Recent years have seen an immense upsurge in developing the notion of institution with the aim of updating and reconfiguring its conceptualisation to make it correspond to present times. The stakes are high as the current Western institutional framework struggles to ensure its historical continuation—conceived broadly as political, economic, social, scientific, artistic, and other institutions—as the predominant global dispositive. In the article, we first review the current most significant orientations and disciplines that focus on institutions and proceed (...) with a critical assessment of relevant events. In the second part, we question the subjective process and subjectivation of an institutional framework. If we reject the linguistic, empirical, or hermeneutic approaches, how can we capture the dynamics of change in a framework? What indicates that a subjective process is taking place? We draw on the cases of St. Paul and Giordano Bruno to illuminate the Law’s historical repetition through cumulative cultural growth in re-inscribing the subjectivization of faithful and enduring—i.e. universalist—operations of rupture and dispute leading to a Decision against reigning particularisms of institutional setups. (shrink)

Supposing that talk of a distinctively artistic type of value is warranted, what separates it from other sorts of value? Any plausible answer must explain both what is of value and what is artistic about artistically valuable properties. Flaws with extant accounts stem from neglect of one component or the other; the account offered here, based on careful attention to actual art-critical practices, brings both together. The “value” component depends on the capacity of artworks to provide subjectively valuable (...) experiences, while the “artistic” component relies on the specific norms constitutive of artworld institutions. Understanding artistic value in this way allows for progress on several persistent problems, including the ethical value of art, relativism in artistic value, and the proper boundaries of philosophical aesthetics. (shrink)

In this first of two articles, I look at the project for the “Encyclopedia of Artistic Terminology” in connection with the idea of a synthesis of the “artistic sciences” as the principal task of the State Academy of Artistic Sciences (GAKhN, 1921–1930) in Moscow. The most important feature of the Academy was the unity of its epistemological conception (the system of artistic sciences) and the institutional structure of the Academy (its “departments,” “sections,” and “laboratories”), which embodied (...) the interdisciplinary intention of uniting the philosophy of art, the artistic sciences, and artistic experimentation. I analyze the connection of the project with the task of “concept formation” in the artistic sciences, which was recognized in European philosophy at the beginning of the twentieth century as the main criterion for scientificity in the human sciences. I also investigate how the Encyclopedia project, developed by Gustav Shpet, took into account previous attempts to systematize aesthetic terminology (in nineteenth-century dictionaries). I show that the project of the “Encyclopedia of Artistic Terminology” was not the sole attempt to create a new dictionary of aesthetic concepts and of the cultural sciences. Similar projects were being developed in the 1920s and 30s in Germany (Erich Rothacker planned to produce Handwörterbuch der gesamten gemeingeisteswissenschaftlichen und kulturphilosophischen Grundbegriffe) and in France (Étienne Souriau published Vocabulaire d’esthétique; see Souriau 2010). (shrink)

During the last two decades, sociologist Pierre Bourdieu has become a dominant force in cultural activity ranging from taste in music and art to choices in food and lifestyles. _The Field of Cultural Production_ brings together Bourdieu's major essays on art and literature and provides the first introduction to Bourdieu's writings and theory of a cultural field that situates artistic works within the social conditions of their production, circulation, and consumption. Bourdieu develops a highly original approach (...) to the study of literary and artistic works, addressing many of the key issues that have preoccupied literary art and cultural criticism in the last twentieth century: aesthetic value and canonicity, intertextuality, the institutional frameworks of cultural practice, the social role of intellectuals and artists, and structures of literary and artistic authority. Bourdieu elaborates a theory of the cultural field which situates artistic works within the social conditions of their production, circulation, and consumption. He examines the individuals and institutions involved in making cultural products what they are: not only the writers and artists, but also the publishers, critics, dealers, galleries, and academies. He analyzes the structure of the cultural field itself as well as its position within the broader social structures of power. The essays in his volume examine such diverse topics as Flaubert's point of view, Manet's aesthetic revolution, the historical creation of the pure gaze, and the relationship between art and power. The Field of Cultural Porduction will be of interest to students and scholars from a wide range of disciplines: sociology and social theory, literature, art, and cultural studies. (shrink)

This dissertation addresses the roots of fundamental changes in twentieth-century art in China by addressing how the cultural exchange between Europe and China transformed critical conceptions and artistic practices in the field of art. The translation of German aesthetic theories and the French academic training of Chinese artists engendered the conceptual and technical transformation of Chinese art in the early twentieth century. While the notions of pure nudity, artistic salvation, and archaeology of art were introduced from German (...) philosophy into Chinese art, the traditional ideas of art versus craft and artist as moral exemplars were converted. Chinese intellectuals analogized crisis-ridden China in the early 20th century to Germany being occupied by the Napoleon army in 1806. They believed that the superior academic culture, instead of its political and military strengths, was the foundation of the unification of Germany in 1871. The doctrines of German scholars were therefore introduced to China through German-trained Chinese intellectuals, aiming at achieving the modern transition of Chinese society. The implementation of aesthetic education based on German philosophical theories endowed modern artists and their works with the social mission to shape the citizens’ personalities and improve their tastes to establish a liberal and civilized modern Chinese society. Moreover, due to the establishment of the Institut Franco-Chinois in Lyon, more Chinese art students acquired the opportunity to study in Paris, the most important center for new artistic ideas and practices during the early twentieth century. Thus, the conceptual shift in the field of aesthetics was expressed through artists with a French academic training background. This study focuses on examining how the translation of German aesthetic doctrines and the introduction of French (sometimes Italian) artistic techniques contributed to the modern transition of Chinese art. How were German aesthetics translated and disseminated to young Chinese artists in the early twentieth century? How were the German scholars’ theories appropriated to establish new standards for evaluating artists and their works? What were the mechanisms, obstacles and cultural clashes encountered by European-trained Chinese artists in their training and creation processes? How did European-trained Chinese artists respond to these new modern aesthetic doctrines? Each of the five chapters of my dissertation centers on the introduction or transformation of an artistic concept: art versus craft, pure nudity, artistic salvation, and archaeology of art, discussing how these concepts were theoretically and practically formulated in Chinese art. (shrink)

According to Wittgenstein, in the remarks collected as Culture and Value , ‘People nowadays think, scientists are there to instruct them, poets, musicians etc. to entertain them. That the latter have something to teach them; that never occurs to them.’ 18th and early 19th century art-lovers would have taken a very different view. Dr. Johnson assumed that the poets had truths to impart, while Hegel insisted that ‘In art we have to do not with any agreeable or useful child's play, (...) but with an unfolding of the truth.’ Though it still exerts a submerged influence, the concept of artistic truth has since sustained hammer-blows both from modernist aestheticism, which divorces art from reality, and from postmodern subjectivism about truth. This article aims to resurrect it, seeking a middle way between Dr. Johnson's didactic concept of art , and the modernist and postmodernist divorce of art from reality. (shrink)

I think "schizo-culture" here is being used rather in a special sense. Not referring to clinical schizophrenia, but to the fact that the culture is divided up into all sorts of classes and groups, etc., and that some of the old lines are breaking down. And that this is a healthy sign. -- William Burroughs, from _Schizo-Culture_ The legendary 1975 "Schizo-Culture" conference, conceived by the early Semiotext collective, began as an attempt to introduce the then-unknown radical philosophies of post-'68 France (...) to the American avant-garde. The event featured a series of seminal papers, from Deleuze's first presentation of the concept of the "rhizome" to Foucault's introduction of his _History of Sexuality_ project. The conference was equally important on a political level, and brought together a diverse group of activists, thinkers, patients, and ex-cons in order to address the challenge of penal and psychiatric institutions. The combination proved to be explosive, but amid the fighting and confusion "Schizo-Culture" revealed deep ruptures in left politics, French thought, and American culture. The "Schizo-Culture" issue of the Semiotext journal came three years later. Designed by a group of artists and filmmakers including Kathryn Bigelow and Denise Green, it documented the chaotic creativity of an emerging downtown New York scene, and offered interviews with artists, theorists, writers, and No Wave and pre-punk musicians together with new texts from Deleuze, Foucault, R. D. Laing, and other conference participants. This slip-cased edition includes _The Book: 1978_, a facsimile reproduction of the original Schizo-Culture publication; and _The Event: 1975_, a previously unpublished and comprehensive record of the conference that set it all off. It assembles many previously unpublished texts, including a detailed selection of interviews reconstructing the events, and features Félix Guattari, William Burroughs, Kathy Acker, Michel Foucault, Sylvère Lotringer, Guy Hocquenghem, Gilles Deleuze, John Rajchman, Robert Wilson, Joel Kovel, Jack Smith, Jean-François Lyotard, Ti-Grace Atkinson, François Peraldi, and John Cage. (shrink)

Challenging topics in museums can guide museum professionals in developing modern methods of displaying their heritage, but also in offering reinterpretations of existing collections. The public also looks for challenging topics—injustice, loss, pain, or death—and many museums manage to attract visitors by offering them places to debate, reflect, or take action. These topics, if presented in an exhibition, could engage practising artists in an ideological exchange with the museum institution. Our statement is that artists with curatorial interest can scrutinise the (...) ways in which cultural heritage is revealed or interpreted for the contemporary public. The uncomfortable or uncertain aspects of recent and contemporary history are of great interest for contemporary artists and we assume that the Communist era in Romania could be further interpreted by artists in future museum places. (shrink)

The article deals with the reputational, cultural, and informational resonance of the Ukrainian Republican Capella’s tours conducted by Oleksandr Koshyts in Western Europe from 1919 to 1921. The Ukrainian Republican Capella was created on the initiative of Symon Petliura, Head of the Directorate, Chief Otaman of the Army and Navy of the Ukrainian National Republic, to promote international recognition of Ukraine’s independence and the image of Ukrainian culture in the world. It gave 208 concerts in 74 of the most (...) prestigious concert halls of 45 European cities. More than 600 reviews complimentary of Ukraine, Ukrainian state institutions, and Ukrainian culture appeared on the pages of the leading Western European press, and Ukrainian diplomatic missions abroad as well as the Capella’s office received hundreds of letters from leading European artists and politicians with enthusiastic reviews on its musical art and UNR aspirations for independence. The author provides little-known archival documents of the Ukrainian Republican Capella Foundation at the Central State Archives of the Supreme Bodies of the Government of Ukraine, covering institutional, legal, financial and diplomatic support of the Capella abroad as part of Symon Petliura’s and the UNR Directory’s policy of cultural diplomacy, and suggests that foreign tours of the Capella should be considered as the first project of cultural diplomacy in the history of modern Ukraine. (shrink)

The shaping of creative economy is particularly important for development of cities and regions. This process can be analyzed in conjunction with changes in work and leisure time and their place in the human life cycle. This article aims to approximate the main features of: contemporary position of elderly people, creative ageing policy, benefits from seniors creativity and controversies linked to this concept. This essay also indicates the patterns of recommendations and activities in development of services for older people which (...) may be the subject of further in-depth research. These examples exist in: documents and strategic programs, the activities of network organizations and the activities of urban cultural and artistic institutions. (shrink)

"Question: What do all works of art have in common? Answer: They are all products of a major cultural institution called "The Artworld." Question: Is this what makes them art? Answer: Yes. The New Institutional Theory of Art is a different kind of theory about art. The theory is capable of explaining how it is that a urinal offered up by Marcel Duchamp, and a statue of Moses offered up by Michelangelo, are both works of art, and under precisely (...) the same terms. Together with this, the theory can also explain why it is that Michelangelo's work is magnificent, whereas Duchamp's is "interesting," at best. By focusing not on the works of art themselves, but rather upon the complex social-cultural context of their creation and presentation, the New Institutional Theory provides fresh, clear and powerful explanations of the very inner workings of Art, writ large. The artists, the public, the issues, the techniques, the bothers and the worries are all illuminated for the reader to gain true insight into the actual logic of Art. This book is intended for all readers, professionals and non-professionals alike.". (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)

In recent work, Atran, Henrich, Norenzayan and colleagues developed an account of religion that reconciles insights from the ‘by-product’ accounts and the adaptive accounts. According to their synthesis, the process of cultural group selection driven by group competition has recruited our proclivity to adopt and spread religious beliefs and engage in religious practices to increase within group solidarity, harmony and cooperation. While their account has much merit, I believe it only tells us half the story of how institutional religions (...) have evolved. Their cultural evolutionary account of religion only looks at the cultural dynamics arising from competition between groups, not at the dynamics arising from within the group. Drawing from game-theoretic analyses of the emergence and cultural evolution of social institutions, I outline two sets of important ‘within-group’ dynamics that shape institutional religions. The first follow from the necessity to keep the interaction of the participants in an equilibrium state in order to maintain the social institution. The second arise from the competition of institutional features for traction within the group. Bringing these dynamics into account enables us to explain prominent features of institutional religions that cannot be satisfactorily explained by the current model of the cultural evolution of religions. (shrink)

Against the background of Russia’s full-scale war against Ukraine, the question of an effective cultural policy that would support national identity, contribute to the purification of consciousness from propaganda myths and preserve the heritage of Ukrainian culture is becoming more acute. Since cultural policy is related to both aesthetic-artistic and cultural-anthropological dimensions of social life, in order to identify the effective influence of cultural policy on dominant social practices, it is necessary to find out the (...) universal principles of its functioning. The purpose of this article is to identify the relevant philosophical and methodological basis of cultural policy for modern Ukrainian realities. Based on the fundamental ideas of Richard Rorty’s pragmatic philosophy and his analysis of cultural policies, the generally accepted nature of the inferential approach to social reality on the part of individual social groups was ascertained. The variability of cultural policy depending on the type of social organization community/society is demonstrated. In small social groups of the authoritarian type, social epistemological authority is mediated by the individual preferences of the leader of this group, so the tools of cultural policy are weak (patriarchal family, religious or political sect). An authoritarian or totalitarian mass society shows a high propensity for linguistic practices of propaganda, which can be seen as an extreme distorted form of cultural politics. In democratic societies, cultural policy is able to harmonize social life, improving its practices and building a value-symbolic world that constitutes culture in a broad sense. The social institute of education has all the tools, including digital ones, to shape the necessary social practices and educate a critical thinker who is able to generate conceptual knowledge, i.e. see relationships and be aware. Openness in decision-making, interaction of expert groups, public discussions are necessary elements for an effective cultural policy, which should be different from “cultural management”. Creative cultural industries play an important role in modern popular culture societies, and these industries significantly strengthen the economic component of social life. Public projects and initiatives effectively help to preserve Ukrainian culture, influence the level of awareness of Ukrainians and the economic well-being of our country. (shrink)

While the story of Stanislav Petrov – the Soviet Lieutenant Colonel who likely saved the world from nuclear holocaust in 1983 – is often trotted out to advocate for the view that human beings ought to be kept “in the loop” of automated weapons’ responses, I argue that the episode in fact belies this reading. By attending more closely to the features of this event – to Petrov’s professional background, to his familiarity with the warning system, and to his decisions (...) to defy his protocol – it becomes clear that Petrov was not seamlessly working “in his loop,” but reassessing it entirely. I claim that this exhibits a paradox intrinsic to all automated loops: namely, that their optimum function in fact rests on unforeseen human interventions that cannot be reliably codified ex ante, that is, that good judgment cannot simply be “programmed into” their protocols. This dependence, moreover, reveals automation’s ineluctable need for virtue ethics – not in the usual sense (whereby ethics deliberates about, say, possible damages and loss of life), but in the sense that ethical judgment, rightly understood, entails the reassessment of all of the conditions surrounding a decision, including whether a protocol should be followed at all. (shrink)

Since literary historian Robert Bone published his seminal essay ‘Richard Wright and the Chicago Renaissance’ in 1986, scholars have created new cartographies of previously unexplored terrain in American cultural history. The earliest studies focused on literature, but more recently attention has turned to other disciplines, including visual arts. Recent publication of The Muse in Bronzeville: African American Creative Expression in Chicago, 1932–1950 (2011) by Robert Bone and Richard A. Courage promises to decisively broaden scholarly understandings of the scope and (...) significance of Chicago-centred cultural production during the Great Depression and post-war years. Of particular relevance to contemporary studies of new media art is the manner in which then-emergent ideas and practices – centring on racialized subject matter, elite and mass audiences, traditional and new mediums of expression, private vs public sponsorship, and passive vs active reception of art objects – converged to create new paradigms and possibilities for visual artists to reshape consciousness in a period of institutional collapse and change. Chicago’s New Negro artists of the 1930s and 1940s, like their counterparts in 1920s Harlem, sought to reframe perceptions of African American life, to re-present the black subject as something other than an object of contempt or amusement beneath the privileged gaze of the white viewer. Just as these artists sought to revise perceptions of racial reality, examination of the wide range of actual images they created and the mediums and styles they explored revises reductive notions about creative expression in this period, which often portray a mere subordination of art to propaganda and an embrace of representational aesthetics and simplistic narratives in a fruitless detour in the evolution from modernism to postmodernism. On the contrary, Andrew Hemingway notes the range of stylistic experiment and characterizes so-called ‘social art’ as ‘a hybrid and unstable mode [which] had to carry the imperative to be an art equal in formal achievement to both the great art of the past and the modern tradition … [and] to suggest a political orientation without becoming overt revolutionary propaganda’ (2002).New media theorist Oliver Grau observes thatIn many quarters, virtual reality is viewed as a totally new phenomenon… but it did not make its first appearance with the technical invention of computer-aided virtual realities. On the contrary, virtual reality forms part of the core of the relationship of humans to images… grounded in art traditions that have receivedscant attention up to now.(2004)In the midst of another period of change, of transformed and transforming ideas and practices in the arts, we have much to learn from the attempts of Chicago’s New (Media) Negro artists to create ‘art for the people’, to immerse broad audiences in such accessible media as mural painting, photography and graphic arts. (shrink)

The Spirit of Secular Art: A History of the Sacramental Roots of Contemporary Artistic Values explains the spiritual prestige of art. Various theorists have discussed how art has an aura or indefinable magic. This book explains how, when and why it gained its spiritual properties. The idea that all art is somehow spiritual (even though not religious) is often assumed; this book, while narrating the historical trajectory of art in the most accessible language, reveals how the mysteries of religious (...) practice are abstracted and saved through all stages of secularisation in European culture. The Spirit of Secular Art presents a coherent theory defining the sacred basis of Western aesthetics. It evocatively describes the afterlife of the holy from Ancient Greece to the present, and outlines how the mysterious institution of art can be explained in material terms. Unlike other books in the genre, The Spirit of Secular Art radically deconstructs traditional art history in terms of 'prestige' and the value of the non-material. The book functions as: an alternative critical history of art, integrated with the histories of literature and belief; a philosophical essay on the fundamental values of art and religion; and a critique of the spiritual conceits of contemporary aesthetics and art appreciation. (shrink)

The subject of this study is the process of entering the art world of a new object – the art of the street wave. Based on the method of discursive analysis proposed by M. Foucault, an attempt is made to determine through which discursive utterances the subjects of the art world form the discourse of street wave art, as well as how the field of utterances is organized. The subject whose activity is being investigated is the St. Petersburg Inloco Foundation, (...) which focuses in its work on artists whose creative career has a street background. The article describes the characteristics of what can be conceptualized as a statement in the activities of the Foundation, and also describes how the field of these statements is organized. In the course of the study, the forms of sequences, forms of coexistence and intervention procedures were considered. It was revealed that the experience of street creativity of representatives of the art of the street wave is being modified under the influence of discursive practices of the field of contemporary art. It is noted that the art of the street wave exists at the junction of two fields – the field of graffiti and the field of institutionalized art. It is concluded that the borderline position of street wave art allows it to expand the field of contemporary art due to the fact that it was once in the field of "non-art", was extracted by the subjects of the art world from the sphere of everyday life and endowed with the status of a candidate for evaluation. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:diacritics 30.1 (2000) 106-123 [Access article in PDF] The (Mis)Uses of Cannibalism in Contemporary Cultural Critique C. Richard King At least since 1979, when W. Arens demystified what he termed "the man-eating myth," cannibalism, once a fundamental feature of the anthropological imagination and a primary trope for interpreting cultural difference, has become subject to serious debate and lingering doubt [see Osborne]. Even as some anthropologists have sought (...) to recuperate anthropophagy as a tangible symbolic, ideological, and ritual complex [Brown and Tuzin; Conklin, "'Thus are our Bodies'"; Forsyth; Harris, Good to Eat 199-234; Sanday], a constellation of scholarly projects and popular works has complicated cannibalism by relocating it in the West. Perhaps most visibly, Hollywood cinema has reclaimed cannibalism. Although a handful of films have revived well-worn clichés of dark-skinned savages preparing to consume Westerners, as in King Solomon's Mines and Crocodile Dundee, others have cast the Western subject as cannibal to grapple with the horrors of reluctant cannibalism, as in Alive! [see Fiddes 121-31], to work through the transgressive and terrifying desires associated with psychopathic cannibalism, as in The Silence of the Lambs [Fuss; Halberstam], and importantly to parody the normative beliefs and behaviors of white, middle-class, heterosexual EuroAmericans, as in Eating Raoul and Parents. At the same time, an array of scholars, artists, and activists have invoked cannibalism to fashion critical perspectives on Western cultural practices. In his film Cannibal Tours (1987), Dennis O'Rourke encourages his audiences to think critically about tourists who travel to the Sepik River Valley to encounter reformed cannibals, asking implicitly who the cannibals are, the Melanesians who formerly (were thought to/claim to have) practiced anthropophagy or the tourists who travel to New Guinea to consume them [see Bruner]. Others have pushed the metaphor. Michael Ames, borrowing explicitly from O'Rourke, uses the cannibal to reframe ethnographic museums and their practices. Similarly, Jane Tompkins asserts that "Museums are a form of cannibalism made safe for polite society" [533]. More generally, Crystal Bartolovich playfully glosses consumerism as the cultural logic of the late cannibalism; bell hooks speaks of the EuroAmerican desires for and incorporation of things ethnic as "eating the other"; and Rosalind Morris suggests that cannibalism is the essential metaphor for late capitalism. More telling, however, are a set of overlapping critical projects that offer detailed theorizations [End Page 106] [Begin Page 108] of contemporary anthropophagy. Here, I will examine three that have had an important impact on discussions of tourism, museums, cultural appropriation, and consumption. Dean MacCannell, in an exciting exploratory review of the documentary Cannibal Tours, makes explicit what O'Rourke left unsaid: we are cannibals, and contemporary capitalism is neocannibalism. Perhaps more radically, Jack Forbes argues that Western civilization fosters cannibalism as an embodied, psychosocial condition or psychosis rooted in exploitation and consumption. Inspired at least in part by Forbes, Deborah Root rethinks Western civilization as cannibal culture.Although I am terribly sympathetic with these perspectives, particularly their political commitments and theoretical creativity, I am disturbed by the practices and effects that animate them. Indeed, as powerful as this critical field promises to be, it is at the same time troubling and dangerous. Although it defamiliarizes practices of cultural production and consumption, it does not enhance understanding of the contexts in which individuals and institutions deploy them and does less to effectively challenge or undermine them. In reframing beliefs and behaviors to accentuate productivity and power, it reinstates and reaffirms binaries and, worse, often turns on the same forms of appropriation.* * *Arguably, flesh eating has always promoted the elaborations of differences. Works central to the Western canon mobilize cannibalism to make (sense of) the world. Herodotus offers an early anthropophagic distinction:These Scythian husbandmen then occupy the country eastward for three days' journey.... Beyond this region the country is desert for a great distance; and beyond the desert Androphagi dwell.... The Androphagi have the most savage customs of all men; they pay no regard to justice, nor make use of any established law. They are nomads and wear a dress like a Scythian; they... (shrink)

In this essay, I respond to Mary Beth Willard's commentary on Drawing the Line. I focus on responding to a number of questions and objections that Willard poses concerning the role of arts institutions in addressing the problem of immoral artists. Focusing on the case of museums in particular, I defend the idea that they can exercise their power to play a productive and important role in societal conversations about moral criticism of artists.

In recent intervention campaigns sensitizing about harmful practices in eastern Africa, the beliefs and institutions of rural populations are marked out: culture is the culprit. This article concentrates on the most targeted region, Sukuma-speaking communities in Tanzania, to verify the stigmatizing impact of institutions: whether bridewealth treats women as commodities, whether children withnsebudisorder are stigmatized, and why children living with albinism are stigmatized. Complementing the situational analysis of power relations, cultural analysis approaches institutions as established practices (...) in a group and as generated from the palette of experiential frames constituting the cultural system prevailing in that group. The method’s sensitivity to intracultural diversity highlights the local capacity of applying cultural logics, ethically framing situations and creating new institutions, for instance by female healers protecting their clients against stigmatization. The method permits to conclude, for the cases studied, that institutions categorizing people prevent rather than cause the discreditable social status known as stigma. (shrink)

The turn of the 20th and the 21st century is a very interesting period. On the one hand, there is a growth of internationalist tendencies, which make us look for common values and universal culture, and on the other hand, the centrifugal tendencies lead to the revival of new forms of nationalism and national and religious conflicts. Integrative tendencies are an unquestioned fact of every aspect of societal life: economic, political, and in culture, which succumbs to a tendency to create (...) global and universal mass culture. It turns out, however, that neither international commerce, nor the blossoming systems of communication and transport, provide us with the common feeling of identity or belonging. At the same time the need for those does not cease to exist. As a result, “people rediscover or create new historical identity”, since they feel uprooted and “need new sources of identity and new forms of stable community, new systems of moral imperatives, which could give them a sense of meaningful and purpose life”. One of the most important forms of collective and cultural identity still turns out to be the national one. The prophecies of the end of the era of nations have not come true. “The strength of national sentiments – writes Jerzy Szacki – even if changeable in time and diverse in space, does not show any symptoms of clear decline, the era of nations keeps lasting and nothing predicts it will end soon.”. (shrink)

Joseph Margolis holds that both artworks and selves are ”culturally emergent entities." Culturally emergent entities are distinct from and not reducible to natural or physical entities. Artworks are thus not reducible to their physical media; a painting is thus not paint on canvas and music is not sound. In a similar vein, selves or persons are not reducible to biology, and thought is not reducible to the physical brain. Both artworks and selves thus have two ongoing and inseparable ”evolutions”—one (...) class='Hi'>cultural and one physical. Rather than having fixed ”natures” that remain stable for any purpose other than numerical identity, artworks and selves have ”careers” due to their cultural evolution that change with the course and flux of history, interpretation and reinterpretation. The question for this essay is how a Margolisian encultured artist, who is also an individual ”self," can construct an identifiable ”career” that is both from culture and develops culture constructively in a way that involves an individual, as well as collective, contribution. In answering this question I will provide a theory that shows how Margolis’ work on the artist as cultural agent leaves room for creative innovators within a cultural context. In short, I claim that Margolis’ idea that a person is a thinking-and-doing practitioner that emerges from and works within a cultural context does allow for the agent to use that same context to acquire the tools and skills necessary to make something new. I will then consider how this innovation might be possible by making recourse to some theories of creativity from neuroscience and psychology. This essay will focus on Margolis’ theory of the creative artist as cultural agent as supplemented with an account of the nature of the human being as a raw set of genetic materials and capacity for acquiring cultural competence. My claim is that this is the site for an adequate account of how some encultured persons are able to create exceptional innovations in artistic domains and others are not. I agree with Margolis that it is true that innovation is not possible by any pre- or non-encultured self but I also think that extremes of cultural mastery and innovation, as in the case of highly creative and innovative artists, are not possible without an inborn potentiality to develop to a high level of cultural ability under the right conditions. This is not to deny Margolis’ theory of artists as cultural agents. Indeed, I accept Margolis’ view of the deep importance of culture to the development of the self and to the creative artist wholeheartedly. I also agree that this is a crucial aspect of artistic agency and creativity that has been given short shrift in analytic aesthetics. My intention here is only to answer one question that is still left unanswered after understanding and acknowledging the importance of culture: How do we account for the disparity in ability in cultural agents and artists that cannot be attributed to cultural training and socio-historical factors? How do we account for the existence of the exceptionally creative artist in a situation where the cultural and socio-historical factors are roughly equivalent for others who demonstrate lesser amounts of creativity? (shrink)

Artykuł zwraca uwagę na powiązania procesu starzenia się społeczeństwa z kształtowaniem zmian organizacyjnych zachodzących w miejskich instytucjach kulturalnych i artystycznych w zakresie świadczenia usług dla osób starszych. Przybliżone zostają główne cechy zachodzących na początku XXI wieku przemian pracy i czasu wolnego oraz zjawiska kreatywnej gospodarki wraz z nową stratyfikacją społeczną i nowymi czynnikami rozwojowymi. Zarysowany został także paradygmat kreatywnego starzenia się, korzyści i bariery budowania kapitału kreatywnego seniorów oraz zagraniczne i krajowe przykłady wykorzystywanych na tym polu rozwiązań a zarazem obszarów (...) dalszych badań. ** Article draws attention to the relationship of ageing process and evolution of the organizational changes in cultural and artistic institutions in cities that are connected to provision of services for older people. Study shows main features of work and leisure time transformation at the beginning of the XXI century and the phenomenon of creative economy with new social stratification and development factors. It also describes creative ageing paradigm, benefits and barriers of building a senior creative capital, foreign and domestic examples of solutions used in this field which are also areas for further research. ** A. Klimczuk, Kreatywne starzenie się. Przykłady zagranicznych i polskich zaleceń i praktyk (Creative ageing. Examples of foreign and Polish recommendations and practices), [in:] A. Zawada, Ł. Tomczyk (eds.), Seniorzy w środowisku lokalnym (badania empiryczne i przykłady dobrych praktyk), Wyd. Uniwersytetu Śląskiego, Katowice 2013, p. 24-46. -/- . (shrink)

Early practitioners of the social studies of science turned their attention away from questions of institutionalisation, which had tended to emphasize macrolevel explanations, and attended instead to microstudies of laboratory practice. The author is interested in re-investigating certain aspects of institution formation, notably the formation of scientific, medical, and engineering disciplines. He emphasises the manner in which science as cultural practice is imbricated with other forms of social, political, and even aesthetic practices. The author considers the following topics: the (...) organic physics of 1847; the innovative research program of Carl Ludwig as a model for institutionalising science-based medicine, optics, painting, and ideology in Germany, 1845-95; the Haber-Bosch synthesis of ammonia; and the introduction of nuclear magnetic resonance instrumentation into the practice of organic chemistry. (shrink)

We would like to open some questions here about the institutional and cultural conditions of anything that might be called cultural studies or multiculturalism. By introducing cultural studies and multiculturalism many intellectuals aim at a more democratic culture. We share this aim. In this essay, however, we would like to argue that the projects of cultural studies and multiculturalism require: a more international model of cultural studies than the dominant Anglo-American versions; renewed attention to the (...) institutional environments of cultural studies; and a questioning of the relations between multiculturalism and identity politics. We seek less to “fix” these problems than to provide a critical analysis of the languages, the methods of criticism, and the assumptions about identity, culture, and politics that present the problems to us. Because the thickets entangling what our group calls cultural studies are so deeply rooted in Western academia, which to a large degree constitutes our own group, the counterexample of cultural criticism in other contexts can be more than usually instructive. We begin by considering the position of cultural studies in China, since our group includes a number of Chinese intellectuals, on whose experience the following section is largely based. The Chicago Cultural Studies Group began meeting in June 1990. It includes Lauren Berlant, David Bunn, Vinay Dharwadker, Norma Field, Dilip Gaonkar, Marilyn Ivy, Benjamin Lee, Leo Ou-fan Lee, Xinmin Liu, Mathew Roberts, Sharon Stephens, Katie Trumpener, Greg Urban, Michael Warner, Jianyang Zha, and Jueliang Zhou. (shrink)

Poppies in a field of corn may annoy a farmer and rejoice an artist. Clearly they are not in their right place, if the standard of judgment be immediate utility; but it is better that they should be accidentally there than nowhere at all to be found. The political organization of social life and, still more obviously, the economic, does not promote devotion to other purposes than those which appear to be practical in the eyes of men who cannot see (...) very well. To suppose, for example, that beauty or truth is not useful is the result of philosophical nearsightedness. But there are some men, women, and children who are moved deeply by beauty and the divine whose emotion is not easily understood in political terms and is altogether unintelligible in terms of exchange-value. (shrink)

Human–animal relations in post-industrial societies are characterized by a system of cultural categories that distinguishes between different types of animals based on their function in human society, such as “farm animals” or “pets.” The system of cultural categories, and the allocation of animal species within this cultural classification system can change. Options for change include re-categorizing a specific animal species within the categorical system. The paper argues that attempts by political actors to adapt the institutional system to (...) cultural change that calls for re-categorization of certain animal species can start a contradictory process that may lead to long-term survival of the respective institution despite the cultural change. It is common to explain the persistence of political institutions with institutional path dependency or policy preferences of the governing parties. This paper introduces a new institutional theoretical approach to the explanation, the approach of “rejecting changing a part for fear of undermining the whole.” This paper uses a case study of a series of failed political efforts to change the treatment of dogs in the framework of the agricultural human–animal policy in the Federal Republic of Germany in the second half of the twentieth century, to evaluate its theoretical argument, using analyses of historical political documents, mass media, and communication documents between civil society actors and policymakers. This paper makes an innovative contribution to the theory and research on institutional change, the sociology of agriculture and food, and the sociology of human–animal relations. (shrink)

Studying institutions as part of the research on cultural evolution prompts us to analyze one very important mechanism of cultural evolution: institutions do distribute cultural variants in the population. Also, it enables relating current research on cultural evolution to some more traditional social sciences: institutions, often seen as macro-social entities, are analyzed in terms of their constitutive micro-phenomena. This article presents Sperber’s characterization of institutions, and then gives some hints about the set (...) of phenomena to which it applies. (shrink)

A retrospective look at the development of philosophy in Russia in the Soviet and post-Soviet periods through the prism of the author's own fifty-year experience with philosophical research and its organization within and beyond the institutional establishment. Recognizing the significance of the accumulated philosophical riches, the author advocates for not merely preserving and multiplying those riches, but also for making them available to the society and establishing active collaboration with researchers in other disciplines as well as with cultural and (...) religious leaders. (shrink)

This paper explores iconicity in the metrical structure and the cultural value of Artistic Chinese calligraphy along the lines of Carles S.Peirce’s theory. It drawsattention to the fact that there is a simple categorical correspondence between the outer forms of Artistic Chinese Calligraphy and their subject-matter, presenting it a mixed form of representation, based on resemblances but also creating its own metaphysical meanings simultaneously.

With this paper, from the perspective of ethics at the workplace, we problematize the taken-for-granted assumptions embedded in the use of artistic freedom in creative processes. Drawing on the notion of inequality regimes (e.g. Acker, 2006) and using empirical material from a performing arts organization in Sweden, we explore how the assumptions of artistic freedom facilitate and legitimize the emergence of inequality regimes in invisible and subtle manners. Our findings indicate that non-reflexive interpretations of the concept of (...) class='Hi'>artistic freedom result in ethical dilemmas that impact the organization's pursuits of equality work. The aesthetic ethics oriented around the notion of ‘art for the sake of art’ tends to camouflage the centralization of aesthetic authority in processes where formal hierarchical structures are missing. Consequently, asymmetrical power relations between the Directors, actors, and producers are legitimized. Ethics of quality of art and that of the social ideal of equality have been constructed as dichotomic notions indicating that aesthetic ethics of art can only be preserved at the expense of social objectives of equality. We argue that the current interpretative practices of ‘artistic freedom’ in some cultural organizations add little value of ethics to the freedom of expressing artistic opinions and in achieving the social ideal of equality but lead to the emergence of inequality regimes in the artistic work processes. (shrink)

The integrity of the human being made in the image and likeness of God (Genesis 1:26) has been a challenge confronting not just the theologian, but great rulers, politicians, reformers, scientists, poets, artists, composers and novelists over centuries. The Orthodox Tradition might note that our human condition in time and space is shaped and challenged by this journey from likeness to image. Biblically we journey to see the face of God. Less theologically, the human condition is shaped by the tensions (...) and contradictions as we journey to seek 'freedom'. Paradigms of Freedom explores, in the context of the unfolding of modern history, how this challenge has been compounded and enriched by the people and institutions who have sought to find and promote the concept of freedom (and issues of personal liberty) in the face of contrary or oppressive circumstances and systems. Importantly, it will examine the contribution of the artist to various models of freedom, some of which may be identified as vectors of transcendence; when image becomes likeness. The nature of human society, the sense of social harmony and paternalistic control that characterized society for centuries, and especially the emergence of Western culture, began to crumble in the fourteenth century with the cataclysmic onslaught of the Black Death; the challenge to the monolithic power of the Church and the nature of feudalism; the growth of new philosophical and political theories; and overall crumbling of authority. In the fifteenth century new developments like the invention of printing; the standardization of modern languages; and the global expansion of exploration, mercantilism and colonization presented unprecedented horizons of growth and challenges to the place and meaning of humanity in the world. These challenges are embodied in the Renaissance and Reformation, where the very foundations of belief and knowledge were questioned in new processes of discovery in both the world and the cosmos. The nature of freedom to search, to question and to discover new things brought about political and intellectual developments in an ever-expanding series of movements and interrogations. Moved by the annals of the times, individuals have sought to understand and perpetuate the heroic struggles through their own creative power. This in turn can draw us to share in those lost or sorrowful times, and reflect on the sacrifice and vision of those who have been prepared to witness fearlessly to the indomitable spirit of mankind, and his slow but inexorable movement or journey into the light. This exposition will examine various types/paradigms that have proposed and embodied concepts of freedom. These have tried, and often succeeded, in serving as vectors of transcendence, meditating on and mediating human aspiration. Such reflective movements of mind and heart are embodied both contemporaneously and retrospectively in various historical movements, political gestures and artistic creativity that have provoked thoughts on human liberty: political actions, decrees, philosophy, books, pictorial art, novels, poetry, theatre, opera and film. Representatives and examples (in words and imagery) of all these modes are exemplified in the chapters that explore certain iconic movements and personalities in some of the key historical and social events of the past six centuries. The process is of necessity selective. Religious conflict, freedom of thought and denomination, the wars fought over faith and control of the land, the desire for liberty of choice, challenging new discoveries in science and geography, cosmology, colonialism and slavery, Enlightenment, revolution and the search for national identity and independence-these are all areas that have absorbed human thought, knowledge and aspiration, and resulted in inevitable artistic reflection. This is not a history but a consideration of mankind's search to be free, and how this striving is embodied in the poetry of liberation. (shrink)

Dance is regarded as visual art form by common arts and science perspectives. Definitions of dance as means of communication agree that its message is conveyed by the dancer/choreographer via the human body for the observer, leaving no doubt that dance is performed to be watched. Brain activation elicited by the visual perception of dance has also become a topic of interest in cognitive neuroscience, with regards to action observation in the context of learning, expertise and aesthetics. The view that (...) the aesthetic experience of dance is primarily a visual one is still shared by many artists and cultural institutions, yet there is growing interest in making dance performances accessible for individuals with visual impairment / blindness. Means of supporting the non-visual experience of dance include verbal (audio description), auditive (choreographed body sounds, movement sonification), and haptic (touch tour) techniques, applied for different purposes by artists and researchers, with three main objectives: to strengthen the cultural participation of a non-sighted audience in the cultural and aesthetic experience of dance; to expand the scope of dance as an artistic research laboratory toward novel ways of perceiving what dance can convey; and to inspire new lines of (neuro-cognitive) research beyond watching dance. Reviewing literature from different disciplines and drawing on the personal experience of an inclusive performance of Simon Mayer's “Sons of Sissy,” we argue that a non-exclusively visual approach can be enriching and promising for all three perspectives and conclude by proposing hypotheses for multidisciplinary lines of research. (shrink)

The main discourses on art during the nineteenth century defined the artist as a spirit that should express their unbridled creativity, and overall that had the strength to express its total personal autonomy from institutional processes of culture. Thus, Manet’s work A bar at the Folies—Bergere contains substantial elements that express and help us to understand both the role of the artist, as the crisis of meaning in the work of modern art and problematic public sphere, treated by Haberma's as (...) the field of social life in which we can develop our public opinion, and that is determined by common sense and rational consensus. In this sense, this article leverages how A bar at the Folies—Bergere questions the social representation of not only the public but the legitimizing institutions that support an artistic truth, to point to an x—ray that presents the structure and the gap between the public and artists, between artistic expression and cultural significance, and thus presents the cultural crisis warned by artists. (shrink)

ABSTRACTThis paper examines in detail the quality of the relationship the Catholic Church in its Sydney Archdiocese had with its lawyers in the John Ellis matter as revealed in the Royal Commission into Institutional Responses to Child Sexual Abuse inquiry. It identifies the particular moral perspective embedded in its lawyers' adversarial approach and asks whether a different approach involving explicit moral conversations might have better served the Church's avowed pastoral ethos.

In the Thirties, European personalism was an inspirational philosophical movement, with its birthplace in France, but with proponents and sympathizers in many other countries as well. Following the Second World War, Christian-Democratic politicians translated personalistic ideas into a political doctrine. Sometimes they still refer to personalism, but most often this reference is little more than a nostalgic salute. In the mainstream of Anglo-Saxon political philosophy, there are practically no references to personalistic philosophers. Is personalism exhausted as a philosophy or political (...) ideology? Yes and no. Paul Ricoeur, writing in Esprit , summed up the situation like this: “personalism is dead”, but he was careful to mention a “return of the person”. Indeed, no tradition or movement can simply perpetuate itself. It must, in order to continue making history, always abolish itself as a `system' so as to make room for the unsaid and the unthought in its tradition, an idea that Mounier also fervently believed in.To better situate the current discussion of personalism, however, it is necessary to look back to the original characteristics of personalism in the Thirties. As a response to the crisis provoked by the economic depression, failing democracy and existential uncertainty, there arose in France a number of `non-conformist movements' who labelled themselves personalistic. They did not constitute a unified movement with a commonly shared theory. It was rather a collection of `personalisms'. The article by the historian Christian Roy about the ecological personalism of Bernard Charbonneau and Jacques Ellul sheds interesting light on the multiple origins of French personalism, which is all too easily identified with the work of Maritain and Mounier alone. The work of Jacques Maritain, and the network of writers and artists surrounding him, undoubtedly remains a significant historical reference point when speaking of personalism.Another group was formed around Alexandre Marc who, along with Raymond Aron, Arnaud Dandieu, Daniel-Rops and Denis de Rougemont, kept the journal Ordre Nouveau alive for five years . They elaborated the idea of federalism as a way out of liberalism and totalitarianism. The most important and durable group, however, was formed by the movement and journal Esprit, founded in 1932 by Emmanuel Mounier and George Izard. In order to stress the historical importance of Esprit, we are including here a testimony from 1982, written by Paulette Mounier, the founder's wife, in which she looks back on 50 years of Esprit. After the war, some new and related groups formed, such as Economy and Humanism around Louis-Joseph Lebret. An historical survey of the dissemination of personalistic centres and movements, not only in France but over all of Europe, would be material for a stimulating historical research project. In this issue, there will also be mention of, among others, the Prague personalism of Jan Patocka and Vaclav Havel, the Leuven personalism of Louis Janssens, and the Polish personalism of Tadeusz Mazowiecki and others. But this list is far from exhaustive.What unites these various branches of the personalistic tree? It is a certain conception — or better perhaps: a certain attitude to the human person. Personalists were not seeking in the first instance a new academic theory about the person, but rather a practical philosophy of engagement. In the Thirties, quite a few personalists finished their university studies and chose not for an academic career but for non-conformist, demanding and vulnerable commitments with limited financial means. What motivated them? Primarily a strong sense that the time in which they were living was a turning point, one which was being ignored by the academic world. They interpreted the diverse economic, political and cultural crisis phenomena as symptoms of a more global crisis of civilization which demanded a response through radical change.Hence a certain rhetoric of a `new order', `spiritual revolution', `radical reform' and `rebirth'. But the rhetoric was supported by innovative ideas regarding political federalism, the third way economy and human alienation. The motivation for all this derived from a strong commitment to defend the concrete human person against the arrogance of systems, bureaucracies and ideologies, while at the same time avoiding the pitfalls of individualism — the reason why some personalists always qualified personalism as `communitarian'.In fact, much of what presents itself as communitarian philosophy today is a retrieval of personalistic themes from the Thirties applied to the current situation, a situation which is also interpreted by communitarians as a global cultural crisis. One should not forget, however, that alongside and sometimes opposed to the communitarian theme with its call to bring people back to their communitarian roots, personalists underscored the priority of metaphysics over politics, a theme that can likewise be found in the writings of personalistic dissidents in Eastern Europe. In the words of Mounier in Qu'est-ce que le personnalisme : “personalism combines faith in a certain human absolute with a progressive historical experience”.To what extent is personalistic thinking still relevant today? Its current relevance will be examined in three ways. In the first section, a number of articles are presented which illustrate the active presence of personalistic thought in the domains of politics and applied ethics. Vaclav Havel sent one of his recent addresses in which he links the theme of human rights with that of a world spirituality. His article is preceded by an introduction by Guido Van Heeswijck, situating Prague personalism.The need for an orientational philosophy of the person is not only manifest today in the political arena. Developments in economics, ecology, health care, the media, technology and in the world of the professions have had an extraordinarily large impact on the human person's lifeworld. The whole area of applied ethics requires a dynamic and orientational concept of the person. The contributions by Paul Schotsmans and Luk Bouckaert are seeking a personalistic point of departure for applied ethics. The more historical article by Christian Roy on ecological personalism has been included in the first section because it can be inspiring for an environmental ethics.The second section is more philosophical. To what extent does the `personalistic' conception of the person put forward in the Thirties still have any relevance today, following the waves of structuralism, post-structuralism and postmodernism? Paul Ricoeur's article, Approaching the Human Person — originally published in Esprit in 1990 and now translated for the first time — can be seen as a reference text. Ricoeur shows in what sense the concept of the person must be broadened in order to continue functioning. The person as `narrative identity' can only write history through the medium of language and institutions. Starting from very different assumptions, the articles by Louis Janssens & Joseph Selling and the analysis of Roland Breeur also explore the idea that a person is what he is only when his identity is opened up, touched by an exteriority or conceived as a focal point . It is this radical openness and vulnerability that gives the person its historical and transcendent dynamic, and prevents us from encapsulating it in existing systems, theories and power relations. The connection with Emmanuel Levinas and his hermeneutic of the idea of the infinite is an obvious one to draw.The third section contains a historical survey in which a number of active `personalistic' centres and journals are presented.Various European centres that appeal explicitly to some form of personalistic thinking were posed the following questions: What is the main historical reference to personalism at your centre? and How do you implement, today, a personalist credo in your work? John Dick organized the responses to these questions under a number of headings. This survey aims to provide not so much an exhaustive but a representative picture of the ways in which European personalism lives on as a mosaic of centres engaged in everyday history. (shrink)

Music is an artistic cultural innovation, and therefore it may be considered as intuitive thought expressed in symbols, which can efficiently convey multiple meanings in learning, thinking, and transmission, selected for and passed on through cultural evolution. The symbolic system has personal adaptive benefits besides social ones, which should not be overlooked even if music may tend more to the latter.

Analytic philosophers have disputed the nature of “artistic value” for over six decades, bringing much needed clarity and rigor to a subject discussed with fashionable obscurity in other disciplines. This essay frames debates between analytic philosophers on artistic value and suggests new directions for future research. In particular, the problem of “intrinsic value” is considered, that is, whether a work’s value derives from its experienced properties, as a work of art, or from cultural trends outside the work’s (...) properties. It is argued that neurobiological research helps resolve perceived differences between a work’s intrinsic and extrinsic values. A work can be both rewarding and punishing on its own, “intrinsic” merit—as a percipient, real thing in the world evoking predictable kinds of emotion—and with respect to ever shifting, “extrinsic” cultural norms. (shrink)

The article is an attempt at examining the possibilities for the development of social capital by means of active cultural engagement, as exemplified by participatory theatre. Narrowing the analysis to this particular area of artistic practice is not a coincidence. Theatre constitutes one of the most exclusive social spaces within the cultural field, requiring a high degree of cultural competency, and taking the inequality of position between artists and spectators for granted. On the other hand, it (...) is defined by their immediate, face-to-face encounter, which, as compared to other areas of art, provides theatre with an exceptional social potential. The so-called participatory turn in contemporary art has moved theatre into a new domain of social functionality, which cannot be adequately described and researched without the sociological “toolbox”. Hence, the article is also an attempt at taking an interdisciplinary stance and connecting the study of art and society, as well as outlining a proposal for a practical application of sociological knowledge, used not only for the sake of understanding, but also organising of the artistic practice. In this respect, it addresses the growing interest in applied social research, as shown by political, cultural, and scientific institutions. (shrink)

This paper addresses the development of the education system during the Soviet period, with particular attention given to the role of intellectuals in the growth of education. The establishment of the new Soviet education system in Azerbaijan faced significant challenges, such as the lack of qualified teaching staff. It was necessary to prepare educators, introduce new teaching materials and programs, and apply progressive teaching methods. In response, the Soviet government of Azerbaijan issued a series of decrees and orders in 1920 (...) to guide the development of public education. These aspects are given special attention in this article. Azerbaijani intellectuals endeavored to create all possible opportunities for the advancement of education. The 20th century holds a special place as a productive period in the enrichment of Azerbaijani culture, which is an integral part of human civilization. This period of history is distinguished by its unique characteristics, historical and social conditions, all of which left a profound impact on the fields of culture and art. The 20th century is remembered as a time of social and political revolutions and changes in the history of the Azerbaijani people. Although the social, historical, and political changes had a significant impact on national culture and art, this period can generally be characterized as a productive stage of development. At the beginning of the century, the efforts of national enlightened forces in cultural development, their initiatives, and their work in organizing and forming various cultural and artistic fields provided a major impetus for the revival of culture in Azerbaijan. It was necessary to create a new system of public education, develop a wide network of cultural and educational institutions, lay the foundations of scientific knowledge, familiarize the working class with artistic resources, free women from patriarchal oppression, eliminate harmful customs and ceremonies, and pave the way for the cultural and spiritual development of individuals. (shrink)

In today's world, the problems of culture have become world problems, as are those of the protection of the environment, the rational use of natural resources, the demographic situation, international disarmament and the prevention of war. We speak of a “cultural explosion” with regard to the very lively interest that culture arouses today and the increasing needs in this area. We can expect this development to continue, but what is the social significance of the process? What is its origin? (...) To what is it connected? (shrink)

The famous 1959 Two Cultures essay by C. P. Snow has become a foil for decades of discussions over the relation between science and the humanities. The problem of the “two cultures” is often framed in terms of how the particular epistemological claims or general intellectual orientations of particular individuals on either side of this purported divide obstruct interdisciplinary dialogue or cooperation. This formulation, however, is ultimately unsatisfying, because often it focuses narrowly on the intentions and arguments of individuals, without (...) considering the institutional frameworks within which such debates occur. In this article, I propose to bracket issues of individual epistemological orientation while .. (shrink)

The study by Ceci et al. shows that academic behavior associated with the core principles of intellectual freedom is more shaped by institutional incentives than by organizational culture. From an organizational theoretical point of view, this is quite an unexpected finding, not least because we do believe universities to be fairly strong and explicit cultures that should be successful in socialization. (Published Online February 8 2007).

Building on dissatisfaction with current approaches that entail a superficial conception of the firm’s moral agency, this article has two broad theoretical underpinnings. First, it refers to the Catholic Social Thought’s view of the enterprise as a community of work, which leads to place stress on the possibility of creating ‘organizational humanizing cultures’ that revolve around the principles of human dignity and the common good and allow organizational members to flourish. Second, the article draws on the perspective of the sociologist (...) Philip Selznick to emphasize the key role of ‘institutional leadership’ in the formation and maintenance of a moral organizational character, also suggesting that these processes involve an influence on the development of employees’ moral identity conceived as a driver of moral agency. On these theoretical grounds, the article’s central argument is articulated by claiming that human resource management can provide essential support for the development of organizational humanizing cultures. In particular, it is highlighted how human resource management professionals may operate as institutional leaders who contribute to the embedding of moral identities in the organizational context. (shrink)

Nowadays the question of toleration is less related to an international clash of civilizations than to the clashes that take place within the states and polities themselves. The article addresses the sources of toleration in this new global scenario, starting from the following set of questions: Do the sources of toleration differ across time and space? Does toleration have different roots in different civilizational contexts, such as China, India or Islam? Or, is toleration the result of particular institutional frameworks and (...) designs? In this case, does the concept of toleration vary from one institutional setting to the other? Do empires, republics and democracies give rise to different forms of toleration? And last but not least, isn’t toleration rather a matter of individual morality, as many liberal theories sustain? The article distinguishes between three different sources of toleration: individuals, cultures and institutions. Kant and contemporary liberals, as John Rawls who follows him, situate t... (shrink)

The paper aims to explore the phenomenon of the spread in democracy of new powers – produced by inexhaustible technological developments – from the perspective of the philosophy of Institutions. It traces the original idea of democracy, in which the «government of the people» arises from the conversion of natural liberty into social and political liberty, dwells on the political and juridical meaning of authority, analyses the traditional instruments used to condition human opinions and behaviours, and reconstructs – in (...) light of this itinerary – the functioning and new grammar of the digital order. What opens before us is a fluid and disorganized scenario, dominated by digital systems, algorithms and artificial intelligence, that draws the attention of philosophers and sociologists, jurists and scholars of language and of anthropology. The old single order, outlined by the political and juridical machine of the modern State – which, through an aloof and solemn language, aimed to impart regularity to human behaviour and to give society direction – is replaced by multifarious models of order, each of which is generated by its own logic, practices, and autonomous control techniques. Under the omnipotence of technology, concepts such as authority, liberty, truth and power undergo a vortex of semantic transformations that penetrate a new symbolic space into human reasoning and actions. (shrink)

My artistic inquiries draw from gender and sexuality in public space and use performance as process. In inspiration, the works emerge as aesthetic responses to post-colonial, gendered public identi...