A critical retrospective of 'The Psychological Technique of Martin Luther Thomas' Radio Addresses' sheds new light on an often underplayed tension in Adorno's thought concerning the capacity of mass culture to express resistance against domination. In 'Thomas' Adorno moved beyond denouncing mass culture as 'culture industry' by approach ing early Christian right radio in a manner consistent (initially) with his defense of the autonomous dimension of culture in general. At the same time, 'Thomas' accomplished groundwork (...) for the culture industry theory, and this theory ultimately guided the study's conclusions. This critique confirms Adorno's ambivalence regarding the negative capabilities of mass culture while suggesting a new way to analyze the contemporary Christian right. This approach, which I illustrate, draws upon both the culture industry theory and a modified version of Adorno's method of immanent, dialectical criticism to identify ideological elements as well as moments of resistance in Christian right radio today. (shrink)

In the 1960s, there were efforts to move broadcast television in the direction of the experimental video art by altering television's conventional format. Fred Barzyk, in his role as a producer and director at WGBH-TV in Boston, was uniquely positioned to act as a link between television and experimental video artists who normally would not have had access to the technology available at a major broadcast facility. As the leading innovator in the beginnings of video art, the Korean American Nam (...) June Paik (1932-2006) deserves special mention. His work bridges the worlds of art, video technology, and television. The video works of Nan June Paik, Amy Greenfield, Peter Campus, Feng Meng Bo, Elizabeth Sussman and other video artists are considered in this essay as key contributors to the development of video art. The selection is based on my experience with the artists cited. Despite video art's growing popularity among contemporary artists in the 1970s and beyond, the museums were slow to acknowledge this development. One of the problems was deciding where, among the existing museum collections, to locate video art. In its 50 some years of history, video art has enjoyed a remarkable success in its artistic innovations while undergoing changes in formats virtually at the speed of rapid advances in electronic visual technology. Ironically, the legacy of creative television set in motion by Barzyk and his generation has been largely coopted by the television broadcasting industry, which mainly serves as a platform for mass media advertising. (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)

Some fashionable leftist movements and populist intellectuals habitually blame the sources of information for public ignorance about the miserable state of the world. It could be argued, however, that the masses are ignorant because they prefer ignorance. A mass individual is politically apathetic and intellectually lazy. As a result, even when huge amounts of information are available, which is the case in this epoch, the masses insist on choosing ignorance. It is true that there is not enough information about what (...) has happened in a place such as Darfur, but the masses choose not to access even the amount of information that is available. The great majority of people in China, Iran, and America, despite the fact that they have varying amounts of access to various types of “knowledge,” still tend to be misinformed. It seems that a mass individual is curious only about what directly affects his/her own personal life. I will explore the connection between mass mentality and the culture industry in order to capture the essential role of the former in the latter. I will also argue that a mass individual is the source of fascism although fascism as a phenomenon needs a mass culture in which to flourish. (shrink)

The paper is one of the four central texts where Clifford Geertz summarized his ideas. Geertz suggests an understanding of art as a social phenomenon and gives a social anthropological account of aesthetic experience. In opposition to structuralism, which analyzes art as a closed sign system developing according to its inherent logic, and to radical functionalism, which attempts to study art as if its main function was to maintain established institutions of culture, Geertz proposes to view a work of (...) art as a symbolical expression of the significant experience of its creator. In this case the ability of aesthetic perception of the work of art is treated as the ability to recognize the symbols it contains — the ability that results from involvement in the relevant cultural practices. Author illustrates his argument by the examples from the studies of that time: studies of Abelam tribe of New Guinea, Yoruba people of Western Africa, Quattrocento Italia, and modern Morocco. (shrink)

This paper discusses the social effects resulting from the transfer of knowledge and skill both in the spheres of production and machine design. Relevant design determinants and their impact on technological developments are discussed within the theoretical framework of industrial cultures. Two types of skill transfer are analysed in connection with different production philosophies — one more Tayloristic, the other more workshop-oriented. Finally, the paper discusses the relation of both philosophies to the requirements of future production concepts.

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)

Changes brought by the rise of the global economy and the end of the Cold War era have resulted in industry, government, and university rethinking their roles vis-à-vis research and development, basic versus applied research, and the role of corporate research. Since the mid-1980s, industrial research in the United States has been going through restructuring. Interviews with seventy-two scientists and eighteen managers working in six centralized corporate R&D laboratories in high-technology industry show that a new culture of (...) dependence with a mission-oriented approach is replacing the cherished culture of independence with a result-oriented approach. (shrink)

L’industrie de la culture qui est apparue en parallèle avec l’affaiblissement du dipôle travail social – art contemporain, a en même temps affaibli la possibilité des avant‐gardes de constituer une activité purement intellectuelle et artistique. C’est clair que l’apparition de cette culture de masse vient se lier avec l’évincement de l’art moderne authentique et la disparition quasi-totale de la culture populaire. Je pense que c’est indispensable de mentionner les points de vue des philosophes allemands, Theodor Adorno et (...) Walter Benjamin car je considère que malgré leurs limites historiques, ils exercent une influence déterminante sur la pensée contemporaine qui se relate à l’art dans le cadre de la société moderne postindustrielle. (shrink)

Emergent digital technologies provide cultural heritage spaces with the opportunity to reassess their current user journey. An immersive user experience can be developed that is innovative, dynamic, and customised for each attendee. Museums have already begun to move towards interactive exhibitions utilising Artificial Intelligence (AI) and the Internet of Things (IOT), and more recently, the use of Virtual Reality (VR) and Augmented Reality (AR) has become more common in cultural heritage spaces to present items of historical significance. VR concentrates on (...) the provision of full immersion within a digitised environment utilising a headset, whilst AR focuses on the inclusion of digitised content within the existing physical environment that can be accessed through a medium such as a mobile phone application. Machine learning techniques such as a recommender system can support an immersive user journey by issuing personalised recommendations regarding a user’s preferred future content based on their previous activity. An ethical approach is necessary to take the precautions required to protect the welfare of human participants and eliminate any aspect of stereotyping or biased behaviour. This paper sets out a human-centred manifesto intended to provide guidance when inducing smart digital immersion in cultural heritage spaces. A review of existing digital cultural heritage projects was conducted to determine their adherence to the manifesto with the findings indicating that Education was a primary focus across all projects and that Personalisation, Respect and Empathy, and Support were also highly valued. Additionally, the findings indicated that there were areas with room for improvement such as Fairness to ensure that a well-balanced human-centred system is implemented. (shrink)

The most common definitions of popular culture suffer from a presentist bias and cannot be applied to pre-industrial and pre-capitalist societies. A survey reveals serious conceptual difficulties as well. We may, however, gain insight in two ways. 1) By moving from a Marxist model to a more Weberian approach . 2) By looking to Bourdieu’s “cultural capital” and Danto’s and Dickie’s “Institutional Theory of Art,” and defining popular culture as “unauthorized culture.”.

Critics of industrial animal agriculture have argued that its practices are cruel, inhumane, or otherwise degrading to animals. These arguments sometimes form the basis of a larger case for the complete abolition of animal agriculture, while others argue for more modest welfare-based reforms that allow for certain types of industrial farming. This paper defends industrial farming against the charge of cruelty. As upsetting as certain practices may seem, I argue that they need not be construed as cruel or inhumane. Any (...) link between industrial farming and cruelty or inhumanity is contingent on certain cultural, behavioral, and psychological facts that are person-dependent. For many people working in animal agriculture, these facts do not obtain. To be sure, industrial animal agriculture has real moral hazards that must be carefully avoided, but all that this shows is that working with animals is not for everyone. (shrink)

Globalization is not just an economic phenomenon as economic transactions cannot take place without parallel flows of ideas, cultural products and people. The traditional notion of immigrants, i.e. those who leave one country to settle into another while leaving behind their past, is inextricably linked to the other flows that constitute globalization. The traditional notions of immigrants, i.e. movements back and forth between sending and receiving countries have historically been a fact of life for many immigrant groups. However, what is (...) new about contemporary migration is the scale, diversity, density and regularity of such movements and the socioeconomic consequences that they have brought about are unmatched by the phenomena of the past (Portes & Guarnizo, 2002). Migration, development and international relations are thus closely linked (Castles, 1999, 2000a, 2000b). Indeed, by definition, international migrants have always crossed national borders. Whereas physical mobility concerns the observable act of crossing boundaries, psychological mobility refers to people’s attitudes towards this act (Lazarova & Taylor, 2009). Thus, sociological explanations of migration focus on the importance of cultural and social capital. Cultural capital refers to knowledge of other societies and the opportunities they offer, as well as information about how to actually go about moving and seeking work elsewhere. In this context, an understanding of diversity is warranted. (shrink)

Adorno and Horkheimer adoted the notion of the fetishism of commodities for the analysis of art and culture. Material, physical goods are not identical to symbolic ones. In spite of being predominant cultural industry can not be taken as the prototype of all analyses of culture. One can not reduce all cultural productives of the period of market economy to market products. The plurality of artistic and cultural practices present in countries like Brazil, does make questionable the (...) indiscriminate use of the Frankfurtian framework.Adorno e Horkheimer adotaram a noção de fetichismo da mercadoria para a análise da arte e da cultura. Bens materiais e físicos não são idênticos aos simbólicos. Apesar de dominante, a indústria cultural não pode ser tomada como protótipo de toda análise da cultura. Não se pode reduzir toda a produção cultural da época da economia de mercado a produtos de mercado. A pluralidade de práticas artísticas e culturais, à qual se assiste em países como o Brasil, torna problemático o uso indiscriminado do referencial frankfurtiano. (shrink)

Resumo : O objetivo do texto é abordar a temática dos meios de comunicação como instrumento de poder à luz da indústria cultural conforme Theodor Adorno. Busca-se responder à seguinte questão: como a indústria cultural reproduz as relações de poder no capitalismo contemporâneo? Para a consecução de tal objetivo, o texto apresenta as seguintes etapas: uma breve contextualização histórica e teórica da Teoria Crítica - vertente filosófica à qual Adorno e outros autores se filiaram - a definição da indústria cultural (...) conforme Adorno em seus principais argumentos, os efeitos da indústria cultural e do capitalismo organizado, a postura crítica frente ao contexto referido e a nova postura de Adorno nos anos 50 e 60 frente aos meios de comunicação. A principal tese do artigo leva ao entendimento de que a indústria cultural incorpora toda uma racionalidade de dominação e disciplina da vida social e reprodução da ordem capitalista vigente, acabando com as contradições no âmbito das manifestações artísticas na medida em que somente o lucro é visado. Summary : The aim of this text is discuss communication means as power instrument in the light of culture industry according to Theodor Adorno. There is a main question which the article seeks an answer: how does culture industry reproduce power relations in contemporary capitalism? In order to concretize this aim, this text presents the following parts: a brief historical and theoretical contextualization of Critical Theory - Adorno and other authors' philosophical current - culture industry concept according to Adorno, culture industry and organized capitalism effects, critical position on this context and Adrono's new posture in the fifties and sixties on communication means. The article's main thesis points to evaluation of culture industry1s rationality of domination and discipline of social life and reproducing of actual capitalist order. This leads to the end of contradictions in art, considering that profit is the only aim. Keywords : Culture Industry, Communication, Power. (shrink)

This chapter contains section titled: Other Forms of Harm Cultural Appropriation and Harmful Misrepresentation Harm and Accurate Representation Cultural Appropriation and Economic Opportunity Cultural Appropriation and Assimilation Art, Insignia, and Cultural Identity Cultural Appropriation and Privacy.

This chapter contains section titled: Art, Culture, and Appropriation Types of Cultural Appropriation What is a Culture? Objections to Cultural Appropriation In Praise of Cultural Appropriation.

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)

This essay introduces, for theological consideration, some recent work in the field of cultural evolutionary theory, specifically the kin‐influence hypothesis. This theory holds that, following the beginnings of industrialization and economic growth, a nation's fertility rate commences a decline, which is further abetted by the consequent and increasing imbalance in the relative influence of kin versus nonkin influences on individuals in favor of the latter. It is further proposed that this process is itself a major independent factor in the emergence (...) of many of the features of what is called modernity, among which is that of secularization. Extending further this work, I argue that, given the historic alignment of family and religious values in Christian nations, a loss of religious belief and practice is, at least in part, the spill over effect of the opposing influence of values emerging from ever more dominant nonfamily social interaction. I conclude with some reflections on possible theological implications. (shrink)

Bringing culture and personality in a combination with emotions requires bringing three different theories together. In this paper, we discuss an approach for combining Hofstede’s cultural dimensions, BIG five personality parameters and PSI theory of emotions to come up with an emergent affective character model.

La vida en el futuro a corto plazo será revolucionada por el efecto creciente de tecnología multidisciplinaria en todas las dimensiones: social, económico, político, y personal. La revolución de disponibilidad de la información y utilidad seguirá afectando en profundidad el mundo en todas estas dimensiones. Los resultados serán asombrosos. Los efectos pueden incluir mejoras significativas de la calidad de vida, las altas tarifas de volumen de ventas industrial, la globalización continuada, la amalgamación cultural o la epidemia de aislamiento de los (...) individuos, así como el aislamiento personal en una tentativa de hacerse más abiertos mundialmente. La realización real de estas posibilidades dependerá de un número de factores, incluyendo la aceptación local de cambio tecnológico, niveles de inversiones de infraestructura y tecnología. El paso rápido de desarrollo tecnológico y brechas hace la previsión difícil, pero la revolución de la tecnología a escala mundial parece significativa y muy probable.Life in the short-term future will be revolutionized by the growing effect of multidisciplinary technology across all dimensions of life: social, economic, political, and personal. The revolution of information availability and utility will continue to profoundly affect the world in all these dimensions. The results will be astonishing. Effects may include significant improvements in human quality of life, high rates of industrial turnover, continued globalization, cultural amalgamation or invasion of individuals’ privacy, as well as personal isolation in an attempt to become more open worldwidely. The actual realization of these possibilities will depend on a number of factors, including local acceptance of technological change, levels of technology and infrastructure investments. The fast pace of technological development and breakthroughs makes foresight difficult, but the technology revolution seems globally significant and quite likely. (shrink)

Continuing from Part A (2016), in which we discuss the semiotic foundation for designing a virtual museum of Byzantine art, Part B presents an applied methodology for the representation of cultural artifacts through virtual technologies and semiotic techniques. We discuss how our semiotic model, case study semiosphere, contributes to design and evaluation research of such unique art-form representation and why the approach contributes as a whole to the field of Virtual Heritage (VH). Theorizing further the design implications integrating the overall (...) approach including the evaluation experiment of three VH applications with the participation of young users and its semiotic analysis, we formulate design guidelines that can be applied also to other types of cultural heritage and art. (shrink)

In North Atlantic culture dying is mostly seen as a personal event. The societal dimension of dying and the impact of the cultural horizon are often overlooked. In this contribution a revised version of a medieval Ars moriendi model is used as a lens to perceive the one-sidedness of North Atlantic culture.

This chapter contains section titled: Harm by Theft Possible Owners of Artworks Cultures and Inheritance Lost and Abandoned Property Cultural Property and Traditional Law Collective Knowledge and Collective Property Ownership of Land and Ownership of Art Property and Value to a Culture Cultures and Intellectual Property Some Conclusions About Ownership and Appropriation The Rescue Argument.

Technology transfer (TT) is a highly complex problem in development cooperation. Case studies that ITB has conducted in various projects focusing on automobile and steel production as well as in the machine tool sector indicate that the multi-dimensionality of know-how transfer is often and greatly underestimated during the planning and implementation of TTs from one industrial “culture” to another. Greater insight and knowledge of the problems associated with know-how transfer in TT projects can only be obtained from case studies (...) in which this generalised finding is subject to detailed investigation. To illustrate this, we report on the planning and implementation of two joint ventures in Iran, namely a Soviet and an Italian steel works. (shrink)

In recent debates in moral psychology and literary Darwinism, several authors suggested that narrative art plays a significant role in the process of the social learning of moral norms, functioning as storage of locally salient moral information. However, an integrative view, which would help explain the inner workings of this morally educative function of narrative art, is still lacking. This paper provides such a unifying theoretical account by bringing together insights from moral psychology, educational sciences, cognitive/evolutionary narratology, and cultural evolution. (...) A study of contemporary American rap music is included to showcase the benefits of this integrative approach in the context of one particular type of narrative art. (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)

This paper focuses on the adaptive reuse of industrial heritage as a crucial strategy in urban planning, particularly in the context of profound climate change-related transitions in urban environments. It differentiates between ‘urban transitions,’ characterized by gradual, adaptive changes, and ‘urban transformation,’ implying a more abrupt overhaul. The paper centers on the sustainable repurposing of industrial buildings and spaces, ensuring they retain cultural and historical significance while meeting modern urban requirements. Utilizing a mixed-methods approach, it scrutinizes the role of adaptive (...) reuse in sustainable urban development, assessing the impact of such initiatives from local neighborhoods to city-wide scales. Additionally, the paper critically discusses potential adverse effects, such as gentrification. The study encompasses a variety of global regions, including Europe, the Americas, Canada, and Australia, using case studies to demonstrate the efficacy of adaptive reuse in promoting sustainability, revitalizing urban areas, and conserving cultural heritage. Furthermore, it raises questions about the long-term viability of traditional sustainable urban development strategies in rapidly changing environmental and social landscapes, suggesting the need for a paradigm shift in urban planning methodologies. (shrink)

Although theory refers to organizational culture as an important variable in corrupt organizations, only little empirical research has addressed the characteristics of a corrupt organizational culture. Besides some characteristics that go hand in hand with unethical behavior and other features of corrupt organizations, we are still not able to describe a corrupt organizational culture in terms of its underlying assumptions, values, and norms. With a qualitative approach, we studied similarities of organizational culture across different corrupt organizations. (...) In this study, we performed content analysis on interviews of 14 independent experts about their experience with corrupt organizations. With this approach, we gained insights about different corrupt organizations spanning different branches (e.g., government, foreign trade, pharmacy, sports, building industry). We found that corrupt organizations perceive themselves to fight in a war, which leads to their taken-for-granted assumption that “the end justifies the means”. This assumption inspires many values and norms of the organizational culture. An important value in a corrupt organization is “security”, and an important norm is punishment of deviant (i.e., non-corrupt) behavior. Furthermore, managers and employees differ in their perception of organizational culture. While the management endorses values, such as success, results, and performance, and implements these values in their norms of goal setting, employees make use of rationalization strategies and endorse values of security and team spirit. (shrink)

Behavioral genetics and cultural evolution have both revolutionized our understanding of human behavior – largely independent of each other. Here, we reconcile these two fields under a dual inheritance framework, offering a more nuanced understanding of the interaction between genes and culture. Going beyond typical analyses of gene–environment interactions, we describe the cultural dynamics that shape these interactions by shaping the environment and population structure. A cultural evolutionary approach can explain, for example, how factors such as rates of innovation (...) and diffusion, density of cultural subgroups, and tolerance for behavioral diversity impact heritability estimates, thus yielding predictions for different social contexts. Moreover, when cumulative culture functionally overlaps with genes, genetic effects become masked, unmasked, or even reversed, and the causal effects of an identified gene become confounded with features of the cultural environment. The manner of confounding is specific to a particular society at a particular time, but a WEIRD (western, educated, industrialized, rich, and democratic) sampling problem obscures this boundedness. Cultural evolutionary dynamics are typically missing from models of gene-to-phenotype causality, hindering generalizability of genetic effects across societies and across time. We lay out a reconciled framework and use it to predict the ways in which heritability should differ between societies, between socioeconomic levels, and other groupings within some societies but not others, and over the life course. An integrated cultural evolutionary behavioral genetic approach cuts through the nature–nurture debate and helps resolve controversies in topics such as IQ. (shrink)

Mimesis, the notion that art imitates reality, has long been recognized as one of the central ideas of Western aesthetics and has been most frequently associated with Aristotle. Less well documented is the great importance of mimetic theories of literature, theater, and the visual arts during the Renaissance and the Enlightenment. In this book, the most comprehensive overview of the theory of mimesis since Auerbach's monumental study, Gunter Gebauer and Christoph Wulf provide a thorough introduction to the complex and shifting (...) meanings of the term. Beginning with the Platonic doctrine of imitation, they chart the concept's appropriation and significance in the aesthetic theories of Aristotle, Molière, Shakespeare, Racine, Diderot, Lessing, and Rousseau. They examine the status of mimesis in the nineteenth-century novel and its reworking by such modern thinkers as Benjamin, Adorno, and Derrida. Widening the traditional understanding of mimesis to encompass the body and cultural practices of everyday life, their work suggests the continuing value of mimetic theory and will prove essential reading for scholars and students of literature, theater, and the visual arts. (shrink)

Mimesis, the notion that art imitates reality, has long been recognized as one of the central ideas of Western aesthetics and has been most frequently associated with Aristotle. Less well documented is the great importance of mimetic theories of literature, theater, and the visual arts during the Renaissance and the Enlightenment. In this book, the most comprehensive overview of the theory of mimesis since Auerbach's monumental study, Gunter Gebauer and Christoph Wulf provide a thorough introduction to the complex and shifting (...) meanings of the term. Beginning with the Platonic doctrine of imitation, they chart the concept's appropriation and significance in the aesthetic theories of Aristotle, Molière, Shakespeare, Racine, Diderot, Lessing, and Rousseau. They examine the status of mimesis in the nineteenth-century novel and its reworking by such modern thinkers as Benjamin, Adorno, and Derrida. Widening the traditional understanding of mimesis to encompass the body and cultural practices of everyday life, their work suggests the continuing value of mimetic theory and will prove essential reading for scholars and students of literature, theater, and the visual arts. (shrink)

'Ugly as sin', 'ugly duckling', 'rear its ugly head'. The word 'ugly' is used freely, yet it is a loaded term: from the simply plain and unsightly to the repulsive and even offensive, definitions slide all over the place. Hovering around 'feared and dreaded', ugliness both repels and fascinates. But the concept of ugliness has a lineage that has long haunted our cultural imagination. Gretchen E. Henderson explores perceptions of ugliness through history, from ancient Roman feasts to medieval grotesque gargoyles, (...) from Mary Shelley's monster cobbled from corpses to the Nazi Exhibition of Degenerate Art. Covering literature, art, music and even Uglydolls, Henderson reveals how ugliness has long posed a challenge to aesthetics and taste. Henderson digs into the muck of ugliness, moving beyond the traditional philosophic argument or mere opposition to beauty, and emerges with more than a selection of fascinating tidbits. Following ugly bodies and dismantling ugly senses across periods and continents, [this book] draws on a wealth of fields to cross cultures and times, delineating the changing map of ugliness as it charges the public imagination. Illustrated with a range of artefacts, this book offers a refreshing perspective that moves beyond the surface to ask what 'ugly' truly is, even as its meaning continues to shift. (shrink)

The present study examined the traces of neoliberal ideology in O-level English language textbooks taught in elitist private schools in Pakistan that follow the UK-based international educational system administrated by the University of Cambridge under the General Certificate of Education (GCE). Analysis in the study was informed by Fairclough's CDA writings. Moreover, Bourdieu's views on neoliberalism were also considered to shed some light on neoliberal ideology in the textbooks. Findings suggest that several neoliberal themes were evident in the textbooks under (...) scrutiny, including marketization, consumerism, branding, celebrity culture, competition, individualism, self-responsibility and self-entrepreneurship, mobility, new ‘Othering’ strategy and English as a neoliberal skill. Based on the findings, we argue that the global ELT industry that produces teaching materials, including textbooks for the periphery is a major contributor to the neoliberal world order maintained by the local (political) elite in the government(s) e.g. Pakistan in case of the present study. The textbooks prepare learners for a competitive world rather than a world based on cooperation, mutual progress, and happiness. The study thus questions such neoliberal hegemony encoded in the textbooks and argues for critical examination and selection of the materials for contexts where English is taught as a foreign language. (shrink)

This copiously illustrated volume is the first systematic general work to do justice to the fruits of recent scholarship in the history of natural history. Public interest in this lively field has been stimulated by environmental concerns and through links with the histories of art, collecting and gardening. The centrality of the development of natural history for other branches of history - medical, colonial, gender, economic, ecological - is increasingly recognized. Twenty-four specially commissioned essays cover the period from the sixteenth (...) century, when the first institutions of natural history were created, to its late nineteenth-century transformation by practitioners of the new biological sciences. An introduction discusses novel approaches that have made this a major focus for research in cultural history. The essays, which include suggestions for further reading, offer a coherent and accessible overview of a fascinating subject. An epilogue highlights the relevance of this wide-ranging survey for current debates on museum practice, the display of ecological diversity and concerns about the environment. (shrink)

For many, anger has been seen as irrationality, even as illness. But it seems that anger-related disorder and its culture-relatedness have not receive much attention in psychiatry. Like backward-looking ressentiment, hwabyeong 火病can be literally translated into anger disorder. In this paper, I examine the notion of anger and culture with the help of considering the case of hwabyeong as a Korean culture-bound syndrome (hereafter, CBS). Drawing on historical changes in the DSM (Diagnostic and Statistical Manual of Mental (...) Disorders) and cases of hwabyeong as CBS, I will argue that the social and cultural aspects of mental disorder are indispensable parts. Additionally, it will be suggested that the rigid distinction between CBS and mental disorders is questionable. First, I begin by examining Jarome Wakefield’s harmful dysfunction analysis and Ian Hacking’s social constructionism on mental disorder. Next, given that the illness is common among poor old women who suffered from patriarchal social structures, I question whether hwabyeong is really a culturally specific illness. Moreover, hwabyeong cannot be properly understood without considering unequal power relations and extremely limited ranges of one's agency. Thus, calling it culture- bound may be due to WEIRD-ish (Western, Educated, Industrialized, Rich, and Democratic), culturally stereotypical prejudice as well as misogynic thinking concerning hwabyeong. In present times, it's worth noting that, despite common biases, hwabyeong or han (恨) is no longer solely a Korean phenomenon, thanks to recent societal advancements. In conclusion, I show that curing hwabyeong or anger management is not just medical but sociopolitical matters. (shrink)

Despite commitments to claims about the welfare-enhancing superiority of art-interested ways of life implicit in much of their work, aestheticians have shown little interest in explicitly bringing their discipline to bear on issues at the intersection of ethics, aesthetics, and politics. Roger Scruton’s work on culture bucks that trend, but few have contributed to the discussion he initiated. After an extended treatment of one of many possible examples showing that aesthetics-related matters can and do bear significantly on social and (...) political issues, I present key components of Scruton’s brand of cultural conservatism and explore one way of working out some of the details, in an attempt to show that the kinds of off-putting unwieldiness and putative sociopolitical dubiousness from which ambivalence toward issues at the intersection stems might be satisfactorily dealt with. (shrink)

Every independent country always celebrates or mark the day they were free from colonial rule in the form of “independence day celebrations”. The impression was that they were no longer slaves working under a colonial master. A fleeting glance at cultural markets reveals that despite other competing countries like India, China and Mexico, American culture dominates. This dependency on American products for arts, entertainment, dressing, and lifestyle changes in general is the major thrust of this paper. When a people’s (...) way of life is dictated by the life of another, is it not a form of colonialism? The electronic colonialism theory was used to explain that this dominance by one culture is the modern form of colonialism and has far reaching catastrophic consequences for the dependents and needs to be checked to avoid disaster. (shrink)

Numerous theories have attempted to overcome the anti-essentialist scepticism about the possibility of defining art. While significant advances have been made in this field, it seems that most modern definitions fail to successfully address the issue of the ever-changing nature of art raised by Morris Weitz, and rarely even attempt to provide an account which would be valid in more than just the modern Western context. This thesis looks at the most successful definitions currently defended, determines their strengths and weaknesses, (...) and offers a new, cultural definition which can preserve the good elements of other theories, solve or avoid their problems, and have a scope wide enough to account for art of different times and cultures. The resulting theory is a synthetic one in that it preserves the essential institutionalism of Dickie's institutional views, is inspired by the historical and functional determination of artistic phenomena present in Levinson's historicism and Beardsley's functionalism, and presents the reasons for something becoming art in a disjunctive form of Gaut's cluster account. Its strengths lie in the ability to account for the changing art-status of objects in various cultures and at various times, providing an explanation of not only what is or was art, but also how and why the concept 'art' changes historically and differs between cultures, and successfully balancing between the over-generalisations of ahistorical and universalist views, and the uninformativeness of relativism. More broadly, the cultural theory stresses the importance of treating art as a historical phenomenon embedded in particular social and cultural settings, and encourages cooperation with other disciplines such as anthropology and history of art. (shrink)

A successful energy transition is multifaceted and requires a list of social metrics to be met, which the fossil fuel industry was never obliged to satisfy. The comprehensive set of social metrics include addressing public acceptance, community engagement, social innovation, governance mechanisms, and social justice implications, a set which seems rather excessive for an industry that promises to heal the world from its carbon problem. This chapter argues that while seemingly broad-ranging, these social metrics are unilateral in so (...) far as they capture a neoliberal worldview defined by resource-thinking. I aim to recast some of this thinking through the philosophical treatment of place attachment beyond a GPS coordinate or as the location of emotional responsiveness. More than a social license to operate, I argue that the many social challenges expected to be met for a successful energy transition are more appropriately considered cultural. (shrink)