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)

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)

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)

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)

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.

Este estudo tem como finalidade analisar a perspectiva da arte como parte do aparato de dominação social, desenvolvida na obra A ideologia da sociedade industrial, de Herbert Marcuse. Para isso, utilizaremos como referência constante as teorias propostas pelos filósofos da Escola de Frankfurt, em especial Theodor W. Adorno e Max Horkheimer no que diz respeito, sobretudo, ao termo “indústria cultural”, cujo conceito aparece no capítulo homônimo de A dialética do esclarecimento. Apoiaremo-nos também na tese de doutorado de Imaculada Kangussu, (...) intitulada Leis da liberdade: as relações entre Estética e Política na Filosofia de Herbert Marcuse, e, ainda, nas demais obras marcuseanas, com destaque para Eros e Civilização: uma interpretação filosófica do pensamento de Freud. (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 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)

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.

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)

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)

This book examines the complexities of the hipster through the lens of art history and cultural theory, from Charles Baudelaire's flan̂eur to the contemporary 'creative' borne from creative industries policies. It claims that the recent ubiquity of hipster culture has led many artists to confront their own significance, responding to the mass artification of contemporary life by de-emphasising the formal and textual deconstructions so central to the legacies of modern and postmodern art. In the era of creative digital technologies, long (...) held characteristics of art such as individual expression, innovation, and alternative lifestyle are now features of a flooded and fast-paced global marketplace. Against the idea that artists, like hipsters, are the 'foot soldiers of capitalism', the institutionalized networks that make up the contemporary art world are working to portray a view of art that is less a discerning exercise in innovative form-making than a social platform--a forum for populist aesthetic pleasures or socio-political causes. It is in this sense that the concept of the hipster is caught up in age-old debates about the relation between ethics and aesthetics, examined here in terms of the dynamics of global contemporary art."--Publisher's website. (shrink)

Taylor Swift’s choice to re-record several of her early studio albums might seem purely commercial. But the depth and intensity of the project suggests that Taylor’s Versions are new artworks, not just financially motivated copies. The elements of appropriation, audience participation, and institutional critique tie Swift’s project to a tradition dating back more than a century: conceptual art. I will stop short of arguing outright that Taylor’s Versions is a conceptual art project: it is foremost a contribution to popular music. (...) But considering it in relation to conceptual art sheds light on its achievements and one notable limitation. In the realm of appropriation, the fact that the re-recordings exhibit both close resemblance to and subtle differences from the originals has prompted an intensity of close listening by audience members, with distinctive aesthetic experiences in the realm of the uncanny. In the realm of participation, Swift has creatively motivated her fans to abandon her beloved original albums, and the fans have in turn evolved a variety of strategies to shift their allegiance to the new versions and hold each other accountable. When it comes to institutional critique—the movement in conceptual art that highlights and challenges the power structures governing art institutions—Swift’s project has raised awareness of troubling and exploitative power dynamics in the music industry. However, consideration of historical precursors of Swift’s institutional critique may lead us to question some elements of her self-presentation as a victim of gendered exploitation. (shrink)

Media art can be conceived as laboratory, at the edges of art. These technological experiments give priority to innovation and exploration by means of new media. In metaphorical terms, we could say that the emphasis is on creating new languages that allow us, in a later phase, to write prose or poetry with it.In my paper, I discuss why the common view on media art falls short. Media art is not just about mixing media but rather about mixing art. Several (...) different challenges are at stake that beget a hybrid post-medium condition. (1) The artistic practice of media art often concerns exercises in remediation (i.e. resonating visual narratives of old media in new media). Here, we encounter a repetition of historical themes and re-makes or re-enactments of classical art pieces. These experiments thus mix the history of art. (2) Media art is often also about immersion (i.e. interactively enclosing the spectactor in a audiovisual or virtual realm). In experiments with CAVE-installations or 3D-cinema using digital goggles, for instance, we notice a combination of an artistic interest with a phenomenologicaland a scientific one (cf. so-called postfenomenology, robotics, experimental psychology). Hence, these experiments mix art with science. (3) Media art is not just a friction between art an technoscience. It takes place at a junction between art, creative industry, design, sociology and politics. Concerning the latter, I willdiscuss the culture-critical potential of i.e. hacktivism, marx 2.0 and bio-performances like Stelarc and Orlan. (4) Media art is not simply a genre that aims for recognition as a part of or a completion of fine art. While democratizing new media technology, it actually blurs the idea of genre, altering and opening up the very canon of fine art, music art, live art, performance art, video art and cinema. (shrink)

Post-industrial landscapes present a challenge to traditional means of aesthetic evaluation. This article examines the work of four artists and their contributions to an aesthetic vocabulary that can support art practices that engage places and systems rather than objects. Art presumes a manipulation of materials and places, a significant point for landscape reclamation which also requires a re-making of a site. The land reclamation projects and proposals of Robert Smithson, Robert Morris, and Helen Mayer Harrison and Newton Harrison are (...) guides to an aesthetics that expands to include ethical relationships and responsibility for the well-being of the environment and others. (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)

Art In Its Time takes a close look at the way in which art has become integral to the everyday 'ordinary' life of modern society. It explores the prevalent notion of art as transcending its historical moment, and argues that art cannot be separated from the everyday as it often provides material to represent social struggles and class, to explore sexuality, and to think about modern industry and our economic relationships.

Today we come across new media art projects as post-industrial art services that occur at the intersection of contemporary art, new economy, post-political politics (activism, hacktivism), technosciences and techno lifestyles. The artwork is not a stable object anymore, it is a process, an artistic software, an experience, a service devoted to solving a particular (cultural and non-cultural) problem, a research, an interface which demands from its user also the ability for associative selection, algorithmic (logical) thinking and for procedures pertaining (...) to DJ and VJ culture, such as mixing, cutting, sampling and recombination. The art service is not so much the manufacturing of things as it is a process of reshaping the thing, moving it, repurposing it, connecting it and incorporating it into new contexts and relations. The service presupposes a problem, a challenge or an order to be solved or carried out. The performer of the service is always faced with a certain task, challenged to solve it in a sequence of steps, chosen as economically as possible. The service therefore ends with a solution of the problem (or its removal) and not with the manufacturing of a finished object. The service always implies an algorithmic procedure that has to be as rational as possible, economical, divided into phases, steps, instructions needed for it to be carried out. By defining the new media art in terms of post-industrial service activity, the traditional concepts of aesthetic and autonomous art are left behind and replaced with novel theoretical devices, e.g. software, repurposing, remixing, recombination, rewriting and hybridization. (shrink)

Art or Porn? The popular media will often choose this heading when reviewing the latest sexually explicit novel, film, or art exhibition. The underlying assumption seems to be that the work under discussion has to be one or the other, and cannot be both. But is this not a false dilemma? Can one really draw a sharp line between the pornographic and the artistic? Isn't it time to make room for pornographic art and for an aesthetic investigation of pornography? In (...) answering these questions this book will draw on insights from many different disciplines, including philosophy, feminist theory, aesthetics, art history, film studies, theatre studies, as well as on the experience of people who are actually operating in the art world and porn industry. By offering a variety of theoretical approaches and examples taken from a wide range of art forms and historical periods, the reader will gain a fuller and deeper comprehension of the relations and frictions between art and pornography. (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)

Marcuse suggested the alienation of art from society intrinsic to the aesthetic form represents and recollects an unreal world capable of indicting existing social arrangements while simultaneously providing a sensuous experience of another possible, liberated reality denied by established institutions. Drawing on and recasting part of Marcuse’s theory of art and the aesthetic dimension, the author puts forward several theses regarding art, alienation and abolition of the prison-industrial complex. First, art implies alienation; yet, because of that condition, art offers (...) an antidote to estrangement conducive to PIC abolition. Second, Marx explained why key components of capitalism engender alienation, but expounding upon his analysis reveals how incarceration and the concomitant punitive paradigm also reinforce and reproduce estrangement; art, understood as recollection, can aid in abolition of those institutions. Third, authentic justice implies unimpeded use of creative capacities denied and distorted by the PIC, but art can act as recuperation of those capacities in ways that transform our understanding and practice of justice. Fourth, art can offer a foretaste of liberation while anticipating, expressing and heightening our understanding of the possibilities for fuller freedom and PIC abolition, going against and beyond reformist reforms that have historically functioned to strengthen and expand the PIC. Finally, art augments the spirit of abolition and intimates a mode of being antithetical to imprisonment, the PIC and the alienated way of life associated with criminalization and State coercion. (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)

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)

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)

Motivational self-help advice from President Donald Trump, covering everything from leadership and self-confidence to how to succeed in business. President Donald Trump knows about living the good life and achieving success. With his election to the presidency, he added to a life that already includes billions of dollars, worldwide celebrity, and a beautiful family, despite legions of haters. In The Art of the Donald, Daily Caller News Foundation editor-in-chief Christopher Bedford takes you inside the new president's unorthodox mind, unlocking the (...) genius of his approach to everything in life and offering you insight into navigating life the Trump way. Featuring personal campaign-trail anecdotes and lessons from Trump's long career as a businessman and politician, The Art of the Donald offers you life-changing pieces of advice, including Keeping your message simple and delivering it effectively; Using competition to govern yourself and chaos to confuse your opponents; Cutting out the middlemen and getting directly to the deal-makers; Redefining conflicts and transactions on your own terms; Solving problems with ingenuity instead of money; and Believing in yourself, no matter what your opponents try to say. Written in the style of Sun Tzu's The Art of War and The Tao of Warren Buffett, this is a must-read for every Trump fan (and even the haters). (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)

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)

Post-industrial landscapes present a challenge to traditional means of aesthetic evaluation. This article examines the work of four artists and their contributions to an aesthetic vocabulary that can support art practices that engage places and systems rather than objects. Art presumes a manipulation of materials and places, a significant point for landscape reclamation which also requires a re-making of a site. The land reclamation projects and proposals of Robert Smithson, Robert Morris, and Helen Mayer Harrison and Newton Harrison are (...) guides to an aesthetics that expands to include ethical relationships and responsibility for the well-being of the environment and others. (shrink)