Understanding How Art Educates - Jeremy Casson
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For an artist, their use of creativity can bring attention to key issues in society and drive social change. Read more: https://jeremycasson.wordpress.com/2024/04/17/the-art-scene-in-london/
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A personal view of the role of arts in development in the UK as presented to the University of West of England Post Graduate Certificate in Participatory Practice in Arts and Media
Art for change It is often taken for granted that art f.docx
Art for change?
It is often taken for granted that art functions as a tool and a vehicle of social change;
indeed, it was just this theme that we took up in our first discussion board posting. While the
vocal majority seemed to agree that art could foster social change, many of us, when
encountering work such as Warhol’s 200 One Dollar Bills or Marcel Duchamp’sFountain
might find ourselves wondering exactly what type of change such work could really make.
Does a painting that takes money for its subject do anything to unsettle a culture that seems
more and more to place the individual pursuit of money above the needs of the community?
Does a urinal inscribed with a forged signature (see Duchamp’s work mentioned above) do
anything more than offer a paltry challenge to the taste of a leisured class?
It was precisely the complicity of market system art like Duchamp’s and the American Pop
artists like Warhol, Jasper Johns, and Robert Rauschenberg with the oppressive class that
was at the heart of a 1973 protest staged in front of another landmark Sotheby’s auction. On
that October day a group of New York City taxi drivers and artists stood before the renowned
auction house to call down Robert C. Scull who they claimed made his fortune robbing
cabbies and hawking art. Some of the artists marching in solidarity with the taxi cab drivers
rushed out to a nearby hardware store to by a snow shovel to sell at exorbitant price, poking
fun at Duchamp’s In Advance of the Broken Arm. Is this critique of art’s complicity with big
money an apt one?
The idea that the art market is synonymous with ‘business as usual’ is an idea that is as
pervasive today as ever—if not more so. As Eleanor Heartney reminds us in her lecture on
art and labour, one move made by activists of the recent Occupy Wall Street movement was
to set up occupations in a number of New York City’s museums. The organizers of the
Occupy Museums march declared in a public statement that “for the past decade and more,
artists and art lovers have been the victims of the intense commercialization and co-optation
or art.” They further claimed that “art is for everyone, across all classes and cultures and
communities” and not merely for the cultural elite, or the 1%. The artist activists closed their
statement by exhorting museums to open their minds and their hearts: “Art is for everyone!”
they claimed. “The people are at your door!”
These two protests demonstrate an abiding and perhaps growing suspicion of the received
idea that market system art can change things. But while market system art is placed under
intense scrutiny, a growing field of artists and educators have been working to disseminate
the practices and techniques of art making in order to sow the seeds of change. This
community based art (sometimes referred to as ‘dialogical art’ or ‘community arts’) seeks to
place in the hands of the marginalized, the worker, or, in the words of the.
Recommended
Art and the Power of Freedom of Expression
Discover the essence of 'Art and the Power of Freedom of Expression' at Connect Contemporary. Browse artwork by diverse artists in Atlanta GA, with a touch of context art in Miami.Dive into this PPT now.
Controversial Essay Examples
Controversial Interests
Controversial Art
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Does art matter? What can you do about it?
A personal view of the role of arts in development in the UK as presented to the University of West of England Post Graduate Certificate in Participatory Practice in Arts and Media
Art for change It is often taken for granted that art f.docx
Art for change?
It is often taken for granted that art functions as a tool and a vehicle of social change;
indeed, it was just this theme that we took up in our first discussion board posting. While the
vocal majority seemed to agree that art could foster social change, many of us, when
encountering work such as Warhol’s 200 One Dollar Bills or Marcel Duchamp’sFountain
might find ourselves wondering exactly what type of change such work could really make.
Does a painting that takes money for its subject do anything to unsettle a culture that seems
more and more to place the individual pursuit of money above the needs of the community?
Does a urinal inscribed with a forged signature (see Duchamp’s work mentioned above) do
anything more than offer a paltry challenge to the taste of a leisured class?
It was precisely the complicity of market system art like Duchamp’s and the American Pop
artists like Warhol, Jasper Johns, and Robert Rauschenberg with the oppressive class that
was at the heart of a 1973 protest staged in front of another landmark Sotheby’s auction. On
that October day a group of New York City taxi drivers and artists stood before the renowned
auction house to call down Robert C. Scull who they claimed made his fortune robbing
cabbies and hawking art. Some of the artists marching in solidarity with the taxi cab drivers
rushed out to a nearby hardware store to by a snow shovel to sell at exorbitant price, poking
fun at Duchamp’s In Advance of the Broken Arm. Is this critique of art’s complicity with big
money an apt one?
The idea that the art market is synonymous with ‘business as usual’ is an idea that is as
pervasive today as ever—if not more so. As Eleanor Heartney reminds us in her lecture on
art and labour, one move made by activists of the recent Occupy Wall Street movement was
to set up occupations in a number of New York City’s museums. The organizers of the
Occupy Museums march declared in a public statement that “for the past decade and more,
artists and art lovers have been the victims of the intense commercialization and co-optation
or art.” They further claimed that “art is for everyone, across all classes and cultures and
communities” and not merely for the cultural elite, or the 1%. The artist activists closed their
statement by exhorting museums to open their minds and their hearts: “Art is for everyone!”
they claimed. “The people are at your door!”
These two protests demonstrate an abiding and perhaps growing suspicion of the received
idea that market system art can change things. But while market system art is placed under
intense scrutiny, a growing field of artists and educators have been working to disseminate
the practices and techniques of art making in order to sow the seeds of change. This
community based art (sometimes referred to as ‘dialogical art’ or ‘community arts’) seeks to
place in the hands of the marginalized, the worker, or, in the words of the.
Art for change It is often taken for granted that art f
Art for change?
It is often taken for granted that art functions as a tool and a vehicle of social change;
indeed, it was just this theme that we took up in our first discussion board posting. While the
vocal majority seemed to agree that art could foster social change, many of us, when
encountering work such as Warhol’s 200 One Dollar Bills or Marcel Duchamp’sFountain
might find ourselves wondering exactly what type of change such work could really make.
Does a painting that takes money for its subject do anything to unsettle a culture that seems
more and more to place the individual pursuit of money above the needs of the community?
Does a urinal inscribed with a forged signature (see Duchamp’s work mentioned above) do
anything more than offer a paltry challenge to the taste of a leisured class?
It was precisely the complicity of market system art like Duchamp’s and the American Pop
artists like Warhol, Jasper Johns, and Robert Rauschenberg with the oppressive class that
was at the heart of a 1973 protest staged in front of another landmark Sotheby’s auction. On
that October day a group of New York City taxi drivers and artists stood before the renowned
auction house to call down Robert C. Scull who they claimed made his fortune robbing
cabbies and hawking art. Some of the artists marching in solidarity with the taxi cab drivers
rushed out to a nearby hardware store to by a snow shovel to sell at exorbitant price, poking
fun at Duchamp’s In Advance of the Broken Arm. Is this critique of art’s complicity with big
money an apt one?
The idea that the art market is synonymous with ‘business as usual’ is an idea that is as
pervasive today as ever—if not more so. As Eleanor Heartney reminds us in her lecture on
art and labour, one move made by activists of the recent Occupy Wall Street movement was
to set up occupations in a number of New York City’s museums. The organizers of the
Occupy Museums march declared in a public statement that “for the past decade and more,
artists and art lovers have been the victims of the intense commercialization and co-optation
or art.” They further claimed that “art is for everyone, across all classes and cultures and
communities” and not merely for the cultural elite, or the 1%. The artist activists closed their
statement by exhorting museums to open their minds and their hearts: “Art is for everyone!”
they claimed. “The people are at your door!”
These two protests demonstrate an abiding and perhaps growing suspicion of the received
idea that market system art can change things. But while market system art is placed under
intense scrutiny, a growing field of artists and educators have been working to disseminate
the practices and techniques of art making in order to sow the seeds of change. This
community based art (sometimes referred to as ‘dialogical art’ or ‘community arts’) seeks to
place in the hands of the marginalized, the worker, or, in the words of the ...
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This letter and responses shows the good faith effort made by CAPS to help the Somerville Health Department's Art on Emotion program become integrated, accessible and equally provided to ALL residents.
Ignoring this good-faith effort, the City of Somerville decided to hold this program in a wholly discriminatory manner, from September 26 through December 17, 2010, at the inaccessible Somerville Museum.
SEE also: http://www.flickr.com/photos/artsnsociety/5267482288/in/photostream/
Sweeping Exchanges The Contribution of Feminism to the Art of.docx
Sweeping Exchanges: The Contribution of Feminism to the Art of the 1970s
Author(s): Lucy R. Lippard
Source: Art Journal, Vol. 40, No. 1/2, Modernism, Revisionism, Plurism, and Post-Modernism
(Autumn - Winter, 1980), pp. 362-365
Published by: College Art Association
Stable URL: http://www.jstor.org/stable/776601 .
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Sweeping Exchanges:
The Contribution of Feminism
to the Art of the 1970s
Lucy R. Lippard
Lucy R. Lippard is an art critic
and a member of the collective that
publishes Heresies, afeminist
periodical on politics and the arts.
By now most people-not just feminist
people-will acknowledge that feminism
has made a contribution to the avant-
garde and/or modernist arts of the 1970s.1
What exactly that contribution is and how
important it has been is not so easily
established. This is a difficult subject for
a feminist to tackle because it seems
unavoidably entangled in the art world's
linear I-did-it-firstism, which radical fem-
inists have rejected (not to mention our
own, necessarily biased inside view). If
one says-and one can-that around
1970 women artists introduced an ele-
ment of real emotion and autobiographi-
cal content to performance, body art,
video, and artists' books; or that they
have brought over into high art the use of
"low" traditional art forms such as em-
broidery, sewing, and china painting; or
that they have changed the face of central
imagery and pattern painting, of layering,
fragmentation, and collage-someone
will inevitably and perhaps justifiably
holler the names of various male artists.
But these are simply surface phenomena.
Feminism's major contribution has been
too complex, subversive, and fundamen-
tally political to lend itself to such inter-
necine, hand-to-hand stylistic combat. I
am, therefore, not going to mention names,
but shall try instead to make my claims
sweeping enough to clear the decks.
Feminism's greatest contribution to the
future of art has probably ...
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Sample 5 Paragraph Informative Essay - What I
Professional Writing Service
http://HelpWriting.net/Sample-5-Paragraph-Informative-Essay--- 👈
Mass_Media_Communication_and_Cultural_Identity-An_Overview[1].pdf
Our understanding of culture heavily relies on our consumption of
media. Mass media communication plays a crucial role in
connecting individuals from diverse cultural backgrounds,
Culture Jonathan R. Wynn, University of Ma
Culture
Jonathan R. Wynn, University of
Massachusetts Amherst
Culture (Fall 2021)
Page 2
Culture
J O N A T H A N R . W Y N N , U N I V E R S I T Y O F M A S S A C H U S E T T S A M H E R S T
WHAT IS CULTURE?
Material culture vs. symbolic culture
High culture vs. popular culture
Culture as values vs. culture as a way of life
CULTURE IS A CYCLE
The romantic image of an artist
How is culture produced?
Consuming culture
Subcultures
HOW CULTURE WORKS
How culture creates inequalities
How culture creates groups and boundaries
THE CULTURE JAM
Culture jam as a mix
Culture jam as a problem
Culture jam as a solution
Culture (Fall 2021)
Page 3
INTRODUCTION
How does music help us understand the complexity of culture?
You close your eyes and feel the music. Your head bobs up and down. You see the
color of the lights through your eyelids.
Are you close to the stage, with bodies and sweat pressed to your shoulders, or do you
hang back? Do you feel a connection with the surrounding strangers? With the band? What
kind of music is it? Do the lyrics reflect your experiences or do they transport you into another
perspective? Where are you? A packed underground club? A stadium? Or a library cubicle,
listening on Beats headphones?
Music is a powerful force in our lives. It is also a multibillion-dollar industry, with
organizational and technological changes that shape how music is made and experienced.
Music is just one kind of culture, shaping our views of the world, connecting people near and
far.
What kind of music is this crowd listening to? (Source)
https://pixabay.com/en/audience-band-celebration-concert-1867754
Culture (Fall 2021)
Page 4
We humans produce far more than what we need for mere survival. Our intellect allows
for expansive creativity, self-reflection, and communication. We transform our living
environment. We share ideas and values. Culture, broadly, is everything we make and
consume—including our ideas, attitudes, traditions, and practices—beyond that bare
necessity. Music may very well be one of the earliest forms of culture humanity produced.
“Culture” is one of the most difficult words for a sociologist to use. Sociological research
on culture varies, but most sociologists are committed to the idea that the symbolic and
expressive aspects to social life—the beliefs and values we hold, as well as the practices and
activities we engage in—are worth examination. Thinking in this way, burritos and Beyoncé,
athleisure and college athletics, juggalos (fans of the band Insane Clown Posse) and graffiti all
uncover great sociological questions.
Opening this chapter with a few questions about how you experience music illustrates
how we can think about culture from a sociological perspective. Émile Durkheim allows us to
think about how much of social life works via culture: he notes that symbols (material or
...
11 Art and Ethics Peggy Blood and Pamela J. Sachant 11
11 Art and Ethics Peggy Blood and Pamela J. Sachant
11.1 LEARNING OUTCOMES
After completing this chapter, you should be able to:
• Understand why art and ethics are associated
• Identify works of art that were censored due to their failure to meet societal ethics
• Indicate why ethical values change over time by society
• Articulate why some societal groups may consider some works of art controversial
• Identify ethical considerations in the artist’s use of others’ art work in their own, the
materials used in making art, manipulation of an image to alter its meaning or intent,
and the artist’s moral obligations as an observer
• Identify roles that museums play in the preservation, interpretation, and display of
culturally significant objects
11.2 INTRODUCTION
This chapter is concerned with the perception, susceptibility, and ethics of art. It will explore
and analyze the moral responsibility of artists and their rights to represent and create without
censorship.
Morality and art are connected usually in art that provokes and disturbs. Such art stirs up the
artist’s or viewer’s personal beliefs, values, and morals due to what is depicted. Works that seem
to purposely pursue or strongly communicate a message may cause controversies to flair up: con-
troversies over the rights of artistic freedom or over how society evaluates art. That judgment of
works created by artists has to do with society’s value judgment in a given time in history.
The relationship between the artist and society is intertwined and sometimes at odds as it
relates to art and ethics. Neither has to be sacrificed for the other, however, and neither needs to
bend to the other in order to create or convey the work’s message.
Page | 279
CHAPTER TEN: ART AND RITUAL LIFE
Page | 280
INTRODUCTION TO ART
Art is subjective: it will be received or interpreted by different people in various ways. What may
be unethical to one may be ethical to another. Because art is subjective, it is vulnerable to ethical
judgment. It is most vulnerable when society does not have a historical context or understanding
of art in order to appreciate a work’s content or aesthetics. This lack does not make ethical judg-
ment wrong or irrational; it shows that appreciation of art or styles changes over time and that
new or different art or styles can come to be appreciated. The general negative taste of society
usually changes with more exposure. Still, taste remains subjective.
Ethics has been a major consideration of the public and those in religious or political power
throughout history. For many artists today, the first and major consideration is not ethics, but the
platform from which to create and deliver the message through formal qualities and the medium.
Consideration of ethics may be established by the artist but without hindrance of free expression.
It is expected that in a work of art an artist’s own beliefs, values, and ideology may contras ...
2137ad - Characters that live in Merindol and are at the center of main stories
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一比一原版UC Berkeley毕业证加利福尼亚大学|伯克利分校毕业证成绩单如何办理
UC Berkeley毕业证原版定制【微信：176555708】【加利福尼亚大学|伯克利分校毕业证成绩单-学位证】【微信：176555708】（留信学历认证永久存档查询）采用学校原版纸张、特殊工艺完全按照原版一比一制作（包括：隐形水印，阴影底纹，钢印LOGO烫金烫银，LOGO烫金烫银复合重叠，文字图案浮雕，激光镭射，紫外荧光，温感，复印防伪）行业标杆！精益求精，诚心合作，真诚制作！多年品质 ,按需精细制作，24小时接单,全套进口原装设备，十五年致力于帮助留学生解决难题，业务范围有加拿大、英国、澳洲、韩国、美国、新加坡，新西兰等学历材料，包您满意。
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四.办理各国各大学文凭(一对一专业服务,可全程监控跟踪进度)
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◇回国时间很长，忘记办理；
◇回国马上就要找工作，办给用人单位看；
◇企事业单位必须要求办理的
◇需要报考公务员、购买免税车、落转户口
◇申请留学生创业基金
留信网认证的作用:
1:该专业认证可证明留学生真实身份
2:同时对留学生所学专业登记给予评定
3:国家专业人才认证中心颁发入库证书
4:这个认证书并且可以归档倒地方
5:凡事获得留信网入网的信息将会逐步更新到个人身份内，将在公安局网内查询个人身份证信息后，同步读取人才网入库信息
6:个人职称评审加20分
7:个人信誉贷款加10分→ 【关于价格问题（保证一手价格）
我们所定的价格是非常合理的，而且我们现在做得单子大多数都是代理和回头客户介绍的所以一般现在有新的单子 我给客户的都是第一手的代理价格，因为我想坦诚对待大家 不想跟大家在价格方面浪费时间
对于老客户或者被老客户介绍过来的朋友，我们都会适当给一些优惠。
8:在国家人才网主办的国家网络招聘大会中纳入资料，供国家高端企业选择人才
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2137ad Merindol Colony Interiors where refugee try to build a seemengly norm...
This are the interiors of the Merindol Colony in 2137ad after the Climate Change Collapse and the Apocalipse Wars. Merindol is a small Colony in the Italian Alps where there are around 4000 humans. The Colony values mainly around meritocracy and selection by effort.
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Art for change It is often taken for granted that art f
Art for change?
It is often taken for granted that art functions as a tool and a vehicle of social change;
indeed, it was just this theme that we took up in our first discussion board posting. While the
vocal majority seemed to agree that art could foster social change, many of us, when
encountering work such as Warhol’s 200 One Dollar Bills or Marcel Duchamp’sFountain
might find ourselves wondering exactly what type of change such work could really make.
Does a painting that takes money for its subject do anything to unsettle a culture that seems
more and more to place the individual pursuit of money above the needs of the community?
Does a urinal inscribed with a forged signature (see Duchamp’s work mentioned above) do
anything more than offer a paltry challenge to the taste of a leisured class?
It was precisely the complicity of market system art like Duchamp’s and the American Pop
artists like Warhol, Jasper Johns, and Robert Rauschenberg with the oppressive class that
was at the heart of a 1973 protest staged in front of another landmark Sotheby’s auction. On
that October day a group of New York City taxi drivers and artists stood before the renowned
auction house to call down Robert C. Scull who they claimed made his fortune robbing
cabbies and hawking art. Some of the artists marching in solidarity with the taxi cab drivers
rushed out to a nearby hardware store to by a snow shovel to sell at exorbitant price, poking
fun at Duchamp’s In Advance of the Broken Arm. Is this critique of art’s complicity with big
money an apt one?
The idea that the art market is synonymous with ‘business as usual’ is an idea that is as
pervasive today as ever—if not more so. As Eleanor Heartney reminds us in her lecture on
art and labour, one move made by activists of the recent Occupy Wall Street movement was
to set up occupations in a number of New York City’s museums. The organizers of the
Occupy Museums march declared in a public statement that “for the past decade and more,
artists and art lovers have been the victims of the intense commercialization and co-optation
or art.” They further claimed that “art is for everyone, across all classes and cultures and
communities” and not merely for the cultural elite, or the 1%. The artist activists closed their
statement by exhorting museums to open their minds and their hearts: “Art is for everyone!”
they claimed. “The people are at your door!”
These two protests demonstrate an abiding and perhaps growing suspicion of the received
idea that market system art can change things. But while market system art is placed under
intense scrutiny, a growing field of artists and educators have been working to disseminate
the practices and techniques of art making in order to sow the seeds of change. This
community based art (sometimes referred to as ‘dialogical art’ or ‘community arts’) seeks to
place in the hands of the marginalized, the worker, or, in the words of the ...
e•a•t•}works Salon 0
e.a.t.}works salons experiment with new models and modalities for supporting art and culture in Web 3
Attempt to mitigate Somerville Health Department Inaccessible program. januar...
Attempt to mitigate Somerville Health Department Inaccessible program. januar...eilily Community Access Project, Somerville
When the Community Access Project of Somerville attempted to mitigate the City of Somerville's discriminatory planning for an inaccessible "Art on Emotion"exhibit and affiliated programs, we received a lovely response from the Somerville staffer directing the Suicide Prevention and Youth Program. However, she gave us incorrect information, possibly as a result of the Somerville Museum Director's falsehood. She said that the Museum was "seeking matching funds," as though this was to help with the accessibility barriers.
This letter and responses shows the good faith effort made by CAPS to help the Somerville Health Department's Art on Emotion program become integrated, accessible and equally provided to ALL residents.
Ignoring this good-faith effort, the City of Somerville decided to hold this program in a wholly discriminatory manner, from September 26 through December 17, 2010, at the inaccessible Somerville Museum.
SEE also: http://www.flickr.com/photos/artsnsociety/5267482288/in/photostream/
Sweeping Exchanges The Contribution of Feminism to the Art of.docx
Sweeping Exchanges: The Contribution of Feminism to the Art of the 1970s
Author(s): Lucy R. Lippard
Source: Art Journal, Vol. 40, No. 1/2, Modernism, Revisionism, Plurism, and Post-Modernism
(Autumn - Winter, 1980), pp. 362-365
Published by: College Art Association
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Sweeping Exchanges:
The Contribution of Feminism
to the Art of the 1970s
Lucy R. Lippard
Lucy R. Lippard is an art critic
and a member of the collective that
publishes Heresies, afeminist
periodical on politics and the arts.
By now most people-not just feminist
people-will acknowledge that feminism
has made a contribution to the avant-
garde and/or modernist arts of the 1970s.1
What exactly that contribution is and how
important it has been is not so easily
established. This is a difficult subject for
a feminist to tackle because it seems
unavoidably entangled in the art world's
linear I-did-it-firstism, which radical fem-
inists have rejected (not to mention our
own, necessarily biased inside view). If
one says-and one can-that around
1970 women artists introduced an ele-
ment of real emotion and autobiographi-
cal content to performance, body art,
video, and artists' books; or that they
have brought over into high art the use of
"low" traditional art forms such as em-
broidery, sewing, and china painting; or
that they have changed the face of central
imagery and pattern painting, of layering,
fragmentation, and collage-someone
will inevitably and perhaps justifiably
holler the names of various male artists.
But these are simply surface phenomena.
Feminism's major contribution has been
too complex, subversive, and fundamen-
tally political to lend itself to such inter-
necine, hand-to-hand stylistic combat. I
am, therefore, not going to mention names,
but shall try instead to make my claims
sweeping enough to clear the decks.
Feminism's greatest contribution to the
future of art has probably ...
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Mass_Media_Communication_and_Cultural_Identity-An_Overview[1].pdf
Our understanding of culture heavily relies on our consumption of
media. Mass media communication plays a crucial role in
connecting individuals from diverse cultural backgrounds,
Culture Jonathan R. Wynn, University of Ma
Culture
Jonathan R. Wynn, University of
Massachusetts Amherst
Culture (Fall 2021)
Page 2
Culture
J O N A T H A N R . W Y N N , U N I V E R S I T Y O F M A S S A C H U S E T T S A M H E R S T
WHAT IS CULTURE?
Material culture vs. symbolic culture
High culture vs. popular culture
Culture as values vs. culture as a way of life
CULTURE IS A CYCLE
The romantic image of an artist
How is culture produced?
Consuming culture
Subcultures
HOW CULTURE WORKS
How culture creates inequalities
How culture creates groups and boundaries
THE CULTURE JAM
Culture jam as a mix
Culture jam as a problem
Culture jam as a solution
Culture (Fall 2021)
Page 3
INTRODUCTION
How does music help us understand the complexity of culture?
You close your eyes and feel the music. Your head bobs up and down. You see the
color of the lights through your eyelids.
Are you close to the stage, with bodies and sweat pressed to your shoulders, or do you
hang back? Do you feel a connection with the surrounding strangers? With the band? What
kind of music is it? Do the lyrics reflect your experiences or do they transport you into another
perspective? Where are you? A packed underground club? A stadium? Or a library cubicle,
listening on Beats headphones?
Music is a powerful force in our lives. It is also a multibillion-dollar industry, with
organizational and technological changes that shape how music is made and experienced.
Music is just one kind of culture, shaping our views of the world, connecting people near and
far.
What kind of music is this crowd listening to? (Source)
https://pixabay.com/en/audience-band-celebration-concert-1867754
Culture (Fall 2021)
Page 4
We humans produce far more than what we need for mere survival. Our intellect allows
for expansive creativity, self-reflection, and communication. We transform our living
environment. We share ideas and values. Culture, broadly, is everything we make and
consume—including our ideas, attitudes, traditions, and practices—beyond that bare
necessity. Music may very well be one of the earliest forms of culture humanity produced.
“Culture” is one of the most difficult words for a sociologist to use. Sociological research
on culture varies, but most sociologists are committed to the idea that the symbolic and
expressive aspects to social life—the beliefs and values we hold, as well as the practices and
activities we engage in—are worth examination. Thinking in this way, burritos and Beyoncé,
athleisure and college athletics, juggalos (fans of the band Insane Clown Posse) and graffiti all
uncover great sociological questions.
Opening this chapter with a few questions about how you experience music illustrates
how we can think about culture from a sociological perspective. Émile Durkheim allows us to
think about how much of social life works via culture: he notes that symbols (material or
...
11 Art and Ethics Peggy Blood and Pamela J. Sachant 11
11 Art and Ethics Peggy Blood and Pamela J. Sachant
11.1 LEARNING OUTCOMES
After completing this chapter, you should be able to:
• Understand why art and ethics are associated
• Identify works of art that were censored due to their failure to meet societal ethics
• Indicate why ethical values change over time by society
• Articulate why some societal groups may consider some works of art controversial
• Identify ethical considerations in the artist’s use of others’ art work in their own, the
materials used in making art, manipulation of an image to alter its meaning or intent,
and the artist’s moral obligations as an observer
• Identify roles that museums play in the preservation, interpretation, and display of
culturally significant objects
11.2 INTRODUCTION
This chapter is concerned with the perception, susceptibility, and ethics of art. It will explore
and analyze the moral responsibility of artists and their rights to represent and create without
censorship.
Morality and art are connected usually in art that provokes and disturbs. Such art stirs up the
artist’s or viewer’s personal beliefs, values, and morals due to what is depicted. Works that seem
to purposely pursue or strongly communicate a message may cause controversies to flair up: con-
troversies over the rights of artistic freedom or over how society evaluates art. That judgment of
works created by artists has to do with society’s value judgment in a given time in history.
The relationship between the artist and society is intertwined and sometimes at odds as it
relates to art and ethics. Neither has to be sacrificed for the other, however, and neither needs to
bend to the other in order to create or convey the work’s message.
Page | 279
CHAPTER TEN: ART AND RITUAL LIFE
Page | 280
INTRODUCTION TO ART
Art is subjective: it will be received or interpreted by different people in various ways. What may
be unethical to one may be ethical to another. Because art is subjective, it is vulnerable to ethical
judgment. It is most vulnerable when society does not have a historical context or understanding
of art in order to appreciate a work’s content or aesthetics. This lack does not make ethical judg-
ment wrong or irrational; it shows that appreciation of art or styles changes over time and that
new or different art or styles can come to be appreciated. The general negative taste of society
usually changes with more exposure. Still, taste remains subjective.
Ethics has been a major consideration of the public and those in religious or political power
throughout history. For many artists today, the first and major consideration is not ethics, but the
platform from which to create and deliver the message through formal qualities and the medium.
Consideration of ethics may be established by the artist but without hindrance of free expression.
It is expected that in a work of art an artist’s own beliefs, values, and ideology may contras ...
Similar to Understanding How Art Educates - Jeremy Casson (18)
Art for change It is often taken for granted that art f
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Sweeping Exchanges The Contribution of Feminism to the Art of.docx
Sweeping Exchanges The Contribution of Feminism to the Art of.docx
Mass_Media_Communication_and_Cultural_Identity-An_Overview[1].pdf
Mass_Media_Communication_and_Cultural_Identity-An_Overview[1].pdf
11 Art and Ethics Peggy Blood and Pamela J. Sachant 11
11 Art and Ethics Peggy Blood and Pamela J. Sachant 11
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We will then follow up with discussions and hands-on experiments on working with embryos, ovums, gametes, genetic materials from code to slime, in a creative and playful workshop setup, where all paticipant can collaborate on artistic interventions into the germline of a post-human future.
一比一原版NYU毕业证纽约大学毕业证成绩单如何办理
NYU毕业证原版定制【微信：176555708】【纽约大学毕业证成绩单-学位证】【微信：176555708】（留信学历认证永久存档查询）采用学校原版纸张、特殊工艺完全按照原版一比一制作（包括：隐形水印，阴影底纹，钢印LOGO烫金烫银，LOGO烫金烫银复合重叠，文字图案浮雕，激光镭射，紫外荧光，温感，复印防伪）行业标杆！精益求精，诚心合作，真诚制作！多年品质 ,按需精细制作，24小时接单,全套进口原装设备，十五年致力于帮助留学生解决难题，业务范围有加拿大、英国、澳洲、韩国、美国、新加坡，新西兰等学历材料，包您满意。
◆◆◆◆◆ — — — — — — — — 【留学教育】留学归国服务中心 — — — — — -◆◆◆◆◆
【主营项目】
一.毕业证【微信：176555708】成绩单、使馆认证、教育部认证、雅思托福成绩单、学生卡等！
二.真实使馆公证(即留学回国人员证明,不成功不收费)
三.真实教育部学历学位认证（教育部存档！教育部留服网站永久可查）
四.办理各国各大学文凭(一对一专业服务,可全程监控跟踪进度)
如果您处于以下几种情况：
◇在校期间，因各种原因未能顺利毕业……拿不到官方毕业证【微信：176555708】
◇面对父母的压力，希望尽快拿到；
◇不清楚认证流程以及材料该如何准备；
◇回国时间很长，忘记办理；
◇回国马上就要找工作，办给用人单位看；
◇企事业单位必须要求办理的
◇需要报考公务员、购买免税车、落转户口
◇申请留学生创业基金
留信网认证的作用:
1:该专业认证可证明留学生真实身份
2:同时对留学生所学专业登记给予评定
3:国家专业人才认证中心颁发入库证书
4:这个认证书并且可以归档倒地方
5:凡事获得留信网入网的信息将会逐步更新到个人身份内，将在公安局网内查询个人身份证信息后，同步读取人才网入库信息
6:个人职称评审加20分
7:个人信誉贷款加10分→ 【关于价格问题（保证一手价格）
我们所定的价格是非常合理的，而且我们现在做得单子大多数都是代理和回头客户介绍的所以一般现在有新的单子 我给客户的都是第一手的代理价格，因为我想坦诚对待大家 不想跟大家在价格方面浪费时间
对于老客户或者被老客户介绍过来的朋友，我们都会适当给一些优惠。
8:在国家人才网主办的国家网络招聘大会中纳入资料，供国家高端企业选择人才
选择实体注册公司办理，更放心，更安全！我们的承诺：可来公司面谈，可签订合同，会陪同客户一起到教育部认证窗口递交认证材料，客户在教育部官方认证查询网站查询到认证通过结果后付款，不成功不收费！
学历顾问：微信：176555708
ART FORMS OF KERALA: TRADITIONAL AND OTHERS
It is about the various cultural heritage of Kerala, particularly about the Art forms of Kerala
Memory Rental Store - The Ending(Storyboard)
Memory Rental Store - The Ending
Storyboard by Surya Kalyan
The Last Polymath: Muntadher Saleh
Explore the multifaceted world of Muntadher Saleh, an Iraqi polymath renowned for his expertise in visual art, writing, design, and pharmacy. This SlideShare delves into his innovative contributions across various disciplines, showcasing his unique ability to blend traditional themes with modern aesthetics. Learn about his impactful artworks, thought-provoking literary pieces, and his vision as a Neo-Pop artist dedicated to raising awareness about Iraq's cultural heritage. Discover why Muntadher Saleh is celebrated as "The Last Polymath" and how his multidisciplinary talents continue to inspire and influence.
一比一原版(GU毕业证)格里菲斯大学毕业证成绩单
GU毕业证【微信95270640】一比一伪造格里菲斯大学文凭@假冒GU毕业证成绩单+Q微信95270640办理GU学位证书@仿造GU毕业文凭证书@购买格里菲斯大学毕业证成绩单GU真实使馆认证/真实留信认证回国人员证明
办理国外格里菲斯大学毕业证书 #成绩单改成绩 #教育部学历学位认证 #毕业证认证 #留服认证 #使馆认证（留学回国人员证明） #（证）等
真实教育部认证教育部存档中国教育部留学服务中心认证（即教育部留服认证）网站100%可查.
真实使馆认证（即留学人员回国证明）使馆存档可通过大使馆查询确认.
留信网认证国家专业人才认证中心颁发入库证书留信网永久存档可查.
格里菲斯大学格里菲斯大学毕业证假文凭毕业证 #成绩单等全套材料从防伪到印刷从水印到钢印烫金跟学校原版100%相同.
国际留学归国服务中心：实体公司注册经营行业标杆精益求精！
国外毕业证学位证成绩单办理流程：
1客户提供办理格里菲斯大学格里菲斯大学毕业证假文凭信息：姓名生日专业学位毕业时间等（如信息不确定可以咨询顾问：我们有专业老师帮你查询）；
2开始安排制作格里菲斯大学毕业证成绩单电子图；
3格里菲斯大学毕业证成绩单电子版做好以后发送给您确认；
4格里菲斯大学毕业证成绩单电子版您确认信息无误之后安排制作成品；
5格里菲斯大学成品做好拍照或者视频给您确认；
6快递给客户（国内顺丰国外DHLUPS等快递邮寄格里菲斯大学格里菲斯大学毕业证假文凭）。他跟他交友与城里人交友但他俩就好像是两个世界里的人根本拢不到一块儿不知不觉山娃倒跟周围出租屋里的几个小伙伴成了好朋友因为他们也是从乡下进城过暑假的小学生快乐的日子总是过得飞快山娃尚未完全认清那几位小朋友时他们却一个接一个地回家了山娃这时才恍然发现二个月的暑假已转到了尽头他的城市生活也将划上一个不很圆满的句号了值得庆幸的是山娃早记下了他们的学校和联系方式说也奇怪在山娃离城的头一天父亲居然请假陪山娃正
一比一原版(DU毕业证)迪肯大学毕业证成绩单
DU毕业证【微信95270640】☀️原版仿制迪肯大学毕业证书扫描件本科学位证书【办证Q微信95270640】DU毕业证书扫描件原版仿制毕业成绩单，能完美还原海外各大学DUBachelor Diploma degree, Master Diploma（本科/硕士迪肯大学毕业证书、成绩单）DU大学Offer录取通知书、雅思成绩单、托福成绩单、雅思托福代考、语言证书、学生卡、高仿留服认证书等毕业/入学/在读材料。1:1完美还原海外各大学毕业材料上的迪肯大学毕业证书扫描件本科学位证书DU毕业证书扫描件原版仿制毕业成绩单工艺：水印，阴影底纹，钢印LOGO烫金烫银，LOGO烫金烫银复合重叠。文字图案浮雕，激光镭射，紫外荧光，温感，复印防伪。
办理国外迪肯大学毕业证书 #成绩单改成绩 #教育部学历学位认证 #毕业证认证 #留服认证 #使馆认证（留学回国人员证明） #（证）等
真实教育部认证教育部存档中国教育部留学服务中心认证（即教育部留服认证）网站100%可查.
真实使馆认证（即留学人员回国证明）使馆存档可通过大使馆查询确认.
留信网认证国家专业人才认证中心颁发入库证书留信网永久存档可查.
迪肯大学迪肯大学本科毕业证成绩单毕业证 #成绩单等全套材料从防伪到印刷从水印到钢印烫金跟学校原版100%相同.
国际留学归国服务中心：实体公司注册经营行业标杆精益求精！
国外毕业证学位证成绩单办理流程：
1客户提供办理迪肯大学迪肯大学本科毕业证成绩单信息：姓名生日专业学位毕业时间等（如信息不确定可以咨询顾问：我们有专业老师帮你查询）；
2开始安排制作迪肯大学毕业证成绩单电子图；
3迪肯大学毕业证成绩单电子版做好以后发送给您确认；
4迪肯大学毕业证成绩单电子版您确认信息无误之后安排制作成品；
5迪肯大学成品做好拍照或者视频给您确认；
6快递给客户（国内顺丰国外DHLUPS等快递邮寄迪肯大学迪肯大学本科毕业证成绩单）。去夏令营听课山娃很高兴夏令营就设在附近一所小学山娃发现那所小学比自己的学校更大更美操场上还铺有塑胶跑道呢里面很多小朋友一班一班的快快乐乐原来城里娃都藏这儿来了怪不得平时见不到他们山娃恍然大悟起来吹拉弹唱琴棋书画山娃都不懂却什么都想学山娃怨自己太笨什么都不会斟酌再三山娃终于选定了学美术当听说每月要交元时父亲犹豫了山娃也说爸算了吧咱学校一学期才交元呢买图画书回家咱自己练父亲摸着山娃的小平头擤了擤鼻子流
Inter-Dimensional Girl Boards Segment (Act 3)
Storyboards from a segment of my thesis film: "Inter-Dimensional Girl!"
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2137ad - Characters that live in Merindol and are at the center of main stories
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2137ad Merindol Colony Interiors where refugee try to build a seemengly norm...
Caffeinated Pitch Bible- developed by Claire Wilson
Caffeinated Pitch Bible- developed by Claire Wilson
The Legacy of Breton In A New Age by Master Terrance Lindall
The Legacy of Breton In A New Age by Master Terrance Lindall
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European Cybersecurity Skills Framework Role Profiles.pdf
European Cybersecurity Skills Framework Role Profiles.pdf
Understanding How Art Educates - Jeremy Casson
- 1. How Art Educates JEREMY CASSON
- 2. 2 JEREMY CASSON For an artist, their use of creativity can bring attention to key issues in society and drive social change.
- 3. 3 How Art Educates Art as a Community For an artist, their use of creativity can bring attention to key issues in society and drive social change. Using their platforms to educate and spread awareness, art itself can become a conduit for debate and progress – and as it spreads, it can even evolve into a movement. The study of art can provide valuable opportunities for personal growth, inspiring people to take action and make changes in their own lives. Art can enable people to evaluate their own perspectives on the world and think about points of view that differ from their own. Art also provides an opportunity to foster connections with others. For those who discov- er artists that they admire and start to follow their careers, they enter into a community of like-minded art lovers, creating more connections and helping to point them in the direction of other celebrated artists. As a result of the growing influence of the digital world, there are far less barriers to the advancement and celebration of art. By utilising social media and the internet, artists can reach more people than ever before and enable their followers to come together organically.
- 4. For more information about art, visit the blog of Jeremy Casson.