„Utopijsko” i „distopijsko” u kontekstu likovnih umjetnosti

This Essay argues that copyright illogically excludes conceptual art from protection on the basis of fixation, given that well-settled case law has interpreted the fixation requirement to reach works that contain certain kinds of change so long as they are sufficiently repetitive to be deemed permanent. While conceptual art may perhaps be better left outside the scope of copyright protection on the basis of its failure to meet copyright’s other requirements, this Essay concludes that fixation should not be the basis on which to exclude conceptual art from protection. There are of course both normative and descriptive questions around the copyright-ability of conceptual art; this Essay addresses itself primarily to the descriptive question of fixation, and whether works of art that contain change, by design, must be excluded. Part I surveys the rationales for the fixation requirement and discusses the case law holding that works of art that change may still qualify for protection, culminating in the puzzling decision to the contrary in Kelley v. Chicago Park District. Part II offers a taxonomy of different kinds of conceptual art that could be seen as “inherently changeable,” and argues that these categories should be understood and treated distinctly. Finally, this Essay concludes that Kelley’s overly broad “inherently changeable” test threatens to exclude from copyright protection many different kinds of conceptual art on the basis that their changing or changeable nature renders them unfixed. Some of these works are analogous to the changing works that have been protected through copyright in spite of their internal change, like the video games, and some of them diverge in ways that might or might not be relevant for copyright law. I conclude that courts should be wary of relying on Kelley and should treat different kinds of conceptual art differently depending on what kind of art they are adjudicating.

This Essay argues that copyright illogically excludes conceptual art from protection on the basis of fixation, given that well-settled case law has interpreted the fixation requirement to reach works that contain certain kinds of change so long as they are sufficiently repetitive to be deemed permanent. While conceptual art may perhaps be better left outside the scope of copyright protection on the basis of its failure to meet copyright’s other requirements, this Essay concludes that fixation should not be the basis on which to exclude conceptual art from protection. There are of course both normative and descriptive questions around the copyright-ability of conceptual art; this Essay addresses itself primarily to the descriptive question of fixation, and whether works of art that contain change, by design, must be excluded. Part I surveys the rationales for the fixation requirement and discusses the case law holding that works of art that change may still qualify for protection, culminating in the puzzling decision to the contrary in Kelley v. Chicago Park District. Part II offers a taxonomy of different kinds of conceptual art that could be seen as “inherently changeable,” and argues that these categories should be understood and treated distinctly. Finally, this Essay concludes that Kelley’s overly broad “inherently changeable” test threatens to exclude from copyright protection many different kinds of conceptual art on the basis that their changing or changeable nature renders them unfixed. Some of these works are analogous to the changing works that have been protected through copyright in spite of their internal change, like the video games, and some of them diverge in ways that might or might not be relevant for copyright law. I conclude that courts should be wary of relying on Kelley and should treat different kinds of conceptual art differently depending on what kind of art they are adjudicating.

This paper moves from those works of art that include the killing, the ill-treatment and the use of dead animals and therefore it starts from the artifacts whose status of art is difficult to understand in order to discuss the role and power of the theory in the art world. It considers in particular the philosophy of art of Arthur Danto to reflect on the necessity of the relationship between work and interpretation in contemporary art. If the current art has earned (hardly) the freedom from formal constraints, from the ethical and aesthetic standards that until the avant-garde art have regulated the activity of the artist, this art turns out to be, at the same time, a kind of art even more dependent from an exegesis, from an explanation and an interpretation that have to shed light on its meaning, its purpose, its intention. Yet if it is true that what makes something a work of art is its relationship with the context formed by the history and by theory of art and if it is true that an interpretation that is based on this type of knowledge allows a physical object to be seen as a work of art, it is also true that the frames that appeal to history tend not to clearly define the distinctive characteristics of art, leaving unresolved, in essence, the question posed by the problem of the recognition criteria.

The contemporary idea of the “work of art” is paradoxically both widely used and often unexamined. Therefore, we must re-evaluate the concept before we can understand what the deconstruction of aesthetics means for thinkers like Jacques Derrida, Jean-Luc Nancy, and Philippe Lacoue-Labarthe. By examining their analyses of works of visual art and contextualizing their thinking on the matter, Martta Heikkilä asserts that the implications of the “work of art,” “art,” and “the aesthetic” apply not only to philosophical questions but also to a broader area. Instead of the totality represented by the historical concept of Art, poststructuralist thinkers introduce the idea of the radical multiplicity of art and its works. From this notion arises the fundamental issue in Derrida and the poststructuralist tradition: how can we speak philosophically of art, which always exists as singular instances, as works? In Deconstruction and the Work of Art: Visual Arts and Their Critique in Contemporary French Thought, Heikkilä shows that the deconstructionist notions of art are still influential in the discourses of contemporary art, in which artworks proliferate and the concept of “work” is open-ended and expanding. This book offers an introduction to the deconstructionist theory of art and brings new perspectives to the complex, undecidable relation between philosophy and art.

The aim of the article is to present the changes which the literary text with visual values is subjected to. As the starting point of our intellectual considerations we chose the turning-point between 19th and 20th century, when as a result of artistic actions of such avant-garde artists as Guillaume Apollinaire, Stéphane Mallarmé, dramatic changes in the perception of the semantic meaning of poety occurred, which brought about the situation in which the visual structure of the text became quite essential. In the beginning of the 20th century the need for the necessary changes within the scope of literature and visual arts, were noticed by such diverse artists connected with Futurism, as Filippo Tommaso Marinetti, who advocated in his „one-day” publications and manifestoes the slogans which were spelled out in various different languages parole in libertá – with „words-in- freedom”. In Poland a similar role was played by such artists as Brunon Jasieński (1901-1938), Stanisław Młodożeniec (1895-1959), Alexander Watt (1900-1967), Anatol Stern (1899-1968) and Tytus Czyżewski (1880-1945), who presented a multi-sensual reality, in the poetry with „mechanical instinct”. The aim of the article is to present the changes which the literary text with visual values is subjected to. As the starting point of our intellectual considerations we chose the turning-point between 19th and 20th century, when as a result of artistic actions of such avant-garde artists as Guillaume Apollinaire, Stéphane Mallarmé, dramatic changes in the perception of the semantic meaning of poety occurred, which brought about the situation in which the visual structure of the text became quite essential. In the beginning of the 20th century the need for the necessary changes within the scope of literature and visual arts, were noticed by such diverse artists connected with Futurism, as Filippo Tommaso Marinetti, who advocated in his „one-day” publications and manifestoes the slogans which were spelled out in various different languages parole in libertá – with „words-in- freedom”. In Poland a similar role was played by such artists as Brunon Jasieński (1901-1938), Stanisław Młodożeniec (1895-1959), Alexander Watt (1900-1967), Anatol Stern (1899-1968) and Tytus Czyżewski (1880-1945), who presented a multi-sensual reality, in the poetry with „mechanical instinct”. A vivid interest concerning the modern typography in the period which took place immediately after the end of the First World War and during the interwar period of the Great Avant-Garde, was shown by various artists who were closely related to Dadaism and the Polish art group called „a.r”. Here a special mention is desrved by the pioneer accomplishments in the range of lettering craft and the so-called „functional printing” of the famous artist Władysław Strzemiński (1893-1952). The next essential moment in the development of the new approach to the synesthesia of the printed text and fine arts is the period of the 1960s of the 20th century and the period of „concrete poetry” (Eugen Gomringer, brothers Augusto and Haroldo de Campos from Brazil, Öyvind Fahlström). In Poland, the undisputed leader of this movement was the artist Stanisław Dróżdż (1939-2009), the originator of the so-called „conceptual-shapes”. In the 21st century, the emanation of actions which endevour to join and link closely poetry with visual arts is the electronic literature, referred to as digital or html. Artists associated with this formation, usually produce their works only by means of a laptop or personal computer and with the intention that the computer the main carrier / medium of their work. Among the creators of such works of art, it is possibile to mention such authors of the young generation as Robert Szczerbiowski, Radosław Nowakowski, Sławomir Shuty.

Six Ways to Stand with the Work of Visual Art in the Age of Instagrammatical Reproduction:Tanaka Tatsuya and the Beautiful Plenitude of the Reimagination Will Bridges (bio) I. THE FOUNTAIN RIGHT-SIDE UP Eight alpinists make their way up what is, for the time being, a gentle slope. Their boots press tranquil, ovular imprints into the snow, tiny testaments to the tractability of their trek thus far. The expedition has been so biddable for our eight, in fact, that they have managed to synchronize their steps, leaving a single set of footprints as the only bit [End Page 667] of proof of the octet's momentary existence in this landscape. That is, until their transient footprints melt and fade away. I don't mean to say that they haven't seen any hardships along the way. Two of our mountaineers—let's call them "Three" and "Six"—are clearly well on their way to hypoxia. But I do mean to say that they ain't seen nothing yet. Their guide points them toward the summit on the horizon. They do not know what is on the other side of the horizon. But we do. We know that just beyond the snow-sprinkled conifers there waits (best-case scenario) a 90-degree vertical climb up a solid wall of ice or (worst-case scenario) a 270-degree plunge to the depths below. We know this because we know this terrain better than anyone. Of course we do. We go, on good days, at least three to five times a day. So of course we know what waits on the other side of a Toto toilet. Click for larger view View full resolution Figure 1. Tanaka Tatsuya, Mt. Toilet (2018). Image courtesy of the artist. Click for larger view View full resolution Figure 2. Tanaka Tatsuya, Mt. Toilet (2018). Image courtesy of the artist. There are (at least) six ways to stand with this work of visual art in our age of Instagrammatical reproduction. (I mean "work" here in the sense of the object or phenomenon that captivates our artistic attention, but I mean it more in the sense of the labor of those objects and phenomena, the force they send cascading throughout the world—how they get to work, moving us and things around.) If we are going to continue our travels with our eight alpinists and their creator, Tanaka Tatsuya (1981–), however, then we will first have to disabuse some of [End Page 668] our friends of one of the six ways. For this abusive stance tells us that the way to stand with the work of visual art is to see ourselves and our time as greater than the work, to imagine ourselves as the CFO of a company of one, standing over and looking down on the alpinists. The logical scaffolding of this stance is commonsensical. In an age of Instagrammatical exchange, high-speed supercomputers let flash boys make millions in milliseconds on the stock market. So someone is bound to think that their time and presence is bigger than Tanaka's microcosmic, paracosmic play with figurines, to think that, when you go to the toilet, you just need to take care of business. And so of course these someones take a jaundiced view of the work of art, sending Tanaka's toy mountaineers cascading down in an avalanche of hurry as they rush past and belittle his miniatures—as one president once put it: "I promise you, folks can make a lot more … with … the trades than they might with an art history degree."1 The playscape of Tanaka's Mt. Toilet—the commode—almost seems to make the commonsensical case for looking down on the work of art against itself: who, Tanaka seems to imply alongside Piero Manzoni, wouldn't look down on this child's play given the bigger fish we have to fry? Thierry de Duve proposes that Duchamp's urinal marks a shift in our view of our relation to the work of art from the classical Kantian aesthetic stance—this is beautiful—to the modern aesthetic stance—this is art. A natural byproduct of this modern stance is the assertion that...

In this paper, we assess the impact of the COVID‐19 pandemic on the Australian visual arts sector. We base our analysis on the responses of over 1500 visual artists and arts workers to a survey conducted by the National Association for the Visual Arts (NAVA), the national peak body for the visual and media arts, craft and design sector in September 2021. NAVA employed this online survey to study the relationship between the pandemic and both the incomes and mental health of artists and arts workers. Using regression analysis, we find that there has been a significant impact for both artists and arts workers, with the severity of the impacts varying by gender, age and the availability of state‐based and Australian Government support programmes. Reduced hours and loss of contracted work and commissions due to the pandemic were both related to declines in income and mental health outcomes for artists and for arts workers. Housing stress was associated with a higher likelihood of a significant or extreme mental health impact for artists and arts workers. In addition, artists' incomes and mental health outcomes were impacted when faced with a reduced ability to sell, although some artists were able to increase their online profiles.

The purpose of the article is to analyze the peculiarities of the interpretation of artistic texts of the vocal cycle of F. Poulenc on the poem by Louise de Wilmoren "Engagement is a joke" in the intermedial dimension. In addition to the general characteristics of the chamber-vocal cycle of F. Poulenc, the analysis of the poetic text, the peculiarities of its compositional reading, to comprehend the significance of the form of French vocal culture "musical portrait". Outline intermediality as a phenomenon of art in the space of culture. Methodology: comparative, structural methods and narrative analysis to understand the deep psychological processes that occur during the interpretation of "musical portraits". The scientific novelty is the study of the interaction of poetic style and form of "musical portrait" as the basis of internal textual connections of the work of art, and the relationship of the artistic language of different arts, which are coordinated in the process of interpretation into the intermediality space. Conclusions. The musical portrayal is substantiated as a kind of intermedia interpretation of artistic texts. "Musical portrait" as a form of French vocal culture is a full-fledged semiotic space, with a universal textual category of intertextuality, along with the specific characteristics of its sign system, conveys "figurative" information. Correlation of poetic texts, features of intersemiotic translation of figurative structures which carry information by means and at the expense of aesthetic possibilities of other kinds of arts - is an actual theme of the present. Correlation of poetic texts, features of intersemiotic translation of figurative structures which carry information by means and at the expense of aesthetic possibilities of other kinds of arts - is an actual theme of the present. A special type of intratextual relationships is formed in a work of art - intermediality, based on the interaction of artistic codes of different types of art.

The article deals with the role of descriptive context in the structure of John Fowles’ novel “The French Lieutenant’s Woman”. Based on the intermedial analysis there was analyzed the semiotics of fine art in the novel, in particular an appeal to the Pre-Raphaelite art and the Renaissance painting. It was found that John Fowles’ works tend to use the poetics of different kinds of arts: the writer appeals to painting, operates its sign system, recodes signs of visual art by the language of a literary text, expanding the context of its understanding, interpretation and reception.There were studied intermedial connections of the novel with other works of arts. It was found that in the writer’s novels and stories were presented the most clearly visual arts in terms of their classification for the form of sensory perception. Among the arts in relation to time and space are dominated spatial arts: painting, sculpture, architecture, photography, decorative arts. The study focuses on the fine art, especially painting.The descriptive context is multivariation and multifunctional, it has manifestations on a level with the intermedial citation of painting, ekphrasis in landscape or portrait sketches, paintings of visualizing of characters’ imagination, allusions to works of art, etc., explicitly and implicitly represented in the texts. Intermedial analysis allows us to see the relationship of John Fowles’ novel with the Pre-Raphaelite art. In the character context the descriptive component increases literary, cultural and historical contextual characteristics. Introduced in the structure of a literary text the descriptive context on the semiotic level forms the axiological context. The system of ethical and aesthetic values of different cultural eras is extrapolated through the artistic context.So, the article studies the intermedial novel connections with other works of art. The descriptive context of the novel is manifested at different levels of poetic works, has explicit and implicit nature. The appeal to the fine art in “The French Lieutenant’s Woman” relates the novel to other works of the author, in which the theme of art is developed and brings to the broader context of the study of other arts, including arts and crafts, which are provided with if not the most attention in the text.

The article examines the issue of perception of movement and time in works of fine art. The perception of works of art is not only related to perceptual processes and the cognitive sphere of a person, but is a personal and worldview issue, as it is related to the system of personality stereotypes - cognitive phenotypes formed in the process of life and professional experience. The conventional view on the perception of movement and its intensity in visual arts, which was considered as universal for a long time, was that the perception of movement from left to right is more natural and fast, and movement from right to left, respectively, is complicated, slow and less intense. These provisions became the basis for an experimental study of the perception of movement and time in works of art, in which two groups of respondents participated. The experimental group (N=38) consisted of people who are not closely familiar with the art and rules of composition arrangement. The control group (N=30) consisted of students professionally studying art history and visual arts. Both groups only included people whose first language had left to right writing. As experimental material, the subjects were offered to answer how they see the intensity of movement in paintings by famous artists. Each picture was presented in an original and a flipped image, where the movement was reflected in the opposite direction. The results of the study analyzes using the Kolmogorov-Smirnov λ statistical test, which demonstrates the presence or absence of regularities in the subjects' choice of picture numbers that correspond to forward or reverse movement in the picture. With the help of this test, a gender comparison of the features of perception of movement and time in works of art was also carried out. The results of the experimental study question the universality of the perception of movement and time in fine art and require verification in further research.

In 2016, the California Department of Transportation (Caltrans) revised its policy standards with respect to the intellectual property rights of artists who create works of public art installed within the state highway system. While Caltrans had previously allowed artists to keep their copyrights subject to a nonexclusive license of certain reproduction rights to the state, the 2016 policy (the “Transportation Art Policy”) requires artists to assign their “entire rights, title and interest in” such works of art to Caltrans, including their “common law and federal copyright ownership rights.” The artist must execute a copyright assignment and transfer agreement, which Caltrans must approve, before the art is installed. This requirement exists even though the policy assumes that certain local “public agencies,” not the state of California itself, will be responsible for commissioning works of art; the policy directs the commissioning agency for a given work of art to also sign onto the assignment and transfer agreement.This Note argues that state policies that, like Caltrans’, require a transfer of copyright in works of public art are ill-fitted to their purposes, and that the goals of copyright law are better served by alternative contractual arrangements. In Part I, I provide an overview of the legal landscape in the United States with respect to transfers of copyright ownership, visual artists’ moral rights, and public art commissions. In Part II, I outline the substance of Caltrans’ Transportation Art Policy and the possible justifications for its 2016 revision, and then show why the policy is both a poor fit for those presumptive objectives and an unwarranted burden on stakeholders. Finally, in Part III, I discuss alternatives to public art policies that require copyright transfer. I argue that states or state agencies seeking to own public artwork should, as Caltrans once did, allow artists to retain copyright provided that they grant the state a nonexclusive license for reasonable public uses. The advantage of such an approach—which many other states already employ—is that it offers reasonable protection for the state’s legitimate interests in avoiding liability and enforcing the copyright, without the attendant harms to artistic creativity and to the public.

Breathing Room: Working Principles of Independent Art Spaces in African Cities

Painting Out Pop

British Formalist Aesthetics and Its Literary Writing Practice

The Politics of Collaborative Performance in the Music of Pauline Oliveros Barbara Rose Lange IN 2003, TWO SETS OF MUSICIANS in neighboring U.S. cities initiated a project to collaborate on a performance of Pauline Oliveros's Four Meditations for Orchestra. Disputes arose between the groups, nearly derailing the performance. They differed over such basic issues as the number of rehearsals to hold, the purpose of rehearsal, who should par ticipate in the performance, and how the musicians should be con figured. I believe that these conflicts arise from the popularizing of new music. Critics, audio producers, musicians, and composers celebrate the fusion of jazz, rock, and classical music, the adoption of punk as avant garde art, and the expansion of sound tapestries through mixing (Eno 2004; Gendron 2002; Tierney 2000). Georgina Born commented in the mid-1990s that such combinations tend to be restricted to individual artists and single projects (1995, 21), but a generation of young adults 40 PerspectivesofNew Music isnow juxtaposing sonic values. Pauline Oliveros's music, composed for groups, attracts artists from disparate backgrounds?those with no musi cal experience, jazz players, indie rockers, and classical musicians. Her pieces perform egalitarianism; they disrupt composer-performer rela tionships, reorganizing how musicians accumulate artistic and economic capital. Oliveros's music has been called experimental, postmodern, or avant garde. Some writers reserve the avant-garde term formusic that ishighly systematized (Born 1995; Nyman 1999). But Peter Burger, in developing a theory of the avant-garde for literature and the visual arts, articulates a characteristic of radical reorganization that is relevant to Oliveros's music. Burger comments that avant-garde art, like consumer oriented craft, isutilitarian. The latter ingrainsmainstream practices, but avant-garde art attacks them, thereby initiating a transformation (Burger 1984, 53-4, 90-1). The best-known approach is to integrate the popular, as with the Surrealists or 1970s punk. Oliveros's compositions restructure in a different way, by overdetermining social practice. "Reality in its concrete variety penetrate[s] the work of art," states Burger (1984, 91), and this is the experience of many musicians who perform Oliveros's music. Ethnomusicology, because of its focus on performers as social agents, can provide some insights into issues of avant-garde performance, especially as itnow preoccupies musicians in numerous American cities. Martin Scherzinger has argued that by privileging cultural context, ethnomusicology obscures both the researcher and the musical actors (2001). Musical ethnographies of the late 1990s and 2000s have escaped this by tracking flows of musical commerce, sounds, and performance strategies (Meintjes 2003; Slobin 2000; Waxer 2002). This essay, in discussing specific negotiations and tactics, follows a "radically contextual" approach (Scherzinger 2001, 9). In order to delineate this music scene of today's complex society, I augment the standard ethnographic modalities of participant observation, interviews, and directed conversation with online communications and study of recordings made bymusicians themselves. The conflicts described in this essay illustrate that such sources are "partial truths" (Clifford 1986). Oliveros's Musical Strategies Oliveros designs her music to breach divides ofmusical training. Begin ning in the 1970s, she created exercises in sound production and perception, publishing them as a group of sonic meditations, "just to PoliticsofCollaborative Performance 41 make it possible for people to work together using sound and music" (Oliveros and Maus 1994, 179). In her view, the set is "deeply political in that it challenges certain premises in themusical establishment, that it opens the way for people to participate who aren't musicians" (Smith and Smith 1995, 209). Oliveros objects to the score as "a symbol of control" (Oliveros and Maus 1994, 184) so thatmany of her composi tions, like her sonic meditations, use prose instructions rather than musical notation. Sound Piece, written originally for art school students, asks the performers to produce sounds with unique qualities from awide variety of sources, but to avoid making them "identifiable as a fragment or phrase of music." It suggests that the sounds "enliven the perfor mance space" and adds the factors of distance and motion (Oliveros 2005a). Oliveros's pieces formusicians and other artists differ from her sonic meditations in that they aestheticize collaboration. Many compositions mark the configuration of players as non-hierarchical. Oliveros frequently...