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by fikret selimbašić Fri Aug 19, 2022 8:11 pm1:42-1:45.
umetnost i aktivizam i politika
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Join date : 2020-06-19
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Međuopštinski pustolov.
Zli stolar.
- Posts : 8320
Join date : 2014-10-28
Location : imamate of futa djallon
fenomenalno 
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i would like to talk here about The Last of Us on HBO... and yeah, yeah i know.. the world is burning but lets just all sit and talk about television. again - what else are we doing with ourselves ? we are not creating any militias. but my god we still have the content. appraising content is the american modus vivendi.. that's why we are here for. to absorb the content and then render some sort of a judgment on content. because there is a buried hope that if enough people have the right opinion about the content - the content will get better which will then flow to our structures and make the world a better place
- Posts : 7165
Join date : 2019-11-04
https://thecritic.co.uk/the-arts-must-secede/
...
Working in the arts, one becomes used to narratives of crisis. “Money is tight” has become the sector’s motto. Everyone’s overworked, exhausted and preparing for things to get even worse. On the other hand, between yet another economic downturn and in the aftershocks of the pandemic, some observers find hope in the end-of-empire moment: good things come from adversity. So, which will it be?
Looking for answers, I joined a conference of two hundred arts professionals to ponder the “future of creativity” in the UK. The programme, which included artists, researchers, a museum director and even a handful of politicians, looked promising. So did the name badges sported by the attendees, with representatives of Arts Council England, the Royal College of Art and the British Council in the crowd.
...
I felt I was in the wrong room. The creative industries contributed £103 billion in GVA to the UK economy, but that did little to lift my spirits as I waited in vain for someone to say something even remotely insightful about the nature of art, culture and creativity in Britain.
I only feign my surprise at this festival of jingoism because the monster that is the “cultural and creative industries” has been some 25 years in the making.
...
Indeed, the years leading up to 2008 and the financial crash were a veritable renaissance for the arts and their creative siblings in the UK. With New Labour came new funding for museums and galleries, a new role for the country’s art and design schools, and a new spirit of entrepreneurship that had artists and designers imagine themselves as the captains of industry. It would be unfair to deny that many of the era’s cultural policy developments, however accidental some of them turned out to be on reflection, had culturally enriching effects.
...
This unencumbered growth came at a price, however. By turning what was once called “heritage” and “the arts” into the “cultural and creative industries” (or CCIs), these optimistic policies forced the logic of instrumental neoliberal capital on all creative endeavours. “Subsidy” became “investment”. Artists, henceforth known as “creatives”, would experiment and multiply until profitable alliances between contemporary art and materials research, dance and urban regeneration, jewellery and genetic science, or poetry and accounting emerged and paid their dues into that GVA account.
If the 2000s were the decade of the creative, they were also the time of the arts manager and the cultural technocrat, whose role was to index, research and measure the use and value of sculpture, design and even community murals so that they could be offered to the highest bidder. Despite the rhetoric of business partnerships and private patronage, this bidder was often another arts technocrat, double-counting the culture and its value in another part of the industry’s internal market. All this could have been fine in times of plenty, but when the CCIs crashed into the 2010 coalition government’s austerity programme, everyone seemed to have forgotten what culture and creativity were once for. Faced with an existential threat, cultural institutions doubled down on the narratives of market value, coproduction and social utility as though they believed that the technocratic argument would convince politicians to bail them out.
It didn’t.
...
Somewhere between the competitive funding bid and the risk-reward curve, the practice of culture fell into a deep identity crisis. The arts gave up on their capacity to reflect on what it means to lead a good life and are instead busy chasing the doctrine of consumer choice, which has sustained their only meagre existence in the market economy of industrial creativity. What’s tragic is that funding politics notwithstanding, this is largely a self-inflicted predicament.
There lies a small hope: the sooner the visual arts, dance or music realise that they must fend against the industrial exploits of giants like gaming or streaming, the higher the chances of them finding and articulating their purpose anew. The arts must secede from the creative industries. They have done this before; “secessionism” is an art historical trope.
...
...
Working in the arts, one becomes used to narratives of crisis. “Money is tight” has become the sector’s motto. Everyone’s overworked, exhausted and preparing for things to get even worse. On the other hand, between yet another economic downturn and in the aftershocks of the pandemic, some observers find hope in the end-of-empire moment: good things come from adversity. So, which will it be?
Looking for answers, I joined a conference of two hundred arts professionals to ponder the “future of creativity” in the UK. The programme, which included artists, researchers, a museum director and even a handful of politicians, looked promising. So did the name badges sported by the attendees, with representatives of Arts Council England, the Royal College of Art and the British Council in the crowd.
...
I felt I was in the wrong room. The creative industries contributed £103 billion in GVA to the UK economy, but that did little to lift my spirits as I waited in vain for someone to say something even remotely insightful about the nature of art, culture and creativity in Britain.
I only feign my surprise at this festival of jingoism because the monster that is the “cultural and creative industries” has been some 25 years in the making.
...
Indeed, the years leading up to 2008 and the financial crash were a veritable renaissance for the arts and their creative siblings in the UK. With New Labour came new funding for museums and galleries, a new role for the country’s art and design schools, and a new spirit of entrepreneurship that had artists and designers imagine themselves as the captains of industry. It would be unfair to deny that many of the era’s cultural policy developments, however accidental some of them turned out to be on reflection, had culturally enriching effects.
...
This unencumbered growth came at a price, however. By turning what was once called “heritage” and “the arts” into the “cultural and creative industries” (or CCIs), these optimistic policies forced the logic of instrumental neoliberal capital on all creative endeavours. “Subsidy” became “investment”. Artists, henceforth known as “creatives”, would experiment and multiply until profitable alliances between contemporary art and materials research, dance and urban regeneration, jewellery and genetic science, or poetry and accounting emerged and paid their dues into that GVA account.
If the 2000s were the decade of the creative, they were also the time of the arts manager and the cultural technocrat, whose role was to index, research and measure the use and value of sculpture, design and even community murals so that they could be offered to the highest bidder. Despite the rhetoric of business partnerships and private patronage, this bidder was often another arts technocrat, double-counting the culture and its value in another part of the industry’s internal market. All this could have been fine in times of plenty, but when the CCIs crashed into the 2010 coalition government’s austerity programme, everyone seemed to have forgotten what culture and creativity were once for. Faced with an existential threat, cultural institutions doubled down on the narratives of market value, coproduction and social utility as though they believed that the technocratic argument would convince politicians to bail them out.
It didn’t.
...
Somewhere between the competitive funding bid and the risk-reward curve, the practice of culture fell into a deep identity crisis. The arts gave up on their capacity to reflect on what it means to lead a good life and are instead busy chasing the doctrine of consumer choice, which has sustained their only meagre existence in the market economy of industrial creativity. What’s tragic is that funding politics notwithstanding, this is largely a self-inflicted predicament.
There lies a small hope: the sooner the visual arts, dance or music realise that they must fend against the industrial exploits of giants like gaming or streaming, the higher the chances of them finding and articulating their purpose anew. The arts must secede from the creative industries. They have done this before; “secessionism” is an art historical trope.
...
- Posts : 10368
Join date : 2020-06-19
_____
Međuopštinski pustolov.
Zli stolar.
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Join date : 2014-12-12
Majstorski!!! Ko je to?
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Join date : 2020-06-19
beatakeshi wrote:Majstorski!!! Ko je to?
Ne znam, prvi put vidim ali mnogo mi se dopada rad i što je fino iskorišten kao komentar na vijest:https://www.yaplakal.com/findpost/130720895/forum1/topic2723408.html
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Međuopštinski pustolov.
Zli stolar.
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Join date : 2016-06-09
Location : gotta have those beans
Andrew Norman Wilson no. 73 | April 2024 | It’s Not What the World Needs Right Now
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Join date : 2014-10-28
Location : imamate of futa djallon
odlican je 
I take a snorkeling excursion in the Gulf of California to Isla Espíritu Santo, which is inhabited by thousands of sea lions. As I track a manta ray fifty feet below me, something nudges my elbow. I turn to find a sea lion pup swimming alongside me. We make eye contact. He winks, then accelerates past me toward an underwater arch. I follow him through the opening, and when I surface for air, I find myself surrounded by adult sea lions. They gaze at me, motionless. I have a feeling I might die. I’ve found what I was looking for on this island. Something that feels like the opposite of scrutinizing a nondescript object in a white room and then having to read a citation-heavy press release to find out that the object is the product of prison labor, and prison labor is bad.
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i would like to talk here about The Last of Us on HBO... and yeah, yeah i know.. the world is burning but lets just all sit and talk about television. again - what else are we doing with ourselves ? we are not creating any militias. but my god we still have the content. appraising content is the american modus vivendi.. that's why we are here for. to absorb the content and then render some sort of a judgment on content. because there is a buried hope that if enough people have the right opinion about the content - the content will get better which will then flow to our structures and make the world a better place
- Posts : 52454
Join date : 2017-11-16
"Metropolitan elite"
- Posts : 7165
Join date : 2019-11-04
Visiting the Centre Pompidou in Paris recently, I came across something rather unexpected: A monumentally sized painting of some of the central “French thinkers” of the 20th century which depicts them as Soviet apparatchiks. As it turns out, the painting only resurfaced...(1/16) pic.twitter.com/ydZSllhZqB
— Georg Gangl (@GanglGeorg) July 19, 2024
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Join date : 2016-03-28
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