Managing the People: Art Programs in the American Depression

How do “classical” big art institutions (museums, the ballet, the opera, symphony orchestras) react to phenomena of globalization such as migration flows, the “denationalization” of artistic movements, the enormous growth of the number of artists, the trend of a global cultural branding of cities, etc.? And which cultural policies do governments develop to interfere in the relationship between those art institutions and their changing environments? Those were the central questions I asked while doing research about the position of art institutions in society today. The research concentrated on a very diverse sample of big art institutions in Europe. The research begins with the insights of Actor Network Theory and the political philosophy of Antonio Negri and Michael Hardt and leads to an ideal typical two-dimensional model to classify the possible strategies that such institutions and their responsible governments can use on the local, national and international level.     

The Intellectual and Cultural Dimensions of International Relations: Present Ironies and Future Possibilities

Reported is a study that focused on the Millennial Generation and potential differences in viewing an exhibition in person versus online. The exhibition featured the artwork of Paul-Henri Bourguignon, whose extensive body of work includes a variety of paintings and drawings that employ a wide range of styles. Some viewers traveled to the physical space of a museum gallery, while others viewed reproductions of the same works on the Internet. Informants engaged in reflexive self-interviews using Dervin's Sense-Making Methodology. The authors compare viewers’ responses to works experienced in person versus online and discuss implications.     

Cultural Policy and Values: Intrinsic versus Instrumental? The Case of Romania

This article addresses cultural policy in post-Communist Romania, focusing on the justifications for support of culture and the arts. The objectives are to clarify values legitimizing public support and to determine their effect on the meaning and impact of cultural policy. The author argues that justifications of public funding—instrumental or intrinsic—depend on how successive governments represent the roles conferred to culture and the arts, as well as on the particular ideas of culture and art they promote. Policy discourse after 1989 has been characterized by its nourishment of a persistent instrumental ideology that gradually connected to the international debate and has been dominated by a traditional, narrow conception of culture and art, which conflicts with a modern conception. Until recently, the fluctuations and conflicts between different values and ideas of culture and art have worked to constrain cultural policy, disrupting its implementation and altering its effects.     

Bourgeois Myth versus Media Poetry in Prime-time: Re-visiting Mark Frost and David Lynch's Twin Peaks

This article explores IVIark Frost and David Lynch's television series Twin Peaks from the perspective of the two dominant world-views it dramatized. The world-view based in bourgeois myth can be described as employing significations that are always present in naturally and mythically transcendent terms. The other world-view is generated by media poetry, which is a virtual mode of signification that re-mediates linguistic/audio/visual phenomena with contingent capacities for meaning. That generative potential for signification is an aspect of all media use, but media poetry specifically highlights and exploits the capacity of new multi-media to enhance “poetic” possibilities for meaning-making. This may occur through either the actual use of virtual media, through a critical ambiguity with regard to official ideologies and formal/generic con-straints, or through thematic content that destabilizes fixed meanings/representations and entertains possibilities for alternative significations. The article makes the case that the adolescent characters in the show specifically embody the productive world-view inherent in media poetry, and the “poetic” challenges they present to adult, mythic society allow for the continual re-mediation of any and all bourgeois myths. Those adolescents, especially Laura Palmer, embody cultural meanings that refuse ideological codification; that is, that can still become. Twin Peaks, as the article demonstrates, is a striking example of media poetry since it was aired on prime-time network television; it still deserves attention for the stunning ways it remediated the mythic nature of American, middle-class society.     

Radical exclusions,empty signifiers and an anti-war genre

Ernesto Laclau argues that Saussurean structural linguistics is one framework necessary for a post-Marxist understanding of political identities and new social movements. Disrupting the distinction between the discursive and the political, he provides insight into the formal properties of identity, difference, universality and particularity. However, this disruption means that his work is relevant not only to political theory per se but has retroactive value for understanding semiotics and signification. By considering methodological problems encountered during an analysis of an anti-war poster genre, this essay suggests that Laclau's concept of empty signifiers enables a novel understanding of genre. His schema complements approaches that emphasize the analysis of content and the analysis of audience reception, broadly conceived. Between the poles of content and reception, there are structural or relational properties enabling the contingent stability and meaningfulness of genre. These properties include the differential nature of a genre's identity, and a genre's discursive reliance on a radical exclusion.     

Philosophy and the History of Art

Abstract

Schelling’s philosophy of art between 1801 and 1807 can be defined as metaphysics of art. The object of that metaphysics is to deploy the absolute as the being of art and of the arts. Schelling has been criticized on the basis that this metaphysics of art represses the infinite diversity of existing works of art, while overlooking concrete aesthetic experience. Based on Schelling’s definition of the “philosophical construction” of art as an inseparably speculative and historical construction, the aim of this paper is to challenge such assertions. It will show that “historical construction” has to be understood in a twofold manner: first, as a transcendental history of the absolute’s artistic individuation and second, as a cultural history of both the ancient and modern worlds of art. Working within this twofold setting the paper argues that Schelling’s systematic approach, while exhibiting a unifying force, still remains open to the otherness of the real.     

Horror Films Face Political Evils in Everyday Life

Studies of cognition show that Americans get much of their political information from audiovisual media. Therefore, attention to popular films can help us learn how genre conventions communicate politics. The popular genre of horror uses subtexts to help people face political evils in their everyday lives. Many of the evils lately concern the politics of communication, and this is evident in a wide range of horror films, recently including Phone Booth (2003), The Ring (2002), and The Mothman Prophecies (2001).     

Issues in teaching terrorism as cultural artefact

From a humanities course on terrorism that focuses on how terrorist ideology and acts are transformed into cultural artefacts, several pedagogical–theoretical issues have emerged: the incongruity of viewing terrorist violence as art; 9/11 as an ahistorical event; the impossibility of defining terrorism; the infiltration (trivialisation?) of terrorism into popular culture; subgenres of terrorist works, each with its own paradigm; and the iconoclastic potential of many terrorist texts and films. These issues have implications for the curricular design of terrorism courses and for the role of instructors – in academia and in the larger community.     

The Dynamics of Stereotyping: Is a New Image of the Terrorist Evolving in American Popular Culture?

This article considers popular ways of representing terror activists, and the metamorphoses that approaches to representation in the American media have undergone. A part of the article deals with terrorism in the media over time, common stereotypes, and how they affect the representation of Arabs and Muslims. The article then discusses Sleeper Cell (2005), a mini-series which focuses on a Jihad terror group. The article addresses questions including: How are Arabs and non-Arab Muslims portrayed in the series? Can a real change be observed over time in the method of portraying them? Twentieth-century historical considerations precede the pointed topical discussion.