Reforming the Art World

2021 ◽  
pp. 75-115
Author(s):  
Erich Hatala Matthes

In recent years, there have been increasing calls, fueled by social media, to boycott or remove the work of artists who act immorally, and to shun those who continue to engage with their work. After first characterizing the features of this “cancel culture” with respect to the arts, the chapter argues that efforts to erase particular artists from public life, while often understandable, can be counterproductive. The problem is that the unstructured public does not generally offer a reliable mechanism for accountability, so even when cancel culture gets it right, it doesn’t help to change or build institutions that offer the kind of accountability that would help to prevent future abuses. The chapter argues instead that efforts to confront the moral problems of the art world are best pursued through the reform of art world institutions (e.g., museums, media companies, publishing houses, etc.).

2020 ◽  
Vol 9 (1) ◽  
pp. 27-44
Author(s):  
Ruth Alexandra Moran

This article examines the recent intense public interest in Dublin street art collective Subset’s urban painting, which co-opts the language, practices and attitude of graffiti culture as brand narrative, producing a commodity from their portrayal of subversion, which they self-promote on social media. While the career trajectory from vandal or graffiti artist to the established art world is nothing new, what is particularly interesting is how Subset went from an unknown group of art college graduates in early 2017 to their acceptance and recognition by the arts establishment in late 2019. The case of Subset is interesting in terms of the evident cultural cachet of their synthesis of subversive practices and the promotion of their brand in their work, which has proven very popular with the public. As a result, the Subset brand has in turn been co-opted by traditional media, political discourse and the arts establishment.


Infoman s ◽  
2018 ◽  
Vol 12 (2) ◽  
pp. 115-124
Author(s):  
Yopi Hidayatul Akbar ◽  
Muhammad Agreindra Helmiawan

Social media is one of the information media that is currently widely used by several companies and personally to convey information, with the presence of social media companies no longer need to spread offers through print media, they can use information technology tools in this case social media to submit offers the products they sell to users globally through social media. This social media marketing technique is the process of reaching visits by internet users to certain sites or public attention through social media sites. Marketing activities using social media are usually centered on the efforts of a company to create content that attracts attention, thus encouraging readers to share the content through their social media networks. The application of the QMS method is certainly not only submitted through search engine webmasters, but also on a website keywords must be applied that relate to the contents of the website content, because with the keyword it will automatically attract visitors to the university website based on keyword phrases that they type in the search engine. With Search Media Marketing Technique (SMM) is one of the techniques that must be applied in conducting sales promotions, especially in car dealers in Bandung, it is considered important because each product requires price, feature and convenience socialization through social media so that sales traffic can increase. Each dealer should be able to apply the techniques of Social Media Marketing (SMM) well so that car sales can reach the expected target and provide profits for sales as car sellers in the field.


2020 ◽  
Author(s):  
Aleksandra Urman ◽  
Stefania Ionescu ◽  
David Garcia ◽  
Anikó Hannák

BACKGROUND Since the beginning of the COVID-19 pandemic, scientists have been willing to share their results quickly to speed up the development of potential treatments and/or a vaccine. At the same time, traditional peer-review-based publication systems are not always able to process new research promptly. This has contributed to a surge in the number of medical preprints published since January 2020. In the absence of a vaccine, preventative measures such as social distancing are most helpful in slowing the spread of COVID-19. Their effectiveness can be undermined if the public does not comply with them. Hence, public discourse can have a direct effect on the progression of the pandemic. Research shows that social media discussions on COVID-19 are driven mainly by the findings from preprints, not peer-reviewed papers, highlighting the need to examine the ways medical preprints are shared and discussed online. OBJECTIVE We examine the patterns of medRxiv preprint sharing on Twitter to establish (1) whether the number of tweets linking to medRxiv increased with the advent of the COVID-19 pandemic; (2) which medical preprints were mentioned on Twitter most often; (3) whether medRxiv sharing patterns on Twitter exhibit political partisanship; (4) whether the discourse surrounding medical preprints among Twitter users has changed throughout the pandemic. METHODS The analysis is based on tweets (n=557,405) containing links to medRxriv preprint repository that were posted between the creation of the repository in June 2019 and June 2020. The study relies on a combination of statistical techniques and text analysis methods. RESULTS Since January 2020, the number of tweets linking to medRxiv has increased drastically, peaking in April 2020 with a subsequent cool-down. Before the pandemic, preprints were shared predominantly by users we identify as medical professionals and scientists. After January 2020, other users, including politically-engaged ones, have started increasingly tweeting about medRxiv. Our findings indicate a political divide in sharing patterns of the top-10 most-tweeted preprints. All of them were shared more frequently by users who describe themselves as Republicans than by users who describe themselves as Democrats. Finally, we observe a change in the discourse around medRxiv preprints. Pre-pandemic tweets linking to them were predominantly using the word “preprint”. In February 2020 “preprint” was taken over by the word “study”. Our analysis suggests this change is at least partially driven by politically-engaged users. Widely shared medical preprints can have a direct effect on the public discourse around COVID-19, which in turn can affect the societies’ willingness to comply with preventative measures. This calls for an increased responsibility when dealing with medical preprints from all parties involved: scientists, preprint repositories, media, politicians, and social media companies. CONCLUSIONS Widely shared medical preprints can have a direct effect on the public discourse around COVID-19, which in turn can affect the societies’ willingness to comply with preventative measures. This calls for an increased responsibility when dealing with medical preprints from all parties involved: scientists, preprint repositories, media, politicians, and social media companies.


Author(s):  
Simon Keegan-Phipps ◽  
Lucy Wright

This chapter considers the role of social media (broadly conceived) in the learning experiences of folk musicians in the Anglophone West. The chapter draws on the findings of the Digital Folk project, funded by the Arts and Humanities Research Council (UK), and begins by summarizing and problematizing the nature of learning as a concept in the folk music context. It briefly explicates the instructive, appropriative, and locative impacts of digital media for folk music learning before exploring in detail two case studies of folk-oriented social media: (1) the phenomenon of abc notation as a transmissive media and (2) the Mudcat Café website as an example of the folk-oriented discussion forum. These case studies are shown to exemplify and illuminate the constructs of traditional transmission and vernacularism as significant influences on the social shaping and deployment of folk-related media technologies. The chapter concludes by reflecting on the need to understand the musical learning process as a culturally performative act and to recognize online learning mechanisms as sites for the (re)negotiation of musical, cultural, local, and personal identities.


2021 ◽  
pp. 016344372110158
Author(s):  
Opeyemi Akanbi

Moving beyond the current focus on the individual as the unit of analysis in the privacy paradox, this article examines the misalignment between privacy attitudes and online behaviors at the level of society as a collective. I draw on Facebook’s market performance to show how despite concerns about privacy, market structures drive user, advertiser and investor behaviors to continue to reward corporate owners of social media platforms. In this market-oriented analysis, I introduce the metaphor of elasticity to capture the responsiveness of demand for social media to the data (price) charged by social media companies. Overall, this article positions social media as inelastic, relative to privacy costs; highlights the role of the social collective in the privacy crises; and ultimately underscores the need for structural interventions in addressing privacy risks.


2021 ◽  
Vol 115 (3) ◽  
pp. 558-567

On February 1, 2021, the military in Burma overthrew the democratically elected government, declared a one-year state of emergency, and installed Senior General Min Aung Hlaing as the head of government. Since the coup, the military has cracked down on protestors, killing over 800 people and detaining many more. Numerous countries and international organizations, including the United States and the United Nations, have condemned the coup and ensuing violence and called for the restoration of a democratic government. The United States and other countries have also imposed rigorous sanctions on the Burmese military, its officials and affiliated corporations, and social media companies have imposed content restrictions to prevent the spread of pro-military propaganda.


2019 ◽  
Vol 4 (4) ◽  
pp. 1-63
Author(s):  
Robert A. Stebbins

AbstractAn association is “a relatively formally structured nonprofit group that depends mainly on volunteer members for participation and activity and that primarily seeks member benefits, even if it may also seek some public benefits” (Smith, Stebbins, & Dover, 2006, p. 23). The arts that give birth to these organizations can be classified as either fine art or entertainment art. Every art association is embedded each in its own art world and its own social world. Members of these association are mostly amateurs or hobbyists in their art.Publications on arts-related amateur, hobbyist, professional, and mixed-member associations are reviewed. Their prime mission is to foster, present, and sometimes chronicle the art that its members prize. Many of these works report on the structure of the associations as well as on the recruitment, artistic development, deployment of artists, dissemination of their art, and retention of their members. Also reviewed is a selection of publications bearing on what could be called “arts consumption clubs,” or groups such as book clubs, dance clubs, and jazz clubs established to generate interest in a given art. Some of the publications reviewed center on associational management, use of volunteers, and financial base of the group.


2020 ◽  
Vol 6 (1) ◽  
pp. 27-37 ◽  
Author(s):  
Sophie Purchase

Social practices, whether described as socially-engaged, participatory or community-based, share the potential to transform audience members into active participants in an artwork or project. However, the purpose of this public engagement is sometimes in conflict with the private experience of the viewer, constructing a complex relationship between audience, artist and gallery. Beginning by contextualizing the historic position of the audience in relation to the arts, the present article uses this as grounding to unpick elements of the dynamic which exist today. ‘The audience’ investigates the reported social benefits of engaging in the arts, questioning how evidence of these positive effects is reported and judged. This article exemplifies Marcelo Sánchez-Camus’ work with patients in palliative care and Spacemakers’ community-based projects as artworks intended to instigate positive social change. Further, ‘The artist’ explores the relationship between those facilitating these projects and their audience. By breaking down the term ‘audience’ into viewers, participants, collaborators and co-authors, one can use levels of agency to segment those involved and the differing experiences of their involvement. Petra Bauer’s long-term collaborative work with SCOT PEP is used to demonstrate how a group’s agency and stakes within an artwork can be enhanced by building relationships on equal terms. Finally, ‘The gallery’, uses the high-profile examples of Tate Group and Venice Biennale to demonstrate how the more powerful entities in the art world can misrepresent engagement and participation as quantitative markers of success or accessibility. This article ultimately aims to question what motivates the production of social practice and how these entities are important in constituting a successful process and outcome, for audience, artist and institute.


Sign in / Sign up

Export Citation Format

Share Document