In response, a call

2004 ◽  
Vol 16 (3) ◽  
pp. 307-309 ◽  
Author(s):  
REBECCA SCHNEIDER
Keyword(s):  
Cultural Production ◽  
Artistic Practice ◽  
A Minor

I am happy to strive to add an appoggiatura – if my comments might be considered a minor bridge towards a deferred conclusion – to the very stimulating set of articles by Michelle Duncan, David Levin and Fred Moten that appear in this issue. It struck me that these three articles can be read as imbroglio in that they offer contest, or dissonant engagement, more than seamless convergence. Indeed, by underscoring the complexities that haunt our habits of reception in ‘artistic’ practice, these essays further the passion and urgency in listening closely to less audible aspects in any cultural production including opera.

Toward a “Minor Literature”? The Case of Ausländerliteratur in Postwar Germany

2003 ◽  
Vol 29 ◽  
pp. 61-84
Author(s):  
Rita Chin
Keyword(s):  
Cultural Production ◽  
Gilles Deleuze ◽  
World View ◽  
Minority Group ◽  
German Literature ◽  
Cultural Work ◽  
Minor Literature ◽  
Deleuze And Guattari ◽  
Postwar Germany ◽  
A Minor

In recent years, scholars of German literature have increasingly pointed to Gilles Deleuze and Félix Guattari's theory of “minor literature” as a crucial framework for understanding the development of minority cultural production in a variety of twentieth-century contexts (Teraoka, 1987; Suhr, 1989; Spector, 2000). Deleuze and Guattari propose that any minority group writing in a major language produces what they term minor literature, which has the capacity to destabilize and undermine the dominant language, culture, and discourse in which its authors operate (Deleuze and Guattari, 1986, pp. 16-27). This specific confluence of identities, texts, and locations, they suggest, calls into question the very foundations of the majority's world view and self-understanding. Deleuze and Guattari's model marks one of the first efforts by Western theorists to conceptualize cultural work that has traditionally been rendered invisible by classical literary writing and established categories of genre, style, and type.

scholarly journals Ambivalent entrepreneurs: arts-based social enterprise in a neoliberal world

2020 ◽  
Vol 16 (2) ◽  
pp. 121-140
Author(s):  
Grace McQuilten ◽  
Deborah Warr ◽  
Kim Humphery ◽  
Amy Spiers
Keyword(s):  
Lived Experience ◽  
Cultural Production ◽  
Social Enterprise ◽  
Social Enterprises ◽  
Artistic Practice ◽  
Ethical Business ◽  
Content Type ◽  
The Arts ◽  
Social And Economic Development ◽  
External Forces

Purpose The purpose of this paper is to consider the social turn in contemporary capitalism and contemporary art through the lens of art-based social enterprises (ASEs) that aim to create positive social benefits for young people experiencing forms of marginalisation, and which trade creative products or services to help fulfil that mission. A growth in ASEs demonstrates a growing interest in how the arts can support social and economic development, and the ways new economic models can generate employment for individuals excluded from the labour market; extend opportunities for more people to participate in art markets; and challenge dominant market models of cultural production and consumption. Design/methodology/approach This paper considers a number of challenges and complexities faced by ASEs that embrace a co-dependence of three goals, which are often in tension and competition – artistic practice, social purpose and economic activity. It does so by analysing interviews from staff working with 12 ASE organisation’s across Australia. Findings While the external forces that shape ASEs – including government policy, markets, investors and philanthropy – are interested in the “self-sufficient” economic potential of ASEs, those working in ASEs tend to prioritise social values and ethical business over large financial returns and are often ambivalent about their roles as entrepreneurs. This ambivalence is symptomatic of a position that is simultaneously critical and affirmative, of the conditions of contemporary capitalism and neoliberalism. Originality/value This paper addresses a gap in social enterprise literature presenting empirical research focussing on the lived experience of those managing and leading ASEs in Australia.

If You Want to Say Something—Speak in the Language of the Language: Ewa Partum's Model of Conceptual Art

ARTMargins ◽  
2021 ◽  
Vol 10 (2) ◽  
pp. 73-92
Author(s):  
Karolina Majewska-Güde
Keyword(s):  
Cultural Production ◽  
Conceptual Art ◽  
Eastern European ◽  
Artistic Practice ◽  
Mail Art ◽  
Art Works ◽  
West Berlin ◽  
Specific Position ◽  
Networks Analysis ◽  
Point Of Reference

Abstract The artistic practice of the Polish-born Ewa Partum can be divided chronologically into Polish (1965–1982), West Berlin (1982–89) and transnational / global (from 1989) periods. This essay focuses on the specificity of the conceptual art developed by Partum and her self-historicization as a conceptual artist. At the same time, it regards the local and global historicization of conceptual art as fragmentary and contradicting processes. The study examines local genealogy of Partum's conceptual strategies as part of a localized reflection on the geopolitics of knowledge; it considers a specific position of cultural production that is characteristic of Central and Eastern European neo-avant-gardes. It examines Partum's model of conceptual art in relation to Polish and Western practices. It is argued that Western conceptualism was only a point of reference for Partum's art. Works such as Presence / Absence or Luncheon on the Grass realized by Partum in years 1965–1972 formed a basis from which the artist responded to knowledge of the transnational conceptual movement that was disseminated through Mail Art and Fluxus networks. Analysis reveals Partum's model of conceptual art to be contrapuntal, as it is not subordinate to either its western inflection or local (Polish) cannons and protocols.

Homeworkers

2021 ◽  
Vol 7 (3) ◽  
pp. 53-81
Author(s):  
Alla Gadassik
Keyword(s):  
Working Conditions ◽  
Cultural Production ◽  
Social Reproduction ◽  
Creative Economy ◽  
Artistic Practice ◽  
Feminist Analysis ◽  
Social Reproduction Theory ◽  
History Of ◽  
The Common ◽  
A Site

This article brings together the history of US independent animation production in the 1970s and 1980s and feminist social reproduction theory in these same decades in order to understand independent animation in the context of an increasingly precarious and feminized post-Fordist creative economy. The article builds a composite portrait of independent animation at that time, anchored by films by six artists who navigated this economy at its nascency. It proposes the “homeworker” as an alternative figure to the common categories of “freelancer” or “independent artist” as part of a feminist analysis of living and working conditions that sustain independent artistic practice. By framing independent women’s animation as a site of speculation about creative possibilities of social reproduction, the article contributes to expanding scholarship on gendered labor in creative and cultural production.

scholarly journals ‘A work of art does not contain the least bit of information’: Deleuze and Guattari and Contemporary Art

2017 ◽  
Vol 3 (3) ◽  
pp. 751 ◽  
Author(s):  
Stephen Zepke
Keyword(s):  
Contemporary Art ◽  
Conceptual Art ◽  
Digital Technologies ◽  
Artistic Practice ◽  
Deleuze And Guattari ◽  
Work Of Art ◽  
The Sublime ◽  
War Machine ◽  
A Minor

Deleuze and Guattari’s rejection of Conceptual art is well known, and sits awkwardly with the current hegemony of ‘post-conceptual’ artistic practices. Equally awkward is Deleuze’s ontological and political dislike of photography, which produces a ‘snapshot’ or representation of becoming, placing cliched images directly into our brains, controlling our actions and reactions by denying us the power to think creatively. In Cinema 2 Deleuze will extend this argument to the new ‘electronic image’, which like Conceptual art turns the plane of composition into a ‘flatbed’ plane or ‘screen’ that simply formats information, and with it our interfaced brains. Today, conceptual practice, photography and digital technologies are all simply taken for granted by contemporary art, which is also happy to use “D&G” as well. But doesn’t Deleuze and Guattari’s thought require a more critical application? Doesn’t it demand a minor war-machine? What would this be in the case of contemporary artistic practice? Amongst various possibilities this paper will explore the sublime ramifications of a Deleuzean image of ‘thought’, and its position as the ‘immanent outside’ of art’s post-conceptual trajectory.

Rating Post-Operative Backs (Part I)

1997 ◽  
Vol 2 (4) ◽  
pp. 1-3
Author(s):  
James B. Talmage
Keyword(s):  
Spinal Stenosis ◽  
Foot Drop ◽  
Neurogenic Claudication ◽  
Root Damage ◽  
Fourth Edition ◽  
Minor Strain ◽  
Injury Model ◽  
Strain Type ◽  
A Minor ◽  
Anterior Tibialis

Abstract The AMA Guides to the Evaluation of Permanent Impairment, Fourth Edition, uses the Injury Model to rate impairment in people who have experienced back injuries. Injured individuals who have not required surgery can be rated using differentiators. Challenges arise when assessing patients whose injuries have been treated surgically before the patient is rated for impairment. This article discusses five of the most common situations: 1) What is the impairment rating for an individual who has had an injury resulting in sciatica and who has been treated surgically, either with chemonucleolysis or with discectomy? 2) What is the impairment rating for an individual who has a back strain and is operated on without reasonable indications? 3) What is the impairment rating of an individual with sciatica and a foot drop (major anterior tibialis weakness) from L5 root damage? 4) What is the rating for an individual who is injured, has true radiculopathy, undergoes a discectomy, and is rated as Category III but later has another injury and, ultimately, a second disc operation? 5) What is the impairment rating for an older individual who was asymptomatic until a minor strain-type injury but subsequently has neurogenic claudication with severe surgical spinal stenosis on MRI/myelography? [Continued in the September/October 1997 The Guides Newsletter]

Pelvic Impairments

2018 ◽  
Vol 23 (4) ◽  
pp. 9-10
Author(s):  
James Talmage ◽  
Jay Blaisdell
Keyword(s):  
Pelvic Ring ◽  
Reproductive Organs ◽  
High Impact ◽  
Pelvic Fractures ◽  
Motor Dysfunction ◽  
Impact Event ◽  
Concomitant Injuries ◽  
Rating Process ◽  
Pass Through ◽  
A Minor

Abstract Pelvic fractures are relatively uncommon, and in workers’ compensation most pelvic fractures are the result of an acute, high-impact event such as a fall from a roof or an automobile collision. A person with osteoporosis may sustain a pelvic fracture from a lower-impact injury such as a minor fall. Further, major parts of the bladder, bowel, reproductive organs, nerves, and blood vessels pass through the pelvic ring, and traumatic pelvic fractures that result from a high-impact event often coincide with damaged organs, significant bleeding, and sensory and motor dysfunction. Following are the steps in the rating process: 1) assign the diagnosis and impairment class for the pelvis; 2) assign the functional history, physical examination, and clinical studies grade modifiers; and 3) apply the net adjustment formula. Because pelvic fractures are so uncommon, raters may be less familiar with the rating process for these types of injuries. The diagnosis-based methodology for rating pelvic fractures is consistent with the process used to rate other musculoskeletal impairments. Evaluators must base the rating on reliable data when the patient is at maximum medical impairment and must assess possible impairment from concomitant injuries.

The Effect of Path Length and Display Size on Memory for Spatial Information

2012 ◽  
Vol 59 (3) ◽  
pp. 147-152 ◽  
Author(s):  
Katherine Guérard ◽  
Sébastien Tremblay
Keyword(s):  
Path Length ◽  
Potential Role ◽  
Spatial Information ◽  
Recall Performance ◽  
Minor Role ◽  
Length Effect ◽  
Serial Memory ◽  
Fixed Reference ◽  
A Minor

In serial memory for spatial information, some studies showed that recall performance suffers when the distance between successive locations increases relatively to the size of the display in which they are presented (the path length effect; e.g., Parmentier et al., 2005) but not when distance is increased by enlarging the size of the display (e.g., Smyth & Scholey, 1994). In the present study, we examined the effect of varying the absolute and relative distance between to-be-remembered items on memory for spatial information. We manipulated path length using small (15″) and large (64″) screens within the same design. In two experiments, we showed that distance was disruptive mainly when it is varied relatively to a fixed reference frame, though increasing the size of the display also had a small deleterious effect on recall. The insertion of a retention interval did not influence these effects, suggesting that rehearsal plays a minor role in mediating the effects of distance on serial spatial memory. We discuss the potential role of perceptual organization in light of the pattern of results.

Psychoanalysis—A Minor Classic

1956 ◽  
Vol 1 (12) ◽  
pp. 366-367
Author(s):  
EPHRAIM ROSEN
Keyword(s):  
A Minor
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