The universum of Martin Heidegger's term "Thingness of artistic creation" in the works of Mayer Shapiro and Clement Greenberg

Rural Partnership: An Approach to Achieve Development and Poverty Reduction (Case Study: Saravan Dehestan of Rasht County)

The purpose of the article is to consider performance as a means of creating an art object in the creativity of contemporary Ukrainian artists. The research methodology. An analytical method is used to collect and study theoretical material about the "Birth of Birth" artistic action, which opens the unique "Cosmogony" project, the exhibitions "Artarmor", "Shards of the Sun", art objects – "River-Love ", "The World through Rose-Coloured Glasses", "Friend", "Equilibrium", "Ladder", "Movement of Suprematism", "Wind Rose", "Confrontation opposite Bessarabka", and others. A hermeneutic method is applied to interpret the principle of performance as a means of creating art objects in the work of modern Ukrainian artists, while a theoretical method is used to summarise the results. The scientific novelty of the paper is that for the first time the principle of performance is studied as a means of creating art object in the creativity of contemporary Ukrainian artists. Conclusions. The article examines performance as a means of creating art objects in the context of the work of modern Ukrainian artists, using the example of the works of A. Logov ("Sun Fragments" project), P. Antyp ("Cosmogony" project), P. Bevz, Yu. Vakulenko, N. Bilyk ("Artarmor" project), D. Iva ("Bronze Ant"), V. Padun and L. Padun ("The World Through Pink-Coloured Glasses"), O. Lidahovskyi ("River Love", "Equilibrium", "Ladder "), O. Zolotariova ("The Movement of Suprematism", "Wind Rose", "Confrontation opposite Bessarabka"), O. Hodunov ("Friend"), mural "The Call of the Family", created by Ya. Vlasenko-Bernatska and Yu. Abramova. The art object, having its own artistic and functional features, in the work of modern Ukrainian artists acts not only as a new art form, but a means of communication that combines a mixture of different materials, methods, painting can be combined with graphics, sculpture with installation, performance may be accompanied by a video sequence. In the context of modern socio-cultural reality, an art object is a response to the surrounding events, it is a challenge and a reflection at the same time. Invoking the principle of performance, which has elements of visualisation, spectacle, play, mass, Ukrainian artists emphasise the creation of art objects that, in the modern cultural situation, reflect their vision of modern reality. The main feature of the art object is the absence of a canon or any rules in the process of its creation, a sculpture of an unusual shape can be combined with paper and wood. The main thing is the idea that the artist conveys to the recipient

Will to the Original: Platonism in Henry James’ <i>Roderick Hudson</i>

Research task. The purpose of the study is to consider artistic creativity in philosophical thought, to determine its features, its role in human life. For this, it is necessary to analyze the philosophical heritage of thinkers of antiquity, to determine the features of the aesthetic views of philosophers of the Middle Ages, the Renaissance, the Modern Age, German classical philosophy, the ideas of non-classical philosophy regarding the understanding of artistic creativity and modern aesthetic and art historical ideas. It is important to understand the aesthetic and artistic experience of the past and present, basic values, aesthetic categories, various types and genres of art. Main material presentation. In the process of artistic comprehension of the world, a person learns and transforms reality according to the laws of beauty. The development of perception, imagination, understanding of beauty in nature, the development of creative abilities for artistic creativity, and appreciation of art are components of the aesthetic development of the personality. The properties of works of art and their impact on humans are considered through the concept of beauty. The main means of aesthetic development of the individual is artistic creativity, the result of which is new artistic values. Each historical era embodies the characteristic stylistic features of various types of art. In artistic creativity, self-expression of the individual occurs. With the help of artistic means, such as color, sound, form, the artist's creative idea is embodied in a work of art. Artistic creativity is the highest form of human aesthetic activity. It contributes to the aesthetic development and formation of the spiritual and moral values of the individual. As a productive human activity, artistic creativity will always require individuality, because it is in works of art that the individuality of the author-artist is revealed. Conclusions. In the process of artistic creativity, the artist creates aesthetic value in the form of a work of art. The practical activity of the artist is combined with the creative mental activity of the person who masters the work of art. Thanks to artistic creativity, the spiritual world of a person is improved, he develops an interest in creative activity, and relationships with other people are harmonized. Artistic creativity is a tool for cognition and transformation of reality, the result of which are works of art. A work of art as an object of perception by other people embodies not only the artistic material realized, generalized and reflected by the artist, but also the level of aesthetic development of the artist, and also contributes to the development of aesthetic taste, experiences, and values of the subject of perception. In artistic creativity, a person not only changes the world around him, but also develops himself - studies the types, genres, stylistic features of art, realizes aesthetic and spiritual and moral values.

This doctoral thesis focuses on the relationship between the state and art based on the commission and acquisition of artwork for the interior spaces of public institutions in the territory of the People's Republic (NR) and the Socialist Republic (SR) of Croatia from the early 1950s to the late 1960s. The works of art commissioned from contemporary artists or acquired throughout the 1950s and 1960s for the purpose of interior design of public, or social institutions, as they were called at the time, form a significant, but still largely under-researched, segment of Croatian art history. Commissions, tenders and acquisitions of art have a prominent role in the context of post-war reconstruction and the formation of a new state, as evidenced by the aesthetic quality of some of the completed works, and a vast number of works that have only partially been preserved today or segmentally dealt with in literature, museum documentation and archival material. The number and quality of the works offer themselves today as testimonies of a range of state initiatives in the period from the 1950s to the 1960s especially those that were launched in order to ensure that a percentage of investment construction funds in the entire Federal People's Republic of Yugoslavia (FNRJ), that is, the Socialist Federal Republic of Yugoslavia (SFRJ) was used for the acquisition of artworks. In addition, the artistic quality also represents the artist's active consideration and commitment to the adoption of the so-called synthesis of all arts. This concept signified a unification of architecture, fine arts and design into a unique, total work of art. Since the artworks in this thesis primarily relate to paintings and sculptures commissioned or acquired for buildings of representative public characteristics, the research focused primarily on artistic furnishing of public interiors (governmental, cultural, sports and health institutions, military, tourist, catering and transportation facilities, and factories, company branches and banks) which have been analysed within the context of Yugoslav social ownership and a range of legal acts and by-laws passed in the researched period. The corpus of artworks on which the research was conducted includes a wide scope of media and different functions of buildings, and since the largest client was the state, i.e. state administration, institutes, associations, cooperatives, companies and other institutions financed from the state budget, the research topic and interpretation have been subject to a broad historical, cultural and artistic analysis. The first chapter (Introduction) provides an overview of previous research directly or indirectly linked to the topic of the thesis, the sample and methodology as well as research limitations, which have mostly been related to the issue of availability of archival documents. The chapter concludes with the research goal and hypotheses. The hypotheses are the following: 1) the acquisition and commission of artwork in Yugoslavia and the Republic of Croatia during the 1950s and 1960s were initiated and heavily regulated by the state; 2) the concept of artistic synthesis, or more specifically, the integration of architecture and fine arts, is advocated on all levels of government administration and state institutions that were responsible for culture and art; 3) cultural policy, ideological agendas of the state and the type of public institution impact the use of iconographic, formal and stylistic features of artworks and the level of the artistic synthesis; 4) due to their number, quality and socio-political circumstances the acquired and commissioned artworks for public interiors in the 1950s and 1960s represent an important segment in Croatian art history. The second chapter of the thesis (Socio-historical context and cultural policy of FNRJ/SFRJ and NR/SR of Croatia) presents the socio-historical and political context in Croatia and Yugoslavia between the Second World War and the 1970s. The chapter explains the definitions of ideology, culture and cultural policy that form the basis of the state's political decisions of the time as well as a political and cultural framework from within which the artworks have been analysed. The chapter ends with a brief overview of the cultural policies in the People's /Socialist Republic of Croatia and the Federal People's Republic of Yugoslavia or, the Socialist Federal Republic of Yugoslavia, which includes the period of the so-called agitprop culture, an institutional implementation of cultural policy in the 1950s and 1960s and the reforms and censorship of the early 1970s. Within the legislative framework, the Yugoslav cultural policy objectives were to protect cultural heritage, incentivise the production of artworks through the organisation of events and otherwise, supervise and educate artists, experts and cultural workers, while maintaining control of the entire field of artistic and intellectual creativity. The development of cultural policies from the end of the Second World War to the early 1970s had several phases. In the first phase, from 1945 to 1951/1952, also called the period of "agitprop culture," the Yugoslav cultural policy exercised strict supervision and intense ideological pressure on culture. This could be felt in the production, acquisitions and commissions of artworks especially during 1948 and 1949, when the acquired art represented predetermined partisanship, particular ideas and connective affinities among all Yugoslav peoples. In other words, the socially engaged message of these works could be interpreted in a rather straightforward fashion. The second phase of Yugoslav cultural policy came after the temporary cessation of Agitprop (until the reactivation of the Ideology Committee). Although this phase saw a gradual liberalization, decentralization and bureaucratization of the artistic and cultural field of production, especially after the Sixth Congress of the Communist Party of Yugoslavia (1952), in the 1950s and 1960s Yugoslav cultural policy was completely dependent on the state-party policy, which meant that state's cultural institutions exercised exclusive control of the field. This also meant there were coexisting tendencies – one was an increased openness towards expressions of high modernism - abstract and new post-war figurative forms, especially in public art and monuments, and the other was the retention of a clear ideological and memorial function of art, very often manifested as socialist realism. Following the early liberalization process and lowered ideological pressure, the early 1950s saw an individualization of artistic expression, and various works of art of moderate and radical modernist tendencies appeared on the art scene, which, despite numerous debates and resistance, were supported by the state through exhibitions, scholarship, public acquisition and commission. In the early 1960s, the highest echelons of the government denounced the dominant position of abstract art, which in 1962 and 1963 led to changes in the acquisition policy. The restricted freedom of artistic expression did not, however, continue in the second half of the decade when the state encouraged both institutionally and financially the development of art that could be characterised as supporting modernist tendencies. The third chapter of the thesis provides an overview of the post-war art in Croatia, or more specifically, an overview of artistic developments and debates, cultural and political upheavals and overviews of artistic forms, styles and movements, mostly socialist realism and abstract art, which marked the post-war art scene and which were particularly significant in the context of the commission and acquisition of artworks for the interior spaces of specific state institutions. The overview begins with the cultural and political context of post-war art and a series of important speeches by statesmen and artists on the role and position of art - from adherence to the ideological program of the state to the freedom of artistic creation. The chapter also gives an account of important exhibitions that served as testing grounds for the affirmation of new artistic expressions and events that spurred a number of critical reviews. These exhibitions include Archaic Surrealism (1952) by Antun Motika, Miljenko Stančić and Josip Vaništa (1952), American Experience (1953) by Edo Murtić, the exhibition of painters from the EXAT 51 group (1953), Salon 54 (1954) and the 1 st Didactic Exhibition: Abstract Art (1957). One segment of the chapter provides a brief overview and definitions of artistic forms, styles, movements and protagonists in post-war art in Croatia, while other focus more on the ideological aspects of socialist realism and abstract art and their significance concerning the specific geopolitical position of Yugoslavia. The fourth chapter, entitled The Synthesis of Fine Arts – the Development of the Concept and Its Influence on Art in Public Interiors in the 1950s and 1960s in Croatia, deals with the history of the concept "synthesis of fine arts" from the 19th century to the 1960s, particularly focusing on the post-war period in the international context and the Socialist Republic of Croatia. It was a complex idea that most often implied the unification of architecture, design and applied arts, painting and sculpture into a unique work of art. The chapter provides an explanation of the institutional framework of the concept of synthesis, and based on the research of archival material and the then-current periodicals it offers a reconstruction of the debates about the synthesis of all arts that took place during artists' meetings, at exhibitions and conferences and in magazines published in the period in question. It also highlights the significance of the synthesis of fine arts in the theoretical concept of gestalt theory. The fifth chapter, entitled Instruments of the Acquisition and Commission of Artworks for the Interiors of Public Institutions in the Territory of the People's/ Socialist Republic of Croatia in the 1950s and 1960s offers an unprecedentedly thorough reconstruction and explanation of the role of institutionalized cultural activities in the 1950s and 1960s (state administration, foundations, academies, state master workshops and professional associations and cooperatives) in the history of acquisition and commission policies regarding artworks in Yugoslavia and Croatia. The chapter goes on to explore in detail the state acquisition and commissioning process and the instruments, the impact of cultural policy on the acquisition and commission of artworks in the context of the expenditures for culture from the annual federal /republican budget, in the context of cultural and socio-political developments and legal acts and by-laws on the allocation of a percentage for artworks within investment construction project budgets. An important aspect of the chapter represents the investigation into the work of acquisition committees at the federal, republican and local levels of government, which often decided the fate of artists, the allocation of funds to numerous museum and gallery institutions, but also influenced the visual presentation of government in public buildings. The composition of the committees was also indicative of and depended on the country's cultural policy. In the post-war period, the committees were often made up of state administration employees, people imposed by the party, but also experts in culture such as art historians. In the early 1950s, they were largely made up of visual artists, and members of professional art associations who were sometimes accused of irregularities in following the procedures of purchasing and commissioning artworks. Apart from the association, the commissioning process was also greatly influenced by the State's Master Workshops as independent institutions which, due to considerable grants, favourable working conditions and the buildings they owned, were the only ones able to realize large orders, and thus influence the form and content of the works. Attempts to regulate the aforementioned instruments were the subject of numerous debates, as well as proposals for regulations, decrees and recommendations, especially during the 1950s. Considering the proliferation of proposals and legal acts in a single decade, artistic commissions and acquisitions for the interiors of public institutions embody a dynamic relationship between art and the state. The sixth and biggest chapter of the thesis offers a typology of artworks commissioned and acquired for public buildings of various functions. Sub-chapters contain an analysis and interpretation of a considerable number of diverse works of art situated in the interiors of administrative, military and educational institutions, cultural, and health institutions, catering establishments, shops, branches of banks and post offices, transport infrastructure facilities, factories, associations and societies, tourist architecture and residences of the President of the Socialist Federative Republic of Yugoslavia. Although the typology has been created based on several criteria, including the type of work, location, client and motivation for the integration of art and architecture, the research of archival and museum documentation, periodicals, in situ buildings and previous research is given in sub-chapters by the type of public institutions in order to combine in one place the similarities and differences of artworks situated in the interiors of particular institutions that depended on socio-political circumstances. Each function of the building is presented within its context, with numerous examples which represent an overview of acquisitions and commissions for the interior, an example selected for its aesthetic and sociopolitical significance, which provides an in-depth analysis and interpretation of the work. They are also presented through a comparative example in other Yugoslav republics. At the end of the chapter, there is a short list of examples divided according to the proposed typology. At the very end, in addition to the list of references, the doctoral dissertation includes appendices (various archival documents) and a list of works in the interiors of public institutions in Croatia in the 1950s and 1960s. The list contains known information about the location, author, year, type of work and technique, client, selected works of literature related to the work, and a photograph (if the work has been preserved or if there is photo documentation). Additionally, each work has a note related that usually includes information about the architect of the building, the collaborators and the degree of preservation of the work. The research carried out for this thesis has resulted in the first comprehensive analysis, contextualisation, interpretation and valorisation of artworks produced for public interiors in Croatia in the 1950s and 1960s. It also provides an insight into the role of the state as a client, and numerous aspects of cultural and acquisition policies that have not been addressed so far. New information is provided about numerous unknown or lesser-known works of painting and sculpture commissioned and acquired for the interiors of public institutions. Consequently, the results include the attribution and dating of ten artworks. The contribution of the research comes in the form of typology and a list of artworks in the interiors of public institutions that were commissioned or acquired in the 1950s and 1960s with some examples from the 1940s and 1970s). The systematization and interpretation of the material and the critical analysis of primary and secondary sources expand on the previous knowledge about the art of the 1950s and 1960s and fragmentarily researched works of art.

The Colour of Copyright

The article is devoted to the study of the psychological aspects of Salvador Dalí’s personality and creative process. Based on the analyzed data taken from cultural and historical conditions of the artist's life, as well as from biographical, autobiographical facts and works of art, the following groups of factors were found that influenced both the psychological characteristics and elements of the artist's creative products. The group of macro factors includes geographical, in particular the tendency to portray the landscape, where the artist lived, as the background image in his paintings; global events (the image of the Civil War was used in the painting "Soft Construction with Boiled Beans: Premonition of Civil War" (1936)). Micro factors include two subcategories: close social environment and personal events. The death of the elder brother had seemingly an intense influence on artist's personality and creativity that led to the development of guilt in the parents who treated Dalí in a special way, as their second and only son. This situation formed a sense of permissiveness and uniqueness that, becoming Dalí’s fixed personality traits, were manifested in art: the widespread use of free associations and a surrealistic approach in paintings. Freud's ideas had an exceptional influence on Salvador Dalí, and led to the development of a unique method in his works of art - a paranoid-critical method that allows mixing real objects in paintings with the fantastic ones. It is worth noting the influence of two strong childhood emotional impressions that have signs of psychological trauma: contemplation of the decomposition process of a hedgehog’s corpse and entomophobia of grasshoppers. These two events formed individual images that the artist often used in his surrealist paintings. Therefore, based on these facts we can talk about the existence of a certain mechanism that transform the image of psychological trauma into a permanent element of creativity. The results of the study showed the presence of the following Dalí’s main personality traits: shyness (especially in childhood and adolescence), narcissistic personality type, alienation and closed nature, ambition and the desire for recognition. Thus, it can be argued that there is a certain mechanism in the creative process that transforms the formed psychological traumas and phobias into stable symbolic elements of creative products. The consistent effect of certain events in a life on personality structure was established and, accordingly, the impact of such events on a choice of a certain style in creativity was revealed.

In this paper, we critically examine different discourses of globalization and explore how concepts of globalization have been represented in organizational theory. We argue that, despite its celebratory rhetoric of `one world, many peoples', notions of globalization are inextricably linked with the continued development of First World economies, creating new forms of colonial control in the so-called `post-colonial' era. Thus, globalization becomes the new global colonialism, based on the historical structure of capitalism and is a process that executes the objectives of colonialism with greater efficiency and rationalism. We discuss the economic, political, social and cultural aspects underlying globalization, and argue that the emergence of a so-called `global culture' is simply a process that marks the transformation to a culture of consumption. We interrogate the notions of diversity and multiculturalism, and argue that the successful management of diversity, presented as the new prerequisite for sustainable competitive advantage, effectively continues global colonialism. We argue that, despite the rhetoric of celebrating difference, multiculturalism does little more than facilitate assimilation within the dominant ideology. We examine the different structures and processes of globalization, and conclude by discussing the possibility of alternate theorizations and a discursive redefinition of globalization involving the creation of new spaces that can articulate alternate forms of economic and social realities.

Despite a history of different attitudes and approaches, art and science are engaging more often in collaborations of mutual benefit

The purpose of the article. Research and analysis of marketing technology algorithms and study of motivations of purchasers of products of fine arts. The methodology is to apply comparative, empirical, and theoretical methods. This methodological approach allows us to analyze the motivations of purchasers of works of fine art and further research of marketing processes in the promotion of works of fine art in the art market. The scientific novelty consists in the expansion of ideas about the motivations of purchasers of works of fine art. The article explores the marketing processes in the art market. Algorithms of marketing technologies in the analysis of motivations of purchasers of works of fine arts are analyzed. That is, the article proves that in art marketing it is relevant and necessary to regularly study the algorithms of the behavior of purchasers of works of art, as well as in general - situations in which the collector decides on the purchase of works of art. Research in the field of art market marketing gives grounds to state that artistic creativity is a field of large and small business, which should deeply study and analyze the motivations of purchasers, involving specialists in psychology, sociology, economics. It should be noted that in the marketing of fine arts the technologies of studying and analyzing the motivations of the purchasers of works of art are purposefully and productively used. Conclusions. The article analyzes the models of acquisition of works of fine art. It is also proved that the behavior of the purchaser of works of art is determined by three mandatory components: Individual - Product - Situation, on which the model of consumption and consumer behavior is based. Thus, we have studied the individuals involved in the acquisition of works of art that are products on the market, presented in kind in museums or private collections. The success of art marketing depends not only on the personality of the artist who created the product presented on the market, not only on the solvency of the final purchaser of this product but also on the personality, creative and business qualities of dealers, distributors, and other intermediaries in the art market. At a certain stage, they also become purchasers of this product on the way from the artist to the final buyer - a museum or a private collector, etc. We also explored market algorithms for acquiring works of art in a collection.

The purpose of the article. Research and analysis of marketing technology algorithms by means of market segmentation in fine arts marketing. The methodology of the study is to apply comparative, empirical, and theoretical methods. This methodological approach allows us to analyze the processes of segmentation of the fine arts market with the subsequent use of research results in the marketing processes of promoting works of art from artist to consumer. The scientific novelty consists in expanding the notions about the research of marketing processes in the art market. The article establishes that in the second half of the XX century - at the beginning of the XXI century in the art market very actively and effectively were used and are used marketing models and technologies. But professional scientific activity, scientific researches in the field of art market marketing have been conducted and are conducted insufficiently. Therefore, it can be stated that artistic creativity is the area of meticulous attention of large, small, and medium-sized businesses, which, in turn, created the art market, but still has not attracted specialists in this field of sociological, economic, marketing sciences. Scientific, research work on the positioning of works of art aims to determine the main market qualities of works of art, their recognizability for further promotion of works in the markets using advertising and other marketing mechanisms. The main purpose of the article: analysis of the specifics of the realization of classical marketing technologies (marketing researches, positioning of works of fine art) in the marketing of fine arts. Conclusions. The analysis of the problems of using traditional marketing technologies in art marketing carried out in the article gives grounds to state that such technologies are used in the art market, but they differ significantly from other market areas. Besides, due regard should be paid to the effectiveness of marketing technologies in the art market. Note that such traditional marketing technology as marketing researches is insufficiently used in the marketing of fine arts. Technology deserves special attention in art marketing. The technology of positioning works of art and artists deserves special attention in art marketing. The positioning of works of art in the implementation of the marketing approach allows the market to implement such strategies to meet the demand for works of art as: negative demand, lack of demand, latent demand, declining demand, irregular demand, full demand, excessive demand, unwanted demand.

The act ... and not the [association] tract is the fundamental datum in both social and individual psychology..., and it has both an inner and an outer phase, an internal and an external aspect. (George Herbert Mead 1934: 8)Always design a thing by considering it in its next larger context - a chair in a room, a room in a house, a house in an environment, an environment in a city plan. (Eliel Saarinen, Time Magazine, July 2, 1950)Nature provides the 'can', but culture and language provide the 'may' and 'must.' (RomHarrel993:5)The great British literary critic Frank Kermode once asked why we represent a clock as going 'tick-tock' when it is actually going 'ticktick.' On this observation he built an argument about human beings' compulsion to organize experience into beginnings and, even more strongly, into endings. The 'tick' of the clock was for Kermode 'a humble genesis'; the 'tock,' on the other hand, was a 'feeble apocalypse'! From the days of the Gestalt Psychologists there has been a fascination with the variety of ways in which the 'forward movement' of subjective experience is organized, whether spontaneously due to the ways in which brains have evolved, or under the active control of a culturally constituted person.1 The imaging techniques of neuroscienee are helping to deepen our understanding of how subjectivity is managed by the brain. The problem of how intersubjectivity is organized, however, is currently less amenable to these technologies. This is especially so in the case of the psychology of art. Because experiences with art are, as John Dewey (1934) argued, the most complete kind of experience - recruiting, as it does, sensation, perception, conception, judgment, emotion, memory, imagination, personal idiosyncrasy, cultural tradition, etc. - the making and the reception of 'Art' is therefore likely to be the most testing ground for the adequacy of any psychology's ontology. But what is the nature of the phenomena to be studied, and what particular categories best assist the inquiry?A strikingly obvious feature of subjectivity, and of intersubjectivity, is the apparent seamlessness or unity of the ways in which many different neural capacities are bound together into ongoing, interwoven, subject-centered fields of consciousness. Since William James, words like 'stream' are routinely used to indicate the forward movement of such fields of consciousness, particularly when considered from the point of view of their subjects (James, 1890). The degree to which a person is not engaging in centering reflection for passages of that stream has, on the other hand, been described using words like 'absorption' (Dewey 1934; Benson 1993, 2001) or 'flow' (Csikszentmihalyi 2008). When the experience is 'aesthetic,' in John Dewey's sense ofthat term, then absorption is one of its symptoms.We should remember that 'experience' for Dewey is not the same as is currently understood by that word. Contemporary usage tends to emphasize the subjective or private aspect whereas, for Dewey, experience is both subjective and objective and is to be understood as 'relational.' Experience is always temporally extended. Subject and object together produce experience. In this sense, it is a suitably equipped subject aesthetically engaging with an 'art object' that together generate the 'work of art.' The 'work of art' is an outcome in time of the dynamic give-and-take between a subject and an 'art object/event.' Late in his life Dewey wondered whether, instead of trying to recover and defend this understanding of 'experience,' he would have been better off using and developing the concept of 'culture.' The course of experience/culture has both public and private phases.In this view, experience streams, sometimes as a subjective phase, sometimes as an objective phase, which can in time achieve its own kind of 'form.' This form is one that unfolds over time with a beginning and a conclusion or, as the Pragmatists would say, a consummation. …

The purpose of the article. Research and analysis of algorithms of marketing technologies in the art market by studying the motivations of symbolic consumers of fine arts, namely, individuals who consume products of fine arts through symbolic appropriation. The research methodology is to apply comparative, empirical, and theoretical methods. This methodological approach allows us to analyze the motivations of symbolic consumers of works of art with the subsequent use of research results in the marketing processes of promoting works of art in the art market. The scientific novelty lies in the expansion of ideas about the motivations of symbolic consumers of the fine arts market and in the study of further marketing processes in it. The article analyzes the algorithms of marketing technologies in the analysis of motivations of symbolic consumers of the fine arts market. The article establishes that in the marketing of fine arts it is relevant and necessary to study the behavior of symbolic consumers of works of art as Individuals through the analysis of types of symbolic Consumers, as well as through the analysis of situations of symbolic consumption of works of art as a symbolically appropriated Product at the art market while viewing works of art in exhibition halls. Based on research in the field of art market marketing, we can say that artistic creativity is an area of activity of non-profit public and private museums, gallery and exhibition institutions, as well as large and small businesses, which should professionally analyze consumer motivations, which in turn makes it possible to highly segment consumers of works of fine art in accordance with their motivations. Conclusions. The article defines and analyzes the model of consumption of fine arts by symbolic appropriation, and, accordingly, describes the group (segment) of consumers. We are talking about symbolic consumption, which is associated with the possibility of obtaining aesthetic pleasure through the symbolic appropriation of the work without material possession. It is also proved that consumer behavior in art marketing is determined by three mandatory components: Individual - Product - Situation. It is on these components that the types of motivation are formed, on which the model of consumption and consumer behavior is built. Thus, we have studied individuals who consume works of art, which in turn are products presented in exhibition halls, and we have studied the situations of consumption of works of art that are consumed by symbolic appropriation in exhibitions. Key words: art market, marketing research, motivation of consumers of works of art, symbolic consumption of works of art, behavior of consumers of art market.

Art education is commonly interpreted as education in the production and appreciation of art objects. The major emphasis in practice has been upon the production of works of art, while the appreciation of art has been neglected. Recently, educators have recognized that neglect, and they have turned their attention to teaching for appreciation of art work or to esthetic education.' 2 3 4 Their aim, in general, is to improve the responses the people make to the visual environment, including works of art. Before art educators can decide if improved responses have been made, however, they need to know how people respond to works of art before those people have received formal instruction in art appreciation. Basically, investigators have used two methods of estimating children's responses to art objects. First, many investigators have noted those art works that people prefer. The second method of investigation analyzes the verbal statements that the subjects offer about works of art. Both methods of investigation have revealed valuable information about responses that people make to art works. Picture preference studies give general information about the choices people make. Essentially, the picture preference investigations show that subjects who are trained in art tend to prefer the art work preferred by art experts.5 6 Further, these studies indicate that subjects' preferences change with age.7 For instance, several studies conclude that older subjects prefer more realistically depicted art work than do younger subjects.8 9 It is important to note, however, that most picture preference studies do not give specific information about which aspects of the art objects influenced the subjects' choices. Several preference investigators do attempt to explain what influenced the subjects' choices by examining only the art work that was chosen by the subjects.'? It is possible that the reasons for preference inferred by inspecting only the art objects are different from the reasons the subjects would say influenced them. Consequently there seems to be a need for research which will uncover the factors that the subjects themselves consider to be the primary influences affecting their preference for certain works of art. Several investigators have attempted to meet this need by examining the verbal responses that subjects make to works of art. Some researchers concerned with verbal responses describe the aspects of the art work which the subjects say influence their choices, while other investigators describe the kinds of statements the subjects make about the art work.'2 13 In general, these studies also have weaknesses. Frequently, the subjects are asked to respond to extremely small black and white reproductions of colorful originals.'4 It seems evident that responses to size, detail, and color may be influenced by the inaccuracies of small reproductions. Furthermore, many subjects are asked to respond only to the art object they like.5 16 Hence, we have no way of knowing what causes people to dislike certain art objects. In addition, several studies fail to indicate how the responses were solicited.'7 18 Obviously, the method of solicitation may have conditioned the subjects to respond to certain ways or to

Inciting Reflection