The Varied Value of Land Essay Example for Free

The Varied Value of Land Essay Land represents a quintessential issue between Native Americans and Europeans. This has been true since Columbus’ discovery and the era of Spanish exploration, invasion, and settlement. During the latter periods of Native American history we observe how English colonization and then the birth and growth of the United States affects the Indian Nations. During this period we mark how two divergent societies value land differently and the disparities resulting in conflict and Indian subjugation. The English Colonial Settlements initially viewed the land similarly as the aboriginal Indian inhabitants in a particular way. The land was the provider of sustenance to both. The early English Colonies sought refuge in the land, which was unlike the early Spanish whose North American invasions sought to pillage riches through lands traversed in the name of religious virtue. The original English Colonies had fled their own religious persecution and instead settle lands to build their society within its borders. The initial contention between Indians and the English Colonies grew from the fundamental differences in each civilization’s ideal of a settlement and territory. Whether an Indian Nations included permanent towns or not the Tribe’s Bands where predominately hunter-gatherers throughout its territory. Furthermore and unlike Europeans these Indian People shared cosmology that identified them as being one with the land. The European view of land was that of property and possession. As English Colonies and the later Americans further coveted Indian land to satisfy expansionism and economic enterprise we observe an unending encroachment on Indian resources. At first there was an aggressive unfettered Indian land grab and then ongoing assaults on natural resources residing on the ever-dwindling Indian lands. The stereotypes of American Indians as inferior beings with limited intellect, or bloodthirsty warriors, or lacking acceptable morals initially justified Colonial expansionism under pretense of ordained religiosity. Indian resistance to relentless encroachment was often confronted with rebellion and the question of sovereignty was debated. The establishment of the United States and the subsequent 1823 Supreme Court ruling of Johnson v.  McIntosh made clear the government accepted that early Europeans had rights to all Indian lands by having discovered the lands. Having previously defeated the British and securing American independence allowed the victor’s title be transferred to the United States. It is from this point that â€Å"Conquest by Law† guides the history of land possession between Native Americans and Americans. This conquest gained popular social acceptance by the mid 19th Century as American society adopted the political decree that it was Manifest Destiny to encompass the continent. The national conquest gained a legal endorsement to empower government separate Indian Nations from their land as assured in 1831 by the Supreme Court’s Cherokee Nation v. Georgia ruling that minimized Indian sovereignty to that of being a dominated people at best classified as dependents of their United States government guardian. In 1832 the Worcester v. Georgia ruling held that the aforementioned Cherokee treaties and the Trade and Intercourse Acts passed since 1790 did recognize Indian Nations as political entities with authority within its borders. It now excluded States from having any jurisdictional power over Indian Nations. Though this ruling established Indians as autonomous from States it put in motion what would later become Congressional plenary power and it marks the beginning of federally exercised relocation to feed American land hunger and later efforts to manage â€Å"the Indian problem†. The vastly different views regarding land combined with systematic efforts to dismantle Indian culture and pushed towards Indian eradication. Second to the impact of European introduced disease it would be habitat destruction and alteration to natural Indian environments that battled Indian Nations and drove them close to extinction. More so than overuse of natural resources it was the onset of the land being fenced and parceled which relegated Indian Nations to immobile and economically poor and spiritually bankrupt people faced with generational social disintegration. The series of governmental polices both purposefully and seemingly inadvertently legalized this conquest. Some of the most damaging and consequential actions include the movement to reservations through the late 1800s. The reservation policy reversal known as the Allotment Act of 1887 pushed to assimilate Indians using land as the vehicle by requiring such parcels provide for the Indians as it did homesteaders without any regard to the traditional Indian land relationship. From the Indian Reorganization Act of 1934 through the Termination policy and Relocation programs of the mid 20th Century the importance of Indian land affinity was never validated and to do so would have required literal enforcement and complete adherence to treaties. The current era of Tribal Self-Determination beginning when the Indian Civil Rights Act enacted in 1968 does acknowledge Euro-American infringement on Indian lands. Government interventions and enforcement, whether or not serving in the best interest of sovereign Indian Nations, has not sought to return these Indian Nations to a state of a being a harmonious civilization that can be described as a confederacy of tribes, bands, and familial clans pursuing their life cycle throughout a vast ecosystem. The Euro-American value of property and possession has prevailed.

Debates on Modernist Art Installations

Debates on Modernist Art Installations Standing within the entranceway, the atrium rises above, skylights permeating the inky and surreal display area, each installation glinting beneath the early morning sunlight. Nearby elevators climb exposed and metallic, offsetting the historical and modern paintings on nearby walls with their mechanistic contrast. This view of the Museum of Modern Art (MOMA) in New York is both breathtaking and inspiring yet constantly criticized as a detraction from the main participants in this voyeuristic journey, the art forms. In today’s expanding global community, there is a continued evolution of cultural definition, one which is no longer the responsibility of the elders or the overseeing governmental body. Instead, cultural emulsion has been allocated to the increasingly vocal members of social niches, the propagators of coinciding dissent and support, and within this melting pot, there lingers an uncertain future for the world of modern art, as critic and corporation alike vie for e qual say in placement and value. No longer is the industry controlled by the definitive opinions of the bourgeoisie, nor is it evolved through the work of a single revolutionary artist. Instead, art is an experiential form of community, one which is intimately related to the perception of the viewer and the intention of the artist. Within this collaborative experience, however, there is one more singular and remarkable player, the institutional architecture itself. It is from within these walls (or outside of them in some cases) that the viewer retrieves their spatial perception, and thereby a unique frame of reference to the art as it is viewed. The future of modern art institutions lies within the ability to link creative architecture and spectacular art, a task which has proved difficult for many global facilities. Ultimately, the nature of architecture is one which can be easily integrated into the creative maxims of a desirous society; and as culture evades popular dispersion a mid mass media clutter it is the responsibility of the institution to revive identity and meaning. Artistic representation evolved from a question, the internal struggle of a humanity determined to indentify an elusive meaning, a broad spectrum of thought which necessitated expression and discussion.[1] Historically, this impetus was founded on the religious iconography which was so pervasive in the centuries preceding the postmodernist era. Critics such as Ruskin challenged that the artist himself was a conduit of morality from which innate goodness and meritorious intent were required instruments of his art form.[2] Yet this theory could not hold in a society which continued to evade such limiting thought processes and introduce new and more radical ideas, variables of necessity more than revolution. The rise of modernism can be attributed to an institutionalization of radical doubt, a necessitated gathering of hypotheses from which collectivist tenacity can operate among multiple sources of authority.[3] It is from within this new structure that the architectural merits of the institution became divergent from their historical representation. Out of the cube with white walls and steady flow of viewers evolved a framework of participation, one which challenged architects to redefine their structures, creating true destinations to encompass a more discerning postmodern voyeur. The roots of modernism, according to Williams (1992) became a terminus, a limiter among artists who acted outside of the sphere of the large institution, thereby relegating subjectively assumed true artistic talent to the halls of mega-institutions where their modernity would flourish appropriately.[4] It was this realignment of art to institutional display which enabled a much broader public viewership, undermining the nature of elitism and discrimination. Lind (2007) notes that collaboration was an essential factor in the evolution of postmodernism, forming the expectations of community among artists and viewers, an active depiction which endeavored to draw the participants into the unique aesthetic of the art itself and away from the group-think expectations evoked by society.[5] Collaborative art would become more of a lifestyle than a form, enabling the structure to become much more significant, actively introducing the public to the merits of participation. As artists collabora te, so do the viewers, actively interpreting their vision and subjecting it to internal modes of expectation and perception. This cultural dissolution through creative depiction is one of the most essential evolutions within the modern art institution and it will continue to define the structure of future establishments as viewers and artists actively participate in their experience. In looking for examples of this revolution of design, the Museum of Modern Art (MOMA) in New York recognized the modernist movement and integrated Bauhaus-style architecture to become a global symbol for a new and utopian representation of exhibitionism.[6] The ideologies which underlie utopianism in art are a culturally divergent need for connectivism, a variability which can operate both functionally and introspectively, thereby challenging the propensity of acceptance and replacing it with a question of ‘what.’ The revised institution now enjoyed a supple foundation for developing this question into a lifestyle, one in which viewers would embark on an ethereal journey, whether they were immediately aware of it or not, partaking in exhibitions by the very basis of their viewership. The ability to modify both spatial and visual stimuli while integrating an artists unique vision and meaning enabled a cultural dialogue which became much more substantial than that of a sim ple meander through a while cubicle with painted blemishes hung at eye level. Werner (2005) offers a nostalgic perspective of traditional institutions as structures designed to preserve the cultural capital of a rapidly evolving population; and from these conservation tactics, inspire scholarship and educated debate.[7] Yet it was the lack of debate, the limitations which inebriated the artistic community in the modernist era that evolved to awaken these participants during the revolution of postmodernism. Yet there is no evasion of historical context, and the stereotypical cube lingers as prominently as modern structures themselves occupy social import. Yet, whereas the cubist nature of historical institutions continues to pervade popular critical opinion, recognizing the merits of art over the environmental variables, evolutionary thinkers such as Zaha Hadid note that it is the activation of participation within an exhibit which determines the emotional response evoked from the viewer.[8] Should the four walled container be replicated room after room as it is in many scenarios, there is limited participation and a lack of interactivity, therefore, minimizing the relationship between visitor and artist. Similarly, variable angles and limitless perspective can also detract from the art itself, thereby making the institution a structural deviant and overcoming the artistic meaning through gauche architecture. There is a balance between structure and deconstruction in spaces, one which i s not readily intuited and is as important to the merits of the art as the quality of the artist’s medium. Combinative meaning represents the necessary steps taken to ensure that viewers are culturally and visually stimulated in their institutional journey; and as global expansion broadens the scope of participation, the architectural framework plays an intimate role in experiential influence. There is an underlying debate which unfortunately shrouds the merits of institutional participation, relegating their role to that of a corporate philanderer, a by-day street troller seeking monetary reward for singular experiences. By Werner’s (2005) perception, the value basis of the institution itself is founded on the relationship between social net worth and capital economy.[9] Therefore, should the public perceive artworks to be valuable, their readiness with capital backing to support this belief should coordinate with their imputed interests. The museum interprets popular culture, establishes demarcations of perceived representation, and then displays artifacts to support a desirous and discerning visitor base who feels an innate draw towards their now appropriately seeded cultural offering. Yet within this altruistic idealism, there is a limiter inflamed by the nature of the architectural value itself. In order to appropriately valuate a particular artist’s wor k, the externally implied value of the institution should be added to the socially defined valuation. In this way, consideration for structure and aestheticism are coupled with societal and capitalist value structures intimately uniting artist and establishment. The question which is then raised is whether the value of the art or the value of the institution is preponderant, and in which way can anxious critics ascribe a numerical quality to cultural aphorisms? The nature of commodification within the post-modernist society is one in which self-identification through means of lifestyle adaptation becomes greatly enhanced, almost to the point of religious zeal.[10] As museum clientele moved evolved from the elitist bourgeoisie to a much broader base of attendee, defining installations in terms of expectation became a much more difficult task. In continuing the legacy of dominating cultural theory, the curator and his team continue to retain responsibility for influencing exactly what this self-identification entails, parading their perceived values by way of artistic installation. Ruskin and his modernist ideals reminded that society must regulate itself through attention to intrinsic values and prevention of this capability should be undone and disintegrated from the constructs of an appropriately inclined social body.[11] Therefore, in spite of the proclivity towards radicalism, there has always been an assumed need for collectivist theory , from which architectural deviance retains a unique capability for defining the nature of the artistic experience. If the curator is to define identity, then the structure itself defies this definition, instead realigning its mission with that of the viewer, an evolving, variable, and discerning participant in a cultural exchange which continues to linger outside of stringent definition. It is from this understanding that Foster (2002) explores the idea that the institution is as important to art as the art is to the institution.[12] This dissolution of parity into spatially distinctive relationships sustains the nature of consumerism, thereby redirecting interests towards branded influence. The institution is no longer simply a four-walled bleach spot, it is now a faà §ade essential to the perception of art and inclusive of interactivity as well as interpretive guidance. The commodification of society is directly responsible for perception within the artistic institution, and in spite of the merits of traditionalist theory, the idea of construed reality is no longer a marketable brand. Instead, reality becomes a participant just as experience determines cognitive perception. The architectural evolution of the integrated structure thereby initiates each unique introspection and enables a passing collectivism that inspires and challenges while at the same time, repre sents cultural reactivation. Rem Koolhaas (2006) in a recent interview challenged that architecture serves as a balancing point between the past and future, exacting a form of control in a social structure where control was essentially indefinable.[13] His perception of institutional architecture idolizes the modularity of architectural structures, enabling the display and innate motion of artistic endeavors through the translatable nature of the buildings. It is this translation which then questions whether the art can simply be considered a work of the artist or should be reattributed to a collaborative process with the architect. Architectural influence becomes an intimate relationship between space and localization, returning responsibility to the installation specialists, as their placement becomes an essential part of the perceived meaning and cultural dispersion. The ability to manipulate meaning by simply moving a work of art to a different location or juxtaposing it with a contrasting work is a remarkab le power, one which shapes the nature of cultural manipulation in the modern era much more than was allowed under modernist structure. Douglas (1986) sustains this idea that the institution is responsible for generating the blueprint for a collectivist memory, one which is framed in political and social maxims yet comported by means of display and interactivity.[14] There is a framework of mediation which is highlighted by the architectural infrastructure of the art museum; within this collaborative dialogue, visitors are equally challenged and consoled through the principles of display, messaging, and revelation. Remarkably, voyeurism assumes a unique role within the new architecture, evolving to placate the needs of visual stimulation while at the same time establishing an intimacy of experience in which the visitor is unwittingly linked with the architecture and art simultaneously. There is a new collectivism, one which links experience, theory, discussion, and does so within the constructs of what can be considered a corporately moderated exhibition. The installation team in their determination of goals and obje ctives must placate both perceived social values as and evolve their placement to meet strict standards of visual responsibility. Yet the subjective nature of such placement simply evades any available scientific evaluation of its intricacies, as the person who is interpreting a specific piece in the matter of situating is simply intoning their own perception of cultural meaning, thereby imparting this upon all viewers who enter that space. Within this expectation of compliance, there is a unique debate surrounding subjectivism and the responsibility of artistic veneration, yet limited conclusions from which to situate any truly definitive argument. Vidokle (2007) challenged that art in general is an establishment of conditions which are necessary for creative production, therefore undermining any expectation that art could be truly ‘taught’ to a group of desirous students.[15] Spawning from this conclusion, the belief that artistic placement could have a singular dimension is equally as flawed, and thereby challenges the curator to explore both the merits of architectural influence and artistic variables to ensure that a work is portrayed representative of the artist’s expected meaning. Interestingly, this statement alone raises yet another challenge to the merits of meaning in that as placement is subjective, the artist’s vision is subjective, and the visitor’s perception is also subj ective, there is limited objectification which can translate across the broad scope of artistic representation and define the true meaning of any work of art. Integrating the architecture of an institution into the visually provocative nature of art offers a socially collaborative incidence of inspiration, one which enables curator, artist, and viewer to coalesce, bringing singular, and remarkable insight to light upon a unique cultural connection within the museum’s walls. In considering the merits of other forms of artistic representation, such as those which are take out of the four walled structure and placed in public view, there are similar variables which determine the architecture of the natural environment and assist in determining the unique meaning of the piece in relationship to its placement. â€Å"The value of material representation was not self-evident at the outset and that like all inventions; material representation was contingent upon, coherent with, and dialectically related to the contemporaneous neurological, social, technological, and ideational context.†[16] When a particular subject is placed within public view, there are an infinite number of variables which can influence perception, inclusive but not limited to, weather, natural environment, crowd flow, and political climate. If one were to view Rachael Whitread’s water tower on a clouded day with internal angst reminiscent of Joan of Arc on her deathbed, the pe rception of clarity and purpose might be obscured by these subjective sentiments. Therefore, there is a recognition that art must be interpreted through the constructs of internally generated, experientially driven, conditions in order to ensure that its palpability resonates with each unique viewer. As art is extracted from the institution, the institution adjusts to become the environment. This evolution proffers a unique vision of globalized community, as placing out of context representations within unique settings, such as Antony Gormley’s ‘another place’ at various stages of drown on any foreign shoreline, enables a broad range of viewers to explore their personal understanding of such figures without the storyline or scripted meaning which might be readily available in a museum. From these arguments spawns the constructs of a new dimension in art appreciation, one which undermines any perceived notion of institution, and instead places the idea of institution in the hands of the viewer. The relationship between art and the institutional architecture is one of symbiosis, a collusion of cultural inoculation from which there is one surviving beneficiary, the museum, as capital rewards are disguised as essential culture-needy pittances. Bourdieu and Darbel (1992) corroborate that the true function of the museum is to reinforce cultural brotherhood in the form of sacristy.[17] Yet there is another responsibility which has evolved over the past decade, one which evokes a sense of internal turmoil from the institutional oversight committee, but retains public appreciation when implemented within an appropriate scope. In spite of the need for capitalistic sustenance, the museum’s responsibility has yet to alter from its original path of cultural enlightenment and in turn, collectivist assimilation. No longer must the comodification of society undermine the need for self-identity, as identity lingers within the institutional halls, defined by subjectivism and interpreted internally, in spite of architecture or obscure efforts at creative placement. To activate internal modes of observation within a viewer corrupted by a society that bombards with constant stimuli requires a pairing of both architectural extravagance and artistic uniqueness. Whereas artists may endeavor to impart meaning to their viewer through images or representations, the architect engenders a sense of being and belonging through their hallways and trusses and archways which is entirely collaborative and evidentiary of the current social clime. There is a discussion which evolves from this argument as to the relationship between space and structure. In consideration for the nature of art, a connectivity which can be easily broken by distraction or unforeseen variables, could it be that architecture has exceeded its boundaries by exploding in modern institutions on such a grandiose scale? Adorno (1992) addressed this issue from the standpoint of artistic autonomy and the realignment of the new sociopolitical debate with that of historical responsibility. By his definition, Adorno recognizes that the committed works of the political debater will often assume a role of expectation, a maxim of necessity which requires that the viewer also appreciate a similar political viewpoint.[18] Yet if representation is subjective, then could viewership also take on subjective qualities? The reality is that autonomy in art is the recognition that interpretation is variable, divergent, and oftentimes completely distant from original meaning . Therefore, given the nature of architecture, could the institutional structure itself be considered an autonomous representation of current cultural and social ideologies? The reality is that the institution is no longer the combatant in the artistic community, it is the internalization of prescribed commodification which undermines the capabilities of need voyeurs. Their assumptions and wrongfully inspired intuition becomes nothing more than a derivative of the blueprint which has been established by a desensitized society corrupted by mass media and broad scale image distribution. Appreciation for the merits of a particular work of art becomes intimately related to internally generated necessity, and participants should therefore embrace the inclusion of architectural drama and aesthetic into this equation. As the curators of MOMA can attest, the affected state of voyeurism in conjunction with eccentric architecture or visually stimulating structures can lead critics to challenge the capacity for viewers to truly appreciate their attendance objective, the art.[19] As the grand atrium is a vast and spacious area, ripe with distractions ranging from marbled flooring to elevators, visual stimulation is easily reduced to a combinative effort, the capable observer environmentally and artistically influenced simultaneously. Yet, there is a differentiation which must be addressed regarding what is gauche over-stimulation or simply installed experience. In the case of MOMA, the exterior distractions are minimal when considering the inspiring nature of the artistic stimuli. Wallach characterizes it as a ‘spectacularized’ space, one which is designed with ‘free-floating intensity’ which will both overwhelm but stimulate reverential appreciation.[20] The redefinition of s pace over the past decades is a function of necessity as well as a creative interpretation on the part of the architect and his team. Introducing variable structures into the social structure by means of architectural ingenuity furthers the propagation of art, enticing attendees and allowing corporate overseers to compete for urban space with a new breed of remarkable architecture. Artist Martin Kemp, in a recent interview, noted that there has been an adjustment to the artistic display process over the past decades, one in which the viewer is now often integrated into the artists meaning by way of publication or installation aids.[21] His view is that juxtaposition of conflicting or complementary art forms within a particular installation offer the viewer visual stimulation otherwise unappreciable given the distance between particular works. It is within this new age ideology that the foundations of the future of the modern art museum are formed, as contrast and collaboration are two fundamental visual aspects within the scope of institutions that can be manipulated and imparted to an unsuspecting viewer. Placing a renaissance painting next to one from the 1980’s offers the remarkable ability to explore socio-cultural ideals across generations and historical legacies. Similarly, the evolving architecture of the institution allows the placement of modern zeal next to that of historic propriety. Therefore, as Kemp challenges that contrast is the wave of the future, the structural qualities of museums across the globe are already forming similar opinions for an unwitting viewer. Corporate influence over this perceived disconnect will continue to establish and evoke remarkable nuance with limited understanding of their participation in the creative definition of modern society. While many critics may challenge that they are absolutely sure of their manipulation of cultural distribution, there is an inability to predict the nature of the art/viewer relationship which challenges any preconception of response. In truth, the viewer response should be an intricate part of the artistic process, and through study and further understanding, recognition of qualifying contrast can assist in defining the future of artistic creation. Zaha Hadid in her recent interview with Hans Ulrich Obrist recognizes the extremely pivotal role which the museum architecture plays in terms of exhibitionism and the structural variables which can directly influence the viewer and their journey through a particular installation.[22] Most importantly, her perception of relationship is an essential development within the modern architectural environment, as experiential voyeurism becomes a foundation for artistic appreciation. Her vision likens institutional architecture to designing a laboratory within which both critic and artist can dialogue, actively partaking in a conversation of perception through which ideas can be developed, disintegrated, and resurrected, drastically shaping the future of artistic endeavor. If each installation is considered just that, an experiment, there is substantial opportunity for an extremely collaborative process, one in which viewer insights shape the future of institutions. Benjamin (2006) challenge d that authenticity in art is a form of transmission which is defined by physical duration and historical testimony.[23] Yet when testimony is directly linked to the nature of subjective relevance, in that a foreign viewer will not experience the political fire of a native who witnessed the collapse of the Berlin Wall, and physical duration is limited by the social and institutional variables, there can be no perceived authenticity in art. Benjamin’s interpretation is not errant, but simply too narrow in scope to identify with a modern era of intensified visual acumen. There is a dramatic shift towards remarkableness, one which is engendered with the cultural and social traits of a melting pot, not simply those of unique social or ethnic classes. Exhibitionism, as recognized by Hadid, is becoming a tool of unification, and in this way, will serve as a mode of global collaboration within the laboratory of the institution. In order to fully explore the nature of the institution in the modern era, it becomes important to note the evolution of the critic, and more importantly, those who are responsible for determining the future of artistic endeavors. Montmann (2006) challenges the evolution of the art institutions a direct result of a power shift from the traditional bourgeoisie and their monopolization of socially legitimized ideologies to a function of populist mandate, controlled by a homogenized corporate vision.[24] This evolution is a direct result of the fragmented nature of popular society as the stratification which once divided aristocrat and peasant is no longer relevant as globalized consumerism now radically changes the fleeting voyeurism which so defined the historical role of the museum and its definitive influence. Sennett (2006) reminds that the habitual nature of the past has been abandoned for selective and subjective interpretation of interactions within a limited time frame.[25] The reby, the institution itself is charged with meeting the needs of a niche based audience, one with conflicting perceptions, needs, and demands, and one which strategically navigates within a broadening geographical sphere to imbue their own theories within the minds of other nomadic voyeurs. Therefore, as institutional criticism evolves to encompass the architectural merits of a particular museum, the fleeting visitors who frequent its doorways are challenged to appropriate meaning from a similarly fleeting interpretation by an overly critical eye. The nature of architecture within the institution is one which should entice and embrace its visitors, not incite critical contempt and irascible scripting. Yet, given the nature of a society no longer defined by the bourgeoisie minority, the much more vocal public base will continue to evoke a sense of dread each time a change enters the artistic community. Across the globe, modern museums are taking note of architectural merits. Oil wealthy countries such as the United Arab Emirates are paving the way for spectacular structures in exotic locations who offer collections of the world’s greatest artists throughout the annals of history. This encapsulation beneath the expectation of destination travel presents a unique focal point for the museums of the future as community is no longer defined in terms of geographic localization. As art evolves to encompass the nature of global humanity, the subjective nature of viewers equalizes with this radical adjustment, appreciating the socio-political evolution of artistic heroes and the institutions which house their work. The expansion of these destination facilities continues to evolve towards corporate ownership and patronage yet the relationship between viewer and art form cannot be dissolved. Tactically, as these conglomerates actively purchase diverse installations for their exhibits, the ability to contrast a broad range of subjects within a singular house of creativity is expanded, thereby verifying the merits of architectural evolution. While the future of participants in the modern museum may remain uncertain given the nature of electronic distribution, the necessity for such structures will remain a natural part of social evolution. The connectivity inspired by architectural and artistic creativity incites a sense of community which, when explored from a global perspective, is all the more necessitated in this modern era. Bibliography Adorno, Theodor. â€Å"Art, Autonomy and Mass Culture.† In Art in Modern Culture: An Anthology of Critical Texts, eds. Francis Frascina and Jonathan Harris, 74-79. New York: HarperCollins Publishers Inc., 1992. Benjamin, Walter. Walter Benjamin: Selected Writings, Vol. 3. London: Belknap, 2006. Bourdieu, Pierre; Darbel, Alain. â€Å"The Love of Art.† In Art in Modern Culture: An Anthology of Critical Texts, eds. Francis Frascina and Jonathan Harris, 174-180. New York: HarperCollins Publishers Inc., 1992. Douglas, Mary. How Institutions Think. Syracuse, New York: Syracuse University Press, 1986. Foster, Hal. Design and Crime and other Diatribes. London: Verso, 2002. Giddens, Anthony. â€Å"Modernity and Self-Identity: Self and Society in the Late Modern Age.† In Art in Modern Culture: An Anthology of Critical Texts, eds. Francis Frascina and Jonathan Harris, 17-22. New York: HarperCollins Publishers Inc., 1992. Obrist, Hans Ulrich. Rem Koolhaas. Ehrenstr: Verlad der Buchhandlung Walther Konig, Koln, 2006. Obrist, Hans Ulrich. Zaha Hadid. Ehrenstr: Verlad der Buchhandlung Walther Konig, Koln, 2007. Raney, Karen. Art in Question. London: Continuum, 2003. Montmann, Nina. â€Å"Art and its Institutions.† In Montmann, Nina, ed. Art and its Institutions: Current Conflicts, Critique and Collaborations, ed. Nina Montmann, 8-17. London: Black Dog Publishing, 2006. Sennett, Richard. The Culture of the New Capitalism. New Haven: Yale University Press, 2006. Vidokle, Anton. â€Å"Exhibition as School in a Divided City,† In Taking the Matter Into Common Hands, eds. J

Censorship in the Music Industry Essay -- Censorship Essays

Censorship in the Music Industry Censorship in the music industry can be divided into two categories involving new music technology and music products. In the United States, the issue of censorship doesn’t necessarily concern music products but rather new music technology. The music industry has become increasingly concerned with the online peer-to-peer services like Kazaa and Morpheus using the MP3 format or motion pictures expert group which allows users to download music free and fast (Cloonan, 2003). In almost every other part of the world, music is censored someway or another usually by a country’s government, religious leaders, or individual broadcasters who are financed by their government (Cloonan, 2003). For example, the Middle East and North Africa region had the highest number of censorship incidents with 54 reports from 1980-1999 (Cloonan, 2003). The highest rated country was Turkey with 23 reports followed by the United States with 18 from 1980-1999 (Cloonan, 2003). During this period of time, the Turkish government succeeded at suppressing the language and culture of the Kurdish people involving the forbidden sale of cassettes by a Kurdish artist named Yzan Cugdis for being â€Å"against law and order† and the arrest of Ahmet Kaya for causing â€Å"political incidents† during one of his performances (Cloonan, 2003). In some countries, being fans of certain types of music can be reason for arrest or enforcement of a state ban. In 1996, Iran officials arrested 28 teenagers for possessing â€Å"obscene†CDs and cassettes and in 1988, two men of Albanian ethnic origin were arrested by Serbian police for possessing cassettes of Albanian music (Cloonan, 2003). Certain countries have even taken the step to completely... ...s or sexual content. Music censorship is still a heavily debated topic around the world. I believe in the areas of the world where censorship does take place, censorship isn’t enforced to protect citizens from the dangers of influential music but rather to maintain political control in these countries and also psychological control of its citizens. Is censorship really necessary? Do government authorities and religious leaders need to have this responsibility to censor music with supposedly good intent? And if so, what is the real purpose for censorship? Book: Cloonan, M and Reebee G, Ed; (2003). Policing Pop. Philadelphia: Temple University Press. Online/Web Site: Index Online (2003). Report: Morocco: Judge jails Moroccan heavy metal fans. March 7. Available online: http://www.indexonline.org/indexindex/20030307_morocco.html (accessed March 7, 2003) Censorship in the Music Industry Essay -- Censorship Essays Censorship in the Music Industry Censorship in the music industry can be divided into two categories involving new music technology and music products. In the United States, the issue of censorship doesn’t necessarily concern music products but rather new music technology. The music industry has become increasingly concerned with the online peer-to-peer services like Kazaa and Morpheus using the MP3 format or motion pictures expert group which allows users to download music free and fast (Cloonan, 2003). In almost every other part of the world, music is censored someway or another usually by a country’s government, religious leaders, or individual broadcasters who are financed by their government (Cloonan, 2003). For example, the Middle East and North Africa region had the highest number of censorship incidents with 54 reports from 1980-1999 (Cloonan, 2003). The highest rated country was Turkey with 23 reports followed by the United States with 18 from 1980-1999 (Cloonan, 2003). During this period of time, the Turkish government succeeded at suppressing the language and culture of the Kurdish people involving the forbidden sale of cassettes by a Kurdish artist named Yzan Cugdis for being â€Å"against law and order† and the arrest of Ahmet Kaya for causing â€Å"political incidents† during one of his performances (Cloonan, 2003). In some countries, being fans of certain types of music can be reason for arrest or enforcement of a state ban. In 1996, Iran officials arrested 28 teenagers for possessing â€Å"obscene†CDs and cassettes and in 1988, two men of Albanian ethnic origin were arrested by Serbian police for possessing cassettes of Albanian music (Cloonan, 2003). Certain countries have even taken the step to completely... ...s or sexual content. Music censorship is still a heavily debated topic around the world. I believe in the areas of the world where censorship does take place, censorship isn’t enforced to protect citizens from the dangers of influential music but rather to maintain political control in these countries and also psychological control of its citizens. Is censorship really necessary? Do government authorities and religious leaders need to have this responsibility to censor music with supposedly good intent? And if so, what is the real purpose for censorship? Book: Cloonan, M and Reebee G, Ed; (2003). Policing Pop. Philadelphia: Temple University Press. Online/Web Site: Index Online (2003). Report: Morocco: Judge jails Moroccan heavy metal fans. March 7. Available online: http://www.indexonline.org/indexindex/20030307_morocco.html (accessed March 7, 2003)

Chaucers Canterbury Tales Essay - Marriage in The Wife of Baths Pro

Marriage in Geoffrey Chaucer's The Wife of Bath's Prologue and Tale The disparity in the outcomes of the hag's marriage and Alison's marriages in Geoffrey Chaucer's "The Wife of Bath's Prologue and Tale" depends in part on the women's differing expectations of their husbands. The hag's modus agendi depends on a knight's obligation to honour his pledge, whereas Alison's modus operandi depends on her husbands' conduct after marriage, i.e. on her circumstances. Having saved the knight's life, the hag asks the knight to permit her to be his wife. Moreover, she wants to be his love. The knight must marry, since marrying the hag lies within his might. Since the hag's definition of being his wife includes her loving him, he is duty-bound to tolerate the hag's love. Her love for him requires he show compassion to her. Perforce of her line of reasoning of the advantages of being married to her, he accepts her sovereignty to have her will. The chains of her enchantment broken, the hag turns beautiful in the knight's eyes. He falls in love with her, and she rea lizes the right to rule in he...

The Scottsboro Trials Essay -- Racial Relations, Segregation

March 25, 1931, nine men hopped on to a freight train of no return (Uschan 10). Unjust, prejudice, and racist the Scottsboro Trials, were definitely not just another ordinary case. The Scottsboro Trials changed how America viewed segregation. The nine young men, who hopped onto that train that day, were innocent and harmless. The Scottsboro Trials revealed the unjust treatment that African Americans faced outside of the Harlem Renaissance and changed views on segregation. Boarding the train from Chattanooga to Memphis seems like an innocent thing to do (â€Å"UMKC† par. 2). For the Scottsboro boys, boarding that train was one of the worst things they could have done. Two dozen whites and black road the train that day, and within the first 2 hours a fist fight broke out between the two races. The blacks won the fight, and the white men were thrown off the train and ran to the station master and reported that they had been assaulted by a gang of blacks on the train. Alabama stopped the train and dozens of men showed up and surrounded the train with guns in their hands. They took the nine African Americans aboard the train and put them into the Scottsboro jail (UMKC par. 2-5). Two other people were on the train at that time too. Victoria Price and Ruby Bates were found on the train unexpectedly while the search men were looking for any more black citizens. The women identified themselves and then Ruby Bates told the search men â€Å"We’ve been raped. All those colored boys raped us.†(Uschan 14).This caused an uproar throughout America not because rape was a horrible crime, but because back then a white woman having sexual relations with a black man was considered one of the worst things a person could do. The act was considered so terr... ... thing of the past. Racism is a very harsh and dangerous thing to participate in. Being racist can cause a person’s life to be in danger and it can ruin their life too. Helping African Americans understand that these racist people are sick and will be punished is just one way we can help the fight against racism. And so, the Scottsboro Trials ended up being victorious. It changed how America felt about discrimination and segregation and opened up many opportunities for blacks. America has changed as a whole because of the Scottsboro Trials and racism is slowly fading away. Segregation has caused many hardships throughout history and finally, it ended partially because of the Scottsboro Trials. Soon, America will be a place where it is as if seclusion against African Americans never existed. African Americans are one of us and together we are America.

INBM Essay

Catch of the day Kalastaa Inc. have been in the local Finnish aquaculture industry for nearly fourteen years. They raise salmon and trout for local markets, and have recently negotiated a deal with a small fish processing plant that distributes under a major product label in Finland. Although they run a rather small operation, employing 16 people year-round, Kalastaa believes they are in a position to export some surplus and perhaps broker further deals with fish processing plants around the European Union. They do want to maintain ties with the local fresh fish markets, but sales have been steadily decreasing since the sudden influx of cheaper Scottish salmon on the market. They know their stock is of higher quality and could be exported abroad quite profitably. Kalastaa has contacted the government and enrolled in small business export initiatives. This has enabled the company to attend aquaculture conferences abroad and offered them the opportunity to network and make contact with DanskFisk, a Dut ch importer. Plenty more fish in the sea? DanskFisk was eager to negotiate a contract for 2 tonnes of Finnish salmon to distribute to a number of clientele throughout the country. Payment of credit was arranged by a Dutch bank. The documents required were a commercial invoice, the insurance policy, a marine bill of lading, and a certificate of quality. Kalastaa has arranged to have their fish inspected by a nationally accredited standards organization. Both parties agree in their contract that Kalastaa will pay freight to Rotterdam and will also insure the shipment. Once the salmon has been delivered, DanskFisk will assume all responsibility. The Finish Food Inspection Agency reports to Kalastaa that the fish to be exported is of superior quality, with a fat content of 11 percent. The  certificate of quality includes a code for superior quality and also states a color code that is standard to the Salmofan scale. Colour coding is a common practice in the fish industry and provides a method of standardization for something as subjective as colour. Both in production and sales, colour is the most important quality parameter for salmon. Salmon buyers can request information on the colour of a delivered lot in the form of a number corresponding to a colour number on the Roche scale. Another salmon colour reference is the colour number on the Salmofan scale. Kalastaa’s bank, acting as their export advisor, contacts the  company to tell them that the letter of credit has fallen though because the certificate of quality is vague and it cannot be ascertained if the shipment has passed its quality certification. Somethin g is fishy†¦ The documents were delivered directly to the buyer for payment. DanskFisk insists on inspecting the shipment upon arrival. DanskFisk is not an experienced salmon importer, and usually deals with Spanish Blue Fish and Irish Char. They are not in disagreement that the salmon shipment has passed quality inspection. Upon DanskFisk’s inspection, they claim that the fat content of the stock is much higher than is claimed in the quality inspection. They reject the sale and will accept substitute goods, but are claiming damages for loss of profit. Kalastaa management wonder if they need to rethink their exporting strategy. Case Study Discussion Questions 1.  Which shipping vessels would be most appropriate for Kalastaa to ship their product to Rotterdam? 2.  Describe the purposes for each of the export documents that Kalastaa need to provide to secure documentary credit. 3.  Which Incoterm would best represent the terms of sale between Kalastaa and DanskFisk? 4.  Would Kalastaa have benefited from employing a freight forwarder? Explain.

The importance of the pop video in promoting and marketing the work of pop stars or bands

Explain the importance of the pop video in promoting and marketing the work of pop stars or bands. Refer briefly to the development of genre over time. Music videos are an important marketing tool for the music artists and their record labels, offering a huge amount of visibility that can be cheaply and swiftly put into a wide range of television programmes. An interesting or memorable video can also enhance the popularity of the song, causing it to become an even bigger success and therefore selling more copies of the song, as with AHA- Take on me. Their song sank without a trace until released with a great video, making an astounding comeback. The pop video also means that instead of having to listen for new bands on the radio or from friends, you can watch for them on the television. There are many channels now thriving from the business of pop videos, such as MTV, giving artists permanent places to be seen and heard, therefore selling more music. One of the early pop videos was bohemian rhapsody by queen, being just them on stage with some digitally added features also. But now as the genre has evolved, so has the video aspect, with special effects, famous movie directors and time and money being used. Thriller by Michael Jackson has a short movie which cost i700000 to make, but sold 50000000 copies. 205 words Analyse the appeal of a specific pop/rock video as a marketing tool for the record company, you might like to explore: who owns the record company the artists' record is released on; how the video was commissioned and made; how the video fits in the marketplace in which it was released; where the video has been shown. Blur – coffee and T. V. was written and sung by the band's guitarist Graham coxon. This video helps market the song to the targeted audience (teens), using an interesting animated milk carton. Although the song is about a lost son, and the family looking for him, it's made less realistic and therefore less boring by substituting the milk carton for a person. Teens can relate more easily to a cartoon, and something quirky and original like this becomes a sensation fast, leaving the video and song as a must-see, must-have! This video is further aimed towards teens by showing it on modern music channels (MTV, kerrang, etc). The record is released on EMI, a record company owned by Thorn EMI, which is also interested in lighting, retail outlets, computer software and appliances. Interesting and memorable videos can be a much better marketing tool than the song can, such as coffee and T. V. where it's a mini story, with a beginning, middle and end. You can see this as it still makes sense with no song. The video in this case made the song so popular that it was released as a single the same year it was released on album. Further proving just how a video can make all the difference in earnings for the record company. Even with the popularity of the video and song though, blur is promoted and represented with little reference to the company itself, only a mention at the beginning of the song under the name. But this doesn't matter as long as the video is seen by lots of people. This video was a real hit because of the aspect of being free, and away from home for teens, and also the cute, everyday item with life of its own – this became a sensation across Britain. 01 words Create a hand- drawn or photo story board for a pop video, focusing on the key moments rather than every line of the lyrics. You should imagine you have been commissioned by a record company: you could include the brief given by the company and your evaluation of the finished product, focusing on how successful a marketing tool you think your video will be. I think that my video will be a successful marketing tool for the song it will accompany. This is because the target audience will be teens, and the video features a real- life teen scenario. It's about the struggle of a boy trying to get a girl he likes to notice him, and eventually they ‘fall in love'. This will appeal to teens as it's their age group shown, but also because it shows a very real situation, and brings forward one of the biggest parts of a teen's life; dating. This will interest teens as it's something they can relate to, and an interesting topic that could possibly help them with dating. The close- ups in the video take us almost into the mind of the character, and as we only let people we trust get that close, they make for an intimate shot. This is an attention-grabbing shot and makes you concentrate on the video. Also, split screen is used to show what each character is doing at the same time, i. e. there is one where they are passing each other, and you can see both their faces. These shots are interesting also, as you get 2 different points of view, showing the ‘first indications' of romance in one case. The rest of the video is basically long and medium shots of the characters going about their lives, with the boy in love with this girl. This supports the lyrics, and echoes them in a visual image that will help the song tenfold by providing an interesting video. This will stick in the minds of teens for the reason that it's part of their lives. I think this easy to understand, and relate-to love- flick video will help teens feel involved in the artists songs, therefore boosting sales.