In Bookends, two writers take on questions about the world of books. This week, Adam Kirsch and Liesl Schillinger discuss the art yielded by populist and elite mind-sets.
The story of the “thesis from the Faculty of Fine Arts” even managed to catch the attention of the media usually disinterested in art or education. The reason was simple: the FFA graduate Kryštof Ambrůz used the words “fucked up art” in the introduction and went on to say that his work was meaningless and had no point. This statement holds true for education as well; the only thing that matters when you live in the Czech Republic is “slaving away” and the awareness of this idiotic fact finally caught up with him in the last year of his studies, leading to apathy and a loss of motivation.
Certaines cultures sont-elles supérieures à d'autres ? Il existe deux façons de répondre à cette question. La première est théorique : il ne peut y avoir de supériorité d'une culture sur une autre, car elles sont toutes des expressions authentiques d'une même humanité ; elles sont toutes des variations sur un thème commun qui est la culture humaine, c'est-à-dire cette faculté universelle et spécifique qu'a l'homme de penser la nature pour pouvoir agir sur elle afin d'organiser sa vie sociale.
Il y a trente ans, La Distinction de Pierre Bourdieu a posé les bases d’une réintégration des éléments culturels dans la réflexion sur le capital. Cette thèse reste-t-elle valide aujourd’hui ? Philippe Coulangeon évoque les métamorphoses de la distinction dans un monde marqué par les inégalités de patrimoine et les mutations de la légitimité culturelle.
Nell’affrontare la questione della classe in relazione al mondo dell’arte contemporanea due domande vengono in primo piano: Fino a che punto le figure professionali all’interno del mondo dell’arte sono interessate a problematiche relative alla classe sociale di provenienza, alla diseguaglianza, al consumismo, al sessismo e al razzismo? Come risponde l’apparato concettuale dell’arte contemporanea al progressivo e diffuso deterioramento delle condizioni sociali ed economiche?
Médaille d’argent du CNRS en 2012, Bernard Lahire n’est pas pour autant un sociologue consensuel, et ne cher- che surtout pas à l’être. Dans une discipline qui a toujours eu tendance à assimiler le social au collectif, son effort pour produire une « sociologie des individus » ne laisse pas indifférent. Certains collègues ont pu lui reprocher d’effacer le rôle des classes. Il s’en défend ardemment.
A pervasive ideology has encouraged us to see individuals, not a society; to think of competition as natural and emphasise growth at all costs. What damage has this done to creativity?
As President Trump eyes abolishing federal arts funding in the U.S., a survey of tax-supported music from Australia to Iceland reveals a complex, shifting landscape.
Collaboration for theatre artists across borders may become a little easier thanks to an innovative new digital tool. Launched this week, CdnStudio is a web platform that uses basic green screen technology to overlay video feeds and make it appear as though artists in different studios are in the same room, enabling them to create and rehearse work from remote locations. Co-creator Sarah Stanley, co-founder and creative catalyst of SpiderWebShow, calls it “Skype on steroids.”
Interview with Tomáš Procházka, one of the founder members of the Czech performing arts group Handa Gote Research and Development, about old media, physicality and one of their latest production Eleusis.
