seek to find correlation between these two factors. The research relies on Actor-network theory, the MAIN Model, and utilizes a convenience sample survey method using the MTurk participant platform. (shrink)

In this article, Strandberg analyses the development of Swedish cultural policy during the last decades. In contradistinction to the first policy proposition from 1974, which emphasised the importance of counteracting the negative impact of the market, the cultural policies that have been in place for the last twenty to thirty years consider the forces of the market to be conducive to the freedom of culture and the arts. This has entailed a paradigm shift in Swedish culture that has opened up (...) the field of cultural policy for the so-called creative industries, equated culture with creativity, and collapsed the distinction between culture and creative forms of entrepreneurship. When analysing this, Strandberg relates the modern history of Swedish cultural policy to the wider international development that has given rise to the paradigm of the creative industries and discusses how the equation of culture with creativity has made the autonomy of culture and the arts more and more difficult to uphold. (shrink)

BackgroundCORE (Clarity and Openness in Reporting: E3-based) Reference (released May 2016 by the European Medical Writers Association [EMWA] and the American Medical Writers Association [AMWA]) is a complete and authoritative open-access user’s guide to support the authoring of clinical study reports (CSRs) for current industry-standard-design interventional studies. CORE Reference is a content guidance resource and is not a CSR Template.TransCelerate Biopharma Inc., an alliance of biopharmaceutical companies, released a CSR Template in November 2018 and recognised CORE Reference as one (...) of two principal sources used in its development.MethodsThe regulatory medical writing and statistical professionals who developed CORE Reference conducted a critical review of the TransCelerate CSR Template. We summarise our major findings and recommendations in this communication. We also re-examined and edited the Version 1 CORE Reference Terminology Table that we first published in 2016, and we present this as Version 2 in this communication.ResultsOur major critical review findings indicate that opportunities remain to refine the CSR Template structure and instructional text, enhance content clarity, add web links to referenced guidance documents, improve transparency to support the broad readership of CSRs, and develop supporting resources.The CORE Reference ‘Terminology Table’ Version 2 includes estimand as a defined term and an adaptation of the original ‘worked study example’ to incorporate the recently evolved concept of ‘estimands’.ConclusionsAs TransCelerate’s CSR Template represents an important milestone in authoring CSRs, we offer CSR authors advice and recommendations on its use, similarities, and differences with CORE Reference and advise them to consider shared interpretations between the two.RegistrationCORE Reference is registered with the EQUATOR Network. The TransCelerate CSR Template is not registered with any external organisation to the knowledge of the authors of this paper. (shrink)

With the economy deindustrialized and the working class decentralized, a call for alternative horizons for resistance: the university and the art world. What was once the factory is now the university. As deindustrialization spreads and the working class is decentralized, new means of social resistance and political activism need to be sought in what may be the last places where they are possible: the university and the art world. Gerald Raunig's new book analyzes the potential that cognitive and creative labor (...) has in these two arenas to resist the new regimes of domination imposed by cognitive capitalism. Drawing on Gilles Deleuze's concept of “modulation” as the market-driven imperative for the constant transformation and reinvention of subjectivity, in Factories of Knowledge, Industries of Creativity, Raunig charts alternative horizons for resistance. Looking at recent social struggles including the university strikes in Europe, the Spanish ¡Democracia real YA! organization, the Arab revolts, and the Occupy movement, Raunig argues for a reassessment of the importance of cultural and knowledge production. The central role of the university, he asserts, is not as a factory of knowledge but as a place of creative disobedience. (shrink)

Over the last decade, aesthetic and art theory has played an increasingly significant role in the way work and its organization has come to be understood. Bringing together the work of an international spectrum of academics, this collection contributes, in an overall more critical vein, to such emerging debates. Combining both empirical and theoretical material, each chapter re-evaluates the emerging relationship between art, aesthetics, and work, exploring its potential as both a medium of critical analysis, and as a site of (...) conflict and resistance. (shrink)

Artificial intelligence (AI) is increasingly relied upon by clinicians for making diagnostic and treatment decisions, playing an important role in imaging, diagnosis, risk analysis, lifestyle monitoring, and health information management. While research has identified biases in healthcare AI systems and proposed technical solutions to address these, we argue that effective solutions require human engagement. Furthermore, there is a lack of research on how to motivate the adoption of these solutions and promote investment in designing AI systems that align with values (...) such as transparency and fairness from the outset. Drawing on insights from psychological theories, we assert the need to understand the values that underlie decisions made by individuals involved in creating and deploying AI systems. We describe how this understanding can be leveraged to increase engagement with de-biasing and fairness-enhancing practices within the AI healthcare industry, ultimately leading to sustained behavioral change via autonomy-supportive communication strategies rooted in motivational and social psychology theories. In developing these pathways to engagement, we consider the norms and needs that govern the AI healthcare domain, and we evaluate incentives for maintaining the status quo against economic, legal, and social incentives for behavior change in line with transparency and fairness values. (shrink)

Through the use of assisted reproductive technologies (ARTs), multiple children are born adding to worldwide carbon emissions. Evaluating the ethics of offering reproductive services against its overall harm to the environment makes unregulated ARTs unjustified, yet the ART business can move towards sustainability as a part of the larger green bioethics movement. By integrating ecological ethos into the ART industry, climate change can be mitigated and the conversation about consumption can become a broader public discourse. Although the impact of (...) naturally made children on the environment is undeniable, I will focus on the ART industry as an anthropogenic source of carbon emissions which lead to climate change. The ART industry is an often overlooked source of environmental degradation and decidedly different from natural reproduction as fertility centres provide a service for a fee and therefore can be subject to economic, policy and bioethical scrutiny. In this article, I will provide a brief background on the current state of human-driven climate change before suggesting two conservationist strategies that can be employed in the ART business. First, endorsing a carbon capping programme that limits the carbon emissions of ART businesses will be proposed. Second, I will recommend that policymakers eliminate funded ARTs for those who are not biologically infertile. I will conclude the article by urging policymakers and all those concerned with climate change to consider the effects of the reproductive technologies industry in light of climate change and move towards sustainability. (shrink)

The arts have been almost completely marginalized - at a time when, arguably, they are more important than ever. Whether we understand by “the arts” painting, sculpture and architecture, or more broadly, the whole aesthetic realm and the arts faculties of universities concerned with this realm, over the last half century these fields have lost their cognitive status. This does not mean that there are not people involved in the arts, but they do not have the standing participants in these (...) fields once had. The arts lost the battle of the “two cultures”; science prevailed over the arts and humanities. Architecture is being redefined as an applied science rather than one of the arts. The arts were then finally routed (with hardly a fight) by economists. They have been absorbed into the advertising, entertainment, decoration and building industries, and, as universities have been transformed into transnational business corporations, arts faculties have lost their reason for existence. This paper challenges this marginalization. (shrink)