Zivot Umjetnosti最新文献_第7页

Elementi budućih dijaloga 未来的对话项目

IF 0.1 4区艺术学

Zivot Umjetnosti Pub Date : 2019-07-01 DOI: 10.31664/ZU.2019.104.10

Sandra Križić Roban

引用次数: 0

Marx o potrebi za umjetnošću: umjetnost između političke ekonomije i samoodređenja 艺术需要马克思：政治经济学与自尊之间的艺术

IF 0.1 4区艺术学

Zivot Umjetnosti Pub Date : 2019-07-01 DOI: 10.31664/ZU.2019.104.06

B. Blagojevic

引用次数: 0

Prilog teoriji izvođačkog ugovora 制造合同理论附件

IF 0.1 4区艺术学

Zivot Umjetnosti Pub Date : 2019-07-01 DOI: 10.31664/ZU.2019.104.07

Edin Jašarović

{"title":"Prilog teoriji izvođačkog ugovora","authors":"Edin Jašarović","doi":"10.31664/ZU.2019.104.07","DOIUrl":"https://doi.org/10.31664/ZU.2019.104.07","url":null,"abstract":"For an artist at the earliest stages of his career, accumulating a stock of knowledge and skills can become the most important basis from which he or she might expect a higher income or ranking on the art market in the future. These investments can be seen as the direct costs of higher education in art, which together with other costs make a significant corpus of investment for the artist, from which some future return may be expected. According to the renowned theoretician of economy Ruth Towse, such investment can also be considered as a “percentage of personal income,” which can be understood as compensation for any interest that the artist would have realized in case he had effectively converted such investment into savings or invested in something else. Thus, the indirect costs of investing in art education are all those that we can consider as earnings that were missed during the training period, or period of knowledge accumulation. In this case, theorists will agree that such investment may be considered as an opportunity cost, which would have been compensated had that time been used for work, that is, invested in earning rather than learning. Therefore, in this paper, based on these dichotomy contributions, we will build on the general views of the contract theory as proposed by Richard E. Caves on the negotiating position of the artist, which in most cases constitutes an “incomplete contract” that cannot compensate for all the costs of art education and later the price and market value of his or her work. The need to pay special attention to this topic in the new conditions of political economy arises from a rather dominant and hypostatic form of cognitive capital on the one side, and the neoliberal model of cultural policy on the other.","PeriodicalId":41082,"journal":{"name":"Zivot Umjetnosti","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.31664/ZU.2019.104.07","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69461743","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Robni fetišizam, pravni fetišizam, preobraženi oblici i estetski fetišizam Robni fetišizam

IF 0.1 4区艺术学

Zivot Umjetnosti Pub Date : 2019-07-01 DOI: 10.31664/ZU.2019.104.03

R. Pantić

{"title":"Robni fetišizam, pravni fetišizam, preobraženi oblici i estetski fetišizam","authors":"R. Pantić","doi":"10.31664/ZU.2019.104.03","DOIUrl":"https://doi.org/10.31664/ZU.2019.104.03","url":null,"abstract":"In this paper, we analyse two recent contributions to the Marxist critique of the political economy of art: the article “Artistic Labor and the Production of Value: An Attempt at a Marxist Interpretation” by José María Durán and the book Art and Value: Art’s Economic Exceptionalism in Classical, Neoclassical and Marxist Economics by Dave Beech. While Durán emphasizes the emergence of the legal category of intellectual property rights as crucial for value production in art, Beech has reached the contrary conclusion that artistic labour does not produce value and that artistic production is therefore excepted from capitalist commodity production. In our paper, we criticize both conclusions. While agreeing with Beech that artistic labour does not produce value and is thus excepted from the ideology of commodity fetishism, we believe that through the ideology of converted forms it nevertheless becomes part of capitalist commodity production. We would argue that the sector of artistic production, through the converted form of monopoly rent, establishes a production relation with other, competitive, sectors of capitalist economy. This production relation is enabled by the ideology of aesthetic fetishism, supported by the ideology of legal fetishism through the category of intellectual property rights. Contrary to Durán, we thus conclude that intellectual property rights allow for a hidden transfer of surplus value produced by the workers in the competitive sectors of the capitalist economy.","PeriodicalId":41082,"journal":{"name":"Zivot Umjetnosti","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.31664/ZU.2019.104.03","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48747423","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Vantržišna motivacija tržišta umetničkih dela 艺术市场的内部激励

IF 0.1 4区艺术学

Zivot Umjetnosti Pub Date : 2019-07-01 DOI: 10.31664/ZU.2019.104.04

Rastko Močnik

{"title":"Vantržišna motivacija tržišta umetničkih dela","authors":"Rastko Močnik","doi":"10.31664/ZU.2019.104.04","DOIUrl":"https://doi.org/10.31664/ZU.2019.104.04","url":null,"abstract":"Art markets are not homogeneous, the difference being especially between the art products that can be technically reproduced and the unique products. As for the former, regulations of the copyright type introduce certain specificities (the author retains some rights over the object in circulation— for example, she or he can withdraw it). In case of unique goods, the demand is determined by the buyers’ tastes and does not result from some generally valid presupposition: thus, these goods have a price, but they have no value. Since the aesthetic nature of the reproducible works of art is subject to the same laws as the unique artworks, the economy of unique artworks can serve as a paradigm for the economy of artworks in general. According to a theory developed by Rade Pantić, the price of unique artworks is a monopoly rent. As any other rent, it is determined by non-economic mechanisms. These mechanisms should allow for the freedom of individual tastes and at the same time provide a unique field within which these idiosyncratic attitudes can interact. The mechanisms determining the rent (price) of artworks are therefore ideological apparatuses that present themselves and their elements (individual taste judgments) as non-ideological, and moreover formulate the judgments as individual receptions open to “interpretation,” i.e. as cognitive-affective material to be processed in specific symbolic formations (in curatorial practices, art criticism, philosophical interventions, and alike). In contemporary art, the structure of ideological apparatuses reproduces domination-through-fragmentation, typical of contemporary capitalism.","PeriodicalId":41082,"journal":{"name":"Zivot Umjetnosti","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.31664/ZU.2019.104.04","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69461680","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

Nacrt za kritiku političke ekonomije umjetnosti 艺术政治经济学批评设计

IF 0.1 4区艺术学

Zivot Umjetnosti Pub Date : 2019-07-01 DOI: 10.31664/ZU.2019.104.02

Nikola Dedić

引用次数: 0

Materijalna baza proizvodnje – nekoliko napomena o virtualnosti 产品的物质基础——关于虚拟性的几点思考

IF 0.1 4区艺术学

Zivot Umjetnosti Pub Date : 2019-07-01 DOI: 10.31664/ZU.2019.104.08

Goran Pavlić

{"title":"Materijalna baza proizvodnje – nekoliko napomena o virtualnosti","authors":"Goran Pavlić","doi":"10.31664/ZU.2019.104.08","DOIUrl":"https://doi.org/10.31664/ZU.2019.104.08","url":null,"abstract":"The difference between the “real,” “authentic” life and its mere representation has saturated the philosophical discourse from its very onset. Debord’s The Society of the Spectacle usually gets categorized as a further elaboration on this issue. The essential misapprehension of such an understanding lies in the disregard of Debord’s constitutive thesis: “the spectacle is not a collection of images; it is a social relation between people that is mediated by images.” (§ 4) In cultural perspectives, the “real” material dynamics of life – relations between people – is replaced by a purported exchange of images which lack any authenticity. \u0000The concept of cognitive capitalism (Vercellone, 2005), with its theses on the contemporary domination of information and knowledge within capitalist reproduction, further validates this opposition. According to Doogan’s (2009) thoroughly researched and empirically founded insights, our world is still heavily dominated by crude material production which precludes any notion of a new, post-Fordist, virtual, immaterial, post-work stage of capitalism. Similarly, Huws (2003, 2014) warns of the dubious status of the concepts of fluid identities, or hybrid subjectivities, and stresses the prevalence of class and gender issues which still substantially affect the working spheres. Drawing on Davis’s (2013) insights on the necessity of class analysis for the comprehension of the artistic field, I will present the modes in which “creativity” functions as a neoliberal buzzword. More specifically, I will outline the ways in which systemic exploitation, as an intrinsic feature of capitalism, still structures the dynamics of the art field, particularly areas that are fashionably known as “creative industries”.","PeriodicalId":41082,"journal":{"name":"Zivot Umjetnosti","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.31664/ZU.2019.104.08","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69461780","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Arhitektura gradi društvo 建筑建设社会

IF 0.1 4区艺术学

Zivot Umjetnosti Pub Date : 2019-01-17 DOI: 10.31664/ZU.2018.103.07

Mia Roth Čerina

引用次数: 0

Dvije godine, pet ratova poslije 两年后，五场战争

IF 0.1 4区艺术学

Zivot Umjetnosti Pub Date : 2019-01-17 DOI: 10.31664/ZU.2018.103.05

Ivona Grgurinović, Wolf Böwig

引用次数: 0

O umjetnosti Srednje i Istočne Europe — samo negativna referencija 关于中欧和东欧的艺术——只是一个负面的参考

IF 0.1 4区艺术学

Zivot Umjetnosti Pub Date : 2019-01-17 DOI: 10.31664/zu.2018.103.06

V. Vuković

引用次数: 0