Introduction: Black Italia and the Insurgent Politics of Knowledge Production

This chapter examines the impact and influence of the visual and performing arts in sustaining thriving communities and highlights the essential role of libraries in providing access to arts and cultural programming and services. Creative and artistic intervention has become the imperative of our time. Creativity is required not only in design studios and workshops, but in all areas of work and life, both professional and personal. Places of artistic and cultural production are strongly correlated with strong local economies and sustainable communities. Libraries are public spaces that promote and maintain community, not only civic institutions. As such, the library plays a key role as incubator for the arts. Libraries advocate freedom: of ideas, communication, and information. Arts programming in libraries provides an avenue for people to communicate ideas and feelings through visual, auditory, or kinesthetic forms. But more than that, libraries are also about education, safe and welcoming spaces, community, and entertainment. Libraries support and promote the value of multiple perspectives and voices. Libraries can shape patronage of the arts and engage future generations by addressing social diversity and inciting inclusive participation in the arts. Many libraries are participating in the creation of new forms of understanding through arts programming, services, and resources. In an age where many of society’s most important challenges are related to our relationship with information, it is vitally important to include visual and performing arts professionals in the intersection between artistic practice and critical engagement with information.

This article argues that much of established art production and reception in South Africa operates in ways which detract from the critical emancipatory potential of art and cultural production. It is argued that art can be a critical and democratic tool, in as far as it might work against or outside of established institutions which are invariably enlisted in the service of maintaining the status quo. The article is a partisan call to promote socially engaged art production, and, in order to facilitate this, for the radical transformation of educational institutions. Existing educational institutional practices which seek to engage society through art practice are considered. These examples might shed light on the workings of institutionalized power and open up possibilities for thinking about more democratic and inclusive modes of cultural production, which are not necessarily translatable to the established ‘art world’.

Modern Dictatorships and Their Art Worlds

This article explores the integration of synthography in the context of a class in the Degree in Photography, as a strategy to explore artistic and professional practices in the digital transformation era, problematizing the pedagogical implications of using artificial intelligence (AI) in creative disciplines. The study revolves around the use of AI to generate visual content, specifically through the structured creation of prompts derived from photography knowledge and practices of the students. We analyzed the final AI-generated images, categorizing them as positive or negative results based on their aesthetic quality and compliance with the AI imaging guidelines taught in class. This assessment is complemented by analyzing the texts used by students in the prompts that generate these images, aiming to establish a relationship between the incidence of terms relevant to the construction of photography used in the prompts and the quality of the resulting image. Furthermore, the study investigates cases where deviations from the taught strategies occurred, examining the nature of these deviations and their impact on the final product. The analysis raises hypotheses substantiating how the deviation can lead to positive or negative results. Starting from the idea that synthography , as a pedagogical tool, can promote a deeper understanding of the interaction between technology and creativity, it seems urgent to propose to students’ critical engagement with the several dimensions of AI, both in academic and artistic production. Finally, the study proposes to explore a set of pedagogical questions that can reflect on the potential educational use of AI in creative disciplines, thus contributing to the broader discourse on ethical education in AI.

The Shape of Desire

This creative arts research project provided me with an opportunity to develop new understanding within the field of contemporary art practice. The project focused on making new artistic productions within a recursive presentation cycle. The project afforded me significant creative growth and development as an artist and researcher. What I experienced was the development of artistic form generated through the efforts of a small team, and I acknowledge the co-authorship of the creative works with my collaborators. The project began with a gallery based installation work in 2008, followed by artistic productions presented to the public in performance spaces, a multi-purpose arts venue, and then back to a conventional exhibition space. In 2013, one of the artistic productions premiered at the Brisbane Festival and marked a high point but not the end point. The development and presentation of artistic production operated in a continuum rather than moving towards a culminating event. Exploration and discovery trace the creative process through inception, production, presentation and archival phases to illuminate what intermediality means to the 'narrative' of my practice within contemporary arts. A love of art making compels the journey. The thought of intermedia as a research area started with a naive inclination towards interdisciplinary processes for developing creative works. Rather than providing evidence for an expert understanding of intermediality, it is an idea that requires testing against the currency of my practice and in the presentational context understood by society. Being creatively engaged with the interplay of media and with the processes of materiality, media and the body has driven my artistic practice. It has allowed me to generate forms of contemporary art involving interdisciplinarity and collaboration. The intermedial emphasis of my creative process has a marked impact on how I understand the pluralistic conventions of contemporary art. Intermediality is, for my way of thinking, a process that simplifies levels of complexity so that more levels of complexity can assert themselves in future practices. Intermedia converges and reconciles the areas of my practice that are related to media arts and spatial practices that are performative and sculptural. The artistic productions represented in this project test intermediality within the collaborative and institutional setting. What resolves are specific knowledge centres which enhance innovations in practice, process and theory. Through performative action within a practice-led methodology, an epistemological framework is formed by what bounds generative knowledge in artistic production. Conceptual narratives and themes generate professional practice, collaboration and reflection. An auto-ethnographic approach to documenting the enquiry allows multidimensional entry points within a terrain of interconnected sites of research focus. The project resembles a membrane of vectors and ideas that offer ambiguous pathways. The journey does not pose deterministic answers to questions about research veracity. Instead, intermediality manifests a complex and creatively diverse artistic process. These attributes celebrate the interdisciplinarity of contemporary art practice. In so doing, the process questions the sliding tolerance between conventional forms that tend to announce genre specific artistic production. For example, the project's internal logic develops artefacts for exhibition in a gallery and simultaneously spatial sequences for the performance space. Therefore, the actions defined within the creative development exemplify a process of intermediality. A small arts business co-directed by the researcher provides the infrastructure that administrates development and presentation of the artistic process in partnership with sponsors and venues. The research project focuses on the production and presentation cycle informed by the contributions of a core collaborative team. The practice-led method is an instrument that engages action, process tracing, temporal bracketing and performative analysis through iterative phases over several years. The public presentation of important artworks, along with audio-visual documentation represent dimensions of valorisation beyond the actions of practice-led research. The recursive cycle articulated an approach with underlying systems of innovation, implementation and reflexivity. The emergence of new work in the continuum of practice is a temporal rupture that exists as an ephemeral series of action units moving towards the context of presentation. The documentation and auto-ethnographic account are the residues of the primary manifestation of semi-annual productions. The documentation of artistic trajectories forms a media archive: The Exquisite Resonance of Memory, 2008; Whispering Limbs, 2009; Cove, 2010; Sweet Spot and Nerve Engine, 2011 – 2014; and Terrestrial Nerve, 2012 – 2013. The media archive is residual and secondary; it illuminates a set of indicative concepts significant for the future of intermediality in the researcher's practice. The impact of the research develops understanding and generates interest in the contemporary collaborative arts. The value of the research broadens the domain of artistic practice and will be of interest anywhere that creativity becomes managed between disciplines, such as software developers, performance ensembles, artists, designers, fabricators, creative partnerships.

The chapter addresses the position of advertising agencies in integrated marketing communications (IMC) within a multistakeholder knowledge environment. Advertising agencies coordinate and integrate diverse knowledge from clients, consumers, media outlets, and internal teams to create cohesive marketing communication strategies. This involves navigating complex stakeholder expectations and market conditions. Through a historical overview and analysis of the evolution of relationship models, the essence of the problem in the agency-client relationship is pinpointed. The core issue lies in the lack of consensus and clear methodology for assessing the contribution of an agency's work to its client's business results. This topic holds theoretical importance for researchers and practical significance for both clients and agencies involved in the IMC process. Understanding these business landscape, is essential for advertising agencies achieve sustained success within a multistakeholder knowledge environment.Keywords: advertising agencies; integrated marketing communication; knowledge environment; agency theory.JEL Classification: D22; L23; M11; M21.Cite this chapter: Lozović, N., Perić, N. & Mamula Nikolić, T. (2024). Understanding Advertising Agencies in a Multistakeholder Knowledge Environment: Challenges and Importance. In: Knowledge Management in Economy, Technology and Education, N., Perić, and O. Arsenijević, (Eds.). (pp. 111-139). Book Series Socio-Economics, Research, Innovation and Technologies. RITHA Publishing. https://doi.org/10.57017/SERITHA.2024.KM-ETE.ch5 Chapter’s history: Received 3rd of November, 2023; Revised 7th of February, 2024; Accepted for publication 28th of May, 2024; Published 30th of July, 2024. About the Author(s):Nenad Lozovic is currently pursuing a doctoral dissertation in the field of business relations between agencies and advertisers at Metropolitan University in Belgrade. A Master's degree in Psychology from the Faculty of Philosophy at the University of Belgrade. Lecturer at New Bulgarian University in Sofia. Leveraging over three decades of experience, Nenad has held senior managerial positions in prominent advertising agencies within the region: Saatchi & Saatchi, Bates, Zenith Media, Starcom MediaVest, Young and Rubicam, and Wunderman. Long-standing involvement with the Bulgarian Association of Communication Agencies, having served as President, Vice President, and Board Member.Nenad Peric is Full Professor of Social Sciences (Marketing, Communications) and Full professor of Arts (Production of Arts, Media and Advertising, Theory of Arts). Holds BA, specialization and MA degree in the field of arts (production of culture and arts), MSc in production of arts and media and PhD in Communications. During 26 years of professional carrier, he was engaged as: coordinator, producer, marketing and PR manager, marketing and media researcher, chief of department, dean of faculty, etc. Nenad is member of several editorial boards, reviewer of national and international scientific WoS & Scopus journals.Associate Professor at Metropolitan University, Faculty of Business and Management. She has over 25 years of professional experience in marketing, research and management working as a consultant, researcher, professional coach (PCC ICF) working for large and SMEs clients. Member of editorial board, reviewer in several national and international journals. She has published 3 monographs and more that 60 scientific papers covering topics such as consumer behaviour, leadership, brand management, the behaviour of the new generation Y and Z, ecology, circular economy, business reinvention and others. Tatjana is a member of numerous professional associations: ESOMAR, International Coaching Federation, Association of Business Women, Serbian Association of Employers and others.

The Uses of Mourning

In this paper the author firstly underlines why is necessary to have a number of organizations whose primary goal is public education and achieving the highest standards of cultural and artistic production. The services offered by these organizations contribute to the development of multiple business processes. They are achieving this by creating favorable business environment and reaffirming the creation and respect of real values which consequently leads to new investments and creating of new job positions. These business processes support the employment of young professionals, educated at higher education institutions where they can obtain the latest comparative knowledge in the fields important for offering top quality services to domestic and foreign citizens, predominantly the tourists and other consumers of artistic and cultural products. Continuous development of business processes and opening of new job positions foster social capital and enhance safety and security of local population. At the end of this paper, the author emphasizes the importance that in offering the services in the field of arts and culture at all levels, from the local, up to the state level, the organizations need to have an equal valuation of the major fields of social life. This is the only way to avoid the conflicts and disagreements resulting from different treatment of the same services by various authorities or those making decisions on financing or subsiding the services in certain fields.

The UK government's Department for Culture, Media and Sport (DCMS) defines the creative industries as being comprised of: Advertising Architecture Art and Antiques Crafts Design Fashion Film Interactive Leisure Software Music Performing Arts Publishing Software Design TV and Radio Visual Arts This relatively new re-designation of artistic and creative activity as the 'creative industries' is a term that seems to have growing contemporary currency. This is, to a large extent, born of a particular focus on the role that artistic and cultural production and consumption plays within the capitalist economy. Consequently, many current discussions of the creative industries display a rather 'one dimensional' (Marcuse, 1964) analysis of cultural life, understanding it from a position firmly located within the locus of market mechanisms. The DCMS'S approach to the creative industries is similar to orthodox approaches to other industrial sectors within the national economy, and its attention is routinely devoted to auditing earnings, turnover, exports and jobs within the creative industries. Wu (2002) has charted the shift towards the commercially-oriented focus on cultural production that has underwritten this new designation of the creative industries since the Thatcherite 1980s. Wu particularly highlights the encouragement of increased interfaces between artistic production and private business sponsorship; between cultural events and corporate advertising; between culture and the 'value added' to corporations; as well as the advent of privately-owned artistic collections as economic investments during this period. This shift towards a commercial agenda was accompanied by policy changes in public organisations such as the Arts Council of England, from policies that emphasised the support of the arts as a public good to those concerned with 'value for money' and the cutting of public funding for the arts. The acceptance of an essentially commercial framework for the understanding and development of arts and cultural production has continued within the UK public sector. After the Labour Party's 1997 election victory, Chris Smith, the incoming minister for Culture at the DCMS, signalled a celebration of the role that culture and creativity could play for a national resurgence, after years of Thatcherite cultural philistinism. However, his focus on the creative industries is still very much a commercial one, located within the context of national economic growth (Smith, 1998) and seen through the lens that attendant assumptions about capitalism and markets provide. In the UK, cultural economists, government officials and cultural policy-makers at regional and local levels have taken this agenda on board, and limit themselves to the role that creativity plays in terms of regional economic growth and inward investment; job creation, business growth and start-ups; and to the development of new consumer markets such as local cultural tourism. Some aspects of this cultural policy agenda, such as urban regeneration and improved 'quality of life', social inclusion, cultural diversity and heritage protection, are to the public good; it would be crass to suggest otherwise. However, the nature of creativity, cultural production and the cultural values that inform it suggest something much wider than the current, commercially-oriented 'universe of discourse' (Marcuse, 1964) allows for, including issues about the economic and social significance of new forms of interaction and exchange within cultural production, and the politics that are expressed through acts of creativity. This is not to say, of course, that discussion of the relationship between art, culture and politics is a new endeavour. Indeed, some of the contributors to this special issue of Capital & Class survey aspects of this long and rich history. But the changed nature of work and production, and the DIY cultural interaction and political expression that are often found in certain aspects of contemporary cultural life, are throwing up new issues and have implications for how we understand these changes within the disciplines of economics, sociology and politics. …

Prisons can be unexpected settings for art and cultural production, but they also offer unique opportunities for creativity and self-expression. Prisons are institutions designed to confine individuals convicted of crimes. They are considered places of pessimism and terrorism. Prisons can also be seen as places that hold cultural and historical heritage. They share different kinds of disciplines, cultures, values, and discourses. They form various cultures and subcultures. The prison holds its own set of religion, practices, community, educational practices, etc. The paper focuses on bringing the view that the prisons can also be a landscape or community that produces great art, values, practices, and cultures like other landscapes. Cultural and art production in prisons can offer valuable benefits for incarcerated individuals and society as a whole. It promotes humanization, rehabilitation, and a deeper understanding of the complexities of the justice system. Creative expressions in prisons can aid in self-discovery, communication skills, and also in addressing trauma. This paper investigates the diverse forms of artistic expression that emerge within correctional facilities, including painting, music, writing, and performance. It also challenges the conventional understanding of prisons as sole spaces of punishment by focusing on the vibrant cultural production within these institutions.

In an area afflicted with multifaceted conflicts, art can become an agent for dialogue, an agent for resolution, or it can get itself involved in the clash. POM Beirut 2019 was a four days of conferences with multiple tracks of paper sessions, panels, workshops, exhibitions, and keynote speakers. The tracks were generated based on a call for topics contextualized under the wide frame of Politics of the Machines, art/conflict. POM Beirut addressed subjects related to art practices in relation to conflicts and questioned several topics on the politics of the machines, and art production in the context of conflicts. It tackles art practices and the relation of art to the machine. In parallel, it also focused on understanding the influence and relation between art and conflict. POM tends to explore the connection between the violence of conflict and violence as a process in art production; the role of conflict in the sociopolitical environment and how it relates to the field of art, science, and technology. The 2nd edition of the POM Conference on Art/Conflict, POM Beirut 2019 was hosted by the Institute of Visual Communication (IVC) at the International University (IU) – Beirut campus, Lebanon. The POM – Politics of The Machines is a conference series founded by Laura Beloff, Aalto University Finland, and Morten Søndergaard, AAU Copenhagen, Denmark. POM Beirut 2019 was organized by the Institute of Visual Communication IVC under the International University of Beirut, Lebanon. POM Beirut will comprise four days of conferences with multiple tracks of paper sessions, panels, workshops, exhibitions, and keynote speakers. The tracks will be generated based on a call for topics contextualized under the wide frame of Politics of the Machines, art/conflict. Each track will have several smaller thematic sessions for submission, each chaired by participants selected from the call for topics phase. Through its suggested tracks, POM Beirut will be addressing subjects related to art practices in relation to conflicts and will be questioning several topics on the politics of the machines, and art production in the context of conflicts. The goal of this edition of POM will be to tackle art practices and the relation of art to the machine. In parallel, it will also focus on understanding the influence and relation between art and conflict. POM will tend to explore the connection between the violence of conflict and violence as a process in art production; the role of conflict in the sociopolitical environment and how it relates to the field of art, science, and technology. POM Beirut will also try for a better understanding of the engagement and responsiveness of people and organizations to conflict, exploring how art may serve as a tool for resolution and for social inclusion; or as a counter-argument, a tool for conflict and/or violence. Conflict can also be understood as a contradicting force within an artwork, artistic methods or in a subject matter, it may also push for ethical questions or reveal conflict of interests. The conference will also encompass few more technical approaches: some tracks may focus on technology employment and conflict, be it armed conflict or conflict provoked by art, the effects of the constant monitoring, surveillance and how we dwell in the panopticon. How today’s simulations reflect what is actual and how technology, at this level creates or allows for error, failure and risk. POM will also cover the need to problematize certain aspects of teleworking, telemarketing and tele-surveillance and seek to understand the affinity of technology, violence and power relations.

This paper examines the limits of Cynical parrhesia. Based on fieldwork with artist‐activists in post‐recession Dublin, I recount their fraught efforts to use adventurous artistic expression to provoke a critical awakening in an audience of strangers, who instead respond with derision. My focus is thus on a narrow but prevalent feature of artists’ work and lives, and the public’s experience of challenging genres of provocative public criticism: the encounter with unintelligibility and alienation in the public sphere. I thus deploy ‘bad parrhesia’ as a tool through which to consider the factors that mitigate against artists establishing the desired critical relationship with audiences. Nevertheless, though these parrhesiastic encounters do not succeed, I argue that they do not yield an absence of social relations but relations of an anti‐social kind. Departing from readings of parrhesia as a form of individualism, corrosive to relationality, or a playful reaction against the failures of liberal democratic politics, I make a case for framing parrhesia as a relationship of contestation over which kinds of public criticism are judged to be intelligible and valuable responses to moments of cultural crisis in northern liberal democracies.

IntroductionAs a visual artist it seems to me that the ideal relationship between government and cultural producers is a coalitional one; an “alliance for combined action of distinct parties, persons or states without permanent incorporation into one body” (Oxford English Dictionary). The word “coalition”, however, is entirely absent from the document that forms the basis of the analysis of this paper, Creating Value: An Arts and Culture Sector Policy Framework 2010-2014, from the Government of Western Australia’s Department of Culture and the Arts. Released in March 2010, Creating Value has been introduced by the DCA’s Deputy Director General Jacqui Allen as the “first arts policy in Australia to adopt a public value approach” (DCA, New Policy Framework) whereby "the Department of Culture and the Arts is charged with delivering public value to the Western Australian community through our partnership with the culture and arts sector." As indicated in Allen’s press release, this document achieves its aim of providing “clarity in [the DCA’s] relationships with the culture and arts sector”. As an artist, cultural worker, or someone generally interested in the cultural wellbeing of Australian communities it would seem timely to consider just how this new and influential policy framework envisages the specific working relationships that make up the “partnerships across the culture and arts sector, government, the public and private sector” (DCA, Creating Value 2).In this brief paper it is my intention to interrogate the idea of “coalition” in relation to the evidence provided in the DCA’s Policy Framework, Creating Value, in order to examine the extent to which this State’s involvement in culture and arts may indeed be considered coalitional. In approaching the notion of the coalitional I take the position that there are two key elements to this idea, the first being the notion of an “alliance for combined action” and the second being that the distinct parties involved are not incorporated into one body. What is difficult, at this intersection between the strategic advances of governance and the more organic development of culture, is to distinguish between levels at which the interests of both parties in a coalition or partnership are served by the alliance. As I will argue later in this paper, there is an important distinction to be made between working under temporary contract to specifications (in which one party’s design is realised through a primarily economic exchange with those providing the requisite goods and services) and the kind of negotiated relationship between means and ends that is required to support the genuine development of culture. The question is whether the artist (or other cultural producer), receiving funding to produce cultural work according to “public value” criteria, is able to develop culture or merely able to reproduce an understanding of culture given by the funding brief and assessment panel? It seems to me that significant cultural development is only possible where the public value of the outcomes of cultural production is subject to continuous negotiation and debate – surely it is in the coalitional outcomes (the alliance of distinct parties for combined action) of such discussion that a meaningful identification with culture occurs?In the following discussion around Creating Value my approach is to focus upon some aspects of the policy framework that provide particular evidence of the kind of “combined action” of government and the culture and arts sector that the DCA is proposing in this document. When seen against a more cultural understanding of the “action” of making art and the dynamic processes of producing and identifying with culture, it becomes clear why it may be considered that the DCA and many Western Australian cultural producers may not be engaged in the same project at all, let alone be in effective partnership or coalition.“Public Value” and the Specifications of Cultural ProductionEliseo Vivas observes that in the process of creatively applying symbolic order and understanding to the physical world, humanity acquires culture and an ability to better exploit the world. He also notes that in this process “of constituting the world, [human-kind’s] merely physiological needs are complicated by new needs” (129); new systems of cultural values that assume no less importance in human activity than our more basic bodily needs. Vivas pertinently states, however, that more often than not in human society within a complex and existing symbolic order these cultural needs simply become an aspect of our practical functioning (an extension of survival), and we tend to inhibit our capacity to constitute the world through creative and symbolic endeavours. This depiction of cultural production as an activity that is constitutive of the world is particularly significant in relation to the DCA’s Creating Value. Despite noting that “it is through creative people that we better understand our world” (DCA, Creating Value 8), which echoes with Vivas’s contention that “the poet is needed to give the practical man his stage” (Vivas 129) the policy framework seems rather to exemplify the inhibiting of culturally constitutive activities (production) in favour of “practical functioning” (reproduction).What can be observed particularly well in the DCA’s policy framework is how effectively ideas associated with creative and cultural production have been co-opted to the cause of “practical functioning”. Looking for instance at the notion of “creativity” within Creating Value we discover that “creativity is the driving force of the arts and culture sector” (DCA, Creating Value 5) and that “creativity” is one of the “priority public value principles” for the policy framework, along with “engagement”. Reading more closely one understands that creativity is seen as producing the “distinctive” and the “unique”, a brand that is recognised as Western Australian and which, through such “recognition” and “significance” and through its “enriching” and “transforming” capacities (7), is seen to “add to a sense of place and belonging” (11) for the WA community. This in turn makes WA a “better place to live, work and visit” and ultimately delivers “economic and social outcomes that encourage and support growth” (2). The DCA’s strategies appear to have little to do with a dynamic conception of culture in which new worlds and systems of values may be constituted, but is focussed upon the optimisation and rationalisation of economic outcomes under the guise of “public value”.My contention is that, as difficult as the notion may be to entertain, a department of culture and the arts ought to understand that creative and cultural production are part of a dynamic system that continually engages in a process of tentatively constituting the world. The arts and culture sector undeniably has an important role to play in the formation of and identification with a national cultural identity, which can manifest in international prestige, tourist dollars and other forms of economic growth (Abbing 246; Chaney 166-67). Western Australian culture is not, however, as the DCA seems to perceive, a static and monumental edifice that acts as a singular landmark for Western Australia in local, national and international contexts. The DCA’s arts and culture policy framework talks of its strategies “reflecting the DCA’s vision, values and strategic objectives” (DCA, Creating Value 13) and in a number of places suggests that it will “respond to changing needs” (2, 5, 8). Surely an approach that was interested in the specific value that creative and cultural production has to offer to the community would recognise that it is not in a singular vision but in the world creatively renegotiated and reconstituted by different people and groups of people that such a value and identification is to be found? Furthermore, if Vivas is right, then the support and promotion of culture ought to be as much about cultural needs not yet anticipated, for cultural products whose significance is not currently recognised, as it is about being responsive and catering to the demands of those whom the DCA identifies as the present consumers and stake-holders in WA arts and culture. What is missing from the partnership, as conceived by the DCA between itself and the culture and arts sector, is an adequate mechanism by which “public value” is recognised as a system of constantly changing values in which the culture and arts sector play an important role in developing, extending and negotiating through their creative and cultural production.As Jürgen Habermas suggests, to approach culture strategically in terms of outcomes and deployment is to compromise the internal development that actually provides arts and cultural work with its meaning and significance (Habermas 71). Culture becomes not a distinctive composite of differing and changing world views linked by the “living” process of their “nature-like” coexistence and development, but a monolithic identity or brand with representative products (no matter how diverse those products may be).This policy framework document would suggest not a coalitional “alliance for combined action” but more accurately a process of putting the various strategic goals and cultural aspirations (with “public value” specifications) of the DCA up for tender in much the same way that another Government department might seek tenders for the construction of a bridge or building. It is perhaps telling that Creating Value is described as a “road map to help the Department achieve its vision” (DCA, Creating Value 2).“Engagement” and the Use Value of FreedomCreating Value states that “there is a complex relationship between creativity and engagement, which are the principles driving the delivery of public value outcomes” (DCA, Creating Value 5). The policy framework goes on to suggest that the conception of “engagement” that inf

A poetic glossary of Jannis Kounellis work is based on the analysis of the artist's works and writings in order to indicate, outline and understand the repertoire of concepts, elements, procedures and references of his artistic language. In this Thesis, the poetic glossary developed here serves as a tool to approach the work of Jannis Kounellis (1936Kounellis ( -2017) ) and articulates a set of entries with selected images from the artist's vast production, mapping his poetics. For 56 consecutive years, Jannis Kounellis' production wove labyrinthine dialogues with the mythical foundation of painting; with the history of painting as a liberal art and its linguistic developments in modernity; with post-World War II political and social contexts; and ended up conceptualizing the passage of pictorial language from representation to presentation. In addition to establishing a panorama of Kounellis' poetics, this study examines the artist's production to reflect upon his artistic language, forms of organization and internal dynamics, which, at times, reconsider and reelaborate problems inherent to the art field since its conformation. When the debates over the end of painting grew, Kounellis followed his own path and did not abandon it: he called himself a painter to question the nature of painting and, in his artistic practice, devised a specific logic that understood paint on canvas as just a possible means of painting. This approach favors the experience of artistic making, that is, the debate and presentation of Kounellis' work through this poetic glossary takes place from the perspective of an artist who researches artists.