A Painter’s Version: Amenhotep, Son of Amunnakhte and Pictorial Tradition

Arguably one of the most remarkable painters/draughtsmen, not only in his direct surroundings of Deir el-Medina but in the history of New Kingdom painting altogether, the Chief Draughtsman Amenhotep, son of Amunnakhte has left us a substantial body of identifiable work. His artistic output includes royal and private tomb-chapels augmented by a corpus of figured ostraca numbering at 24 known pieces. It follows then that the many different types of artwork contained in his production provide an especially rich opportunity for exploring art historical themes of particular import and can inform our understanding of these in significant ways. Moving away from the habitually confronted modern reading of decorum as a manacle of artistic freedom, this contribution aims at drawing attention to how decorum seems to have been seen in essentially positive terms, an inference cognate with what transpires from the study of the works of Amenhotep.

Artists in Korea

A Korean idol group “BTS” made history with its tenth week at No. 1 on the Billboard Artist 100 Chart. Dramatic developments in the music industry of Korea demonstrate how important it is for artists to enjoy freedom of expression and economic incentives like copyright. Although both freedom and copyright are ideas imported from the West, Korean artists have absorbed them quite differently than Westerners. Even as artistic freedom is taken for granted in the West, individual artists in Korea seriously fought for and achieved that same freedom. Korean artists have also realized that the theory of Western copyright law does not apply well in Korea in reality. Despite increasingly strong protection of copyright, the status of Korean artists has not improved much in either copyright law or reality. Although much of Korean music and film is well-known around the world, it is not widely known that some Korean artists have become victims of unfair contracts. While Korea’s Internet technology impressed the world with its speed, Korean artists and fans turned out to be another victim on the Internet. Copyright trolls also demonstrate how different the Korean art industry is from the Western one.

The Depiction of Asian Tattoos in Popular Culture and the Mainstream media.

Tattoos add a perceived aesthetic value to the body of the wearer. In instances where tattoos are worn – by choice – to enhance the outer appearance of the wearer, they are a vivid expression of artistic freedom, individualism and even a mark of belonging. For the same reasons that their appearance becomes conspicuous, tattoo wearers are vulnerable to receive negative first impressions. Tattoos are broadly divided into three types: those that are of tribal origins, those that are linked with criminal communities, and those that are forcefully given to mark prisoners or given as punishment. In the main stream media, the tattoos shown are often worn by antagonists or characters of a criminal nature. Recognizable Asian tattoos range from Japanese Horimono to Borneo tribal tattoos. A well-known example of tribal tattoo are the ones worn by Borneo Ibans. This paper will explain the importance of semiotics studies by looking at the cultural value of a particular tribal tattoo. The bunga terung is an Iban tattoo that a man will get when he goes for bejalai, a journey comparable to a walkabout. The theory of semiotics and representation by Charles Sanders Peirce will cover the knowledge process towards understanding the bunga terung. This research will enable us to differentiate between a tattoo that represents a particular indigenous community and a tattoo that represents a criminal one. Keywords: Bunga Terung, Gang Tattoo, Tribal Tattoo, Cultural Identity, Iban Tattoo.

Karaktermord, angreb og selvanklager omkring Knausgårds Min kamp

This article studies the effects of the ambiguous accusations around Karl Ove Knausgaard’s novel in six parts, My struggle (2009-11). The novel’s portrait of a number of named individuals and family members brought the relationship between artistic freedom and defamation, responsibility, guilt and shame up for discussion, and initiated negotiations of collective norms and values in connection with autobiographical novels. An analysis of the rhetorical strategies behind the family’s accusations at the time of the publication, initially illuminates the ethical dilemmas the family helped to raise in the public debate. Next, the accusations in the novels themselves are studied and the article shows a need to consider how differently the accusations appear in and outside the novels, because the autobiographical novel establishes an ambiguous statement that is not found in the media coverage

Wobec kapitalistycznej (pseudo)wolności. Teatralne manifesty na postjugosłowiańskich scenach

The turn of the millennia was full of events fundamental to negotiating and reinterpreting freedom. The citizens of the collapsing federal Yugoslavia, and then the seven new states that were forming, experienced this in a special way. Post-Yugoslav authors of theatrical manifestos, such as Maja Pelević and Olga Dimitrijević from Serbia, Borut Šeparović from Croatia, András Urbán and Zlatko Paković active in the supralocal area, show a special flair for unmasking. They warn that modern ways of exercising freedom leave much to be desired, since they are limited to the consumption of goods and, consequently, to escaping responsibility. In their performances, they are critical of capitalism in its dehumanising, alienating form, which is only an illusion of freedom. These artists, however, do not offer ready-made solutions — their projects are a starting point for further debate on devising the future of the country and region, on attitudes and relationships (including interpersonal), on (re)constructing identity and on the continuous creation of new ranges of possibilities and effects. They use artistic freedom to speak openly about the boundaries of freedom.

Karaktermord i 10’ernes danske skønlitteratur

In the 2010s, Danish literature triggered heated debates about the relationship between artistic freedom, defamation, responsibility, guilt and shame, and initiated negotiations of collective norms and values in connection with testimonies in autobiographical fiction. The article establishes that there is a need to consider how differently character assassinations appear in and outside autobiographical fiction, taking into account that autobiographical fiction establishes ambiguous statements that are not found in the media coverage.

A performative paradigm for post-qualitative inquiry

In this article, the authors explore and contribute to producing a performative research paradigm where post-qualitative as well as artistic research might dwell and breathe. Entering a thread of discussion that started with Haseman’s A manifesto for performative research in 2006, and building on their own friction-led research processes at the edges of qualitative research, the authors plug in with performativity, non-representational theories and methodologies, post-qualitative inquiry and post approaches. A performative paradigm for post-qualitative inquiry is proposed, where knowledge is viewed as knowledge-in-becoming as the constant creation of difference through researcher entanglement with the research phenomenon and wider world. A performative paradigm produces a space for movement, (artistic) freedom, (post-qualitative) experimentation and inclusion. A performative research paradigm also offers provocations that shake long-established notions about what research is and should be. Within a performative research paradigm, learning/be(com)ing/knowing is always in-becoming – as is the performative paradigm itself.

TRANSHUMANISM AND ITS RELATIONSHIP WITH ART

The paper analyzes the idea and definition of transhumanism, as well as its currents and relationship with the idea of transcendence. It presents different types of art and works that have to do with transhumanist ideas or that precede them. Furthermore, it deals with the possibilities, brought before humanity based on the further development of transhumanism in terms of the advantages and dangers that lie ahead of it. It emphasizes the idea that art today, aside from its main principles, also has to point out the dark possibilities of the development of the human race and reveal the potential negative aspects of transhumanism before they become a reality. Art should inspire thought, so the authors who deal with topics related to transhumanism have the responsibility to present and analyze it while giving respect to the concept of artistic freedom and creativity, while the art consumers are to critically analyze transhumanist ideas and contents.

Artistic Freedom or the Hamper of Equality? Exploring Ethical Dilemmas in the Use of Artistic Freedom in a Cultural Organization in Sweden

With this paper, from the perspective of ethics at the workplace, we problematize the taken-for-granted assumptions embedded in the use of artistic freedom in creative processes. Drawing on the notion of inequality regimes (e.g. Acker, 2006) and using empirical material from a performing arts organization in Sweden, we explore how the assumptions of artistic freedom facilitate and legitimize the emergence of inequality regimes in invisible and subtle manners. Our findings indicate that non-reflexive interpretations of the concept of artistic freedom result in ethical dilemmas that impact the organization's pursuits of equality work. The aesthetic ethics oriented around the notion of ‘art for the sake of art’ tends to camouflage the centralization of aesthetic authority in processes where formal hierarchical structures are missing. Consequently, asymmetrical power relations between the Directors, actors, and producers are legitimized. Ethics of quality of art and that of the social ideal of equality have been constructed as dichotomic notions indicating that aesthetic ethics of art can only be preserved at the expense of social objectives of equality. We argue that the current interpretative practices of ‘artistic freedom’ in some cultural organizations add little value of ethics to the freedom of expressing artistic opinions and in achieving the social ideal of equality but lead to the emergence of inequality regimes in the artistic work processes.