Business ethics courses have been launched with professors from business pulling on one oar, and professors of philosophy pulling on the other, but they lack a sense of direction. Let's begin with the basics: What is an ehtical decision? More fundamentally, why the interest in professional ethics in the first place?There are over 300 centers for the study of appIied ethics in this country-why? The events which face our society today are outside the business-oriented collection of shared beIiefs that set (...) our pubIic policy agenda. Cur beIiefs are too narrow, thus we see, understand, and control small slices of life.Business ethics should be the study of the structure and impact on us of what we call "business science," e.g., accounting, marketing, economics, law, etc., and the corresponding study of the process of what Carl Jung called individuation: learning to become one's own uniqueself in the face of these bodies of professional knowledge which have structured our lives and charted the direction for our sensibilities for too long. (shrink)

Business ethics courses have been launched with professors from business pulling on one oar, and professors of philosophy pulling on the other, but they lack a sense of direction. Let's begin with the basics: What is an ehtical decision? More fundamentally, why the interest in professional ethics in the first place?There are over 300 centers for the study of appIied ethics in this country-why? The events which face our society today are outside the business-oriented collection of shared beIiefs that set (...) our pubIic policy agenda. Cur beIiefs are too narrow, thus we see, understand, and control small slices of life.Business ethics should be the study of the structure and impact on us of what we call "business science," e.g., accounting, marketing, economics, law, etc., and the corresponding study of the process of what Carl Jung called individuation: learning to become one's own uniqueself in the face of these bodies of professional knowledge which have structured our lives and charted the direction for our sensibilities for too long. (shrink)

Despite their recent proliferation in global agricultural commodity chains, little is known about the potential of intersectoral partnerships to improve the position of smallholder farmers and their organizations. This article explores the potential of partnerships by developing a conceptual approach based on the sustainable livelihoods and linking farmers to market perspectives, which is applied in an exploratory study to six partnerships in the coffee sector in Peru. It is concluded that partnerships stimulate the application of standards to receive (...) class='Hi'>market access and therefore emphasize human capital development of farmers to facilitate certification. By transferring knowledge to farmers, partnerships present a new source of technological change, which, in combination with certification, holds potential for improved environmental management and price premiums for producers. However, the emphasis on certification results in a comparatively narrow target group of farmers and is associated with high financial burdens for producer organizations. At the same time, other assets of producer organizations are often not strengthened sufficiently for them to operate successfully without further external support. This suggests that preparing producers for certification is prioritized over empowering organizations toward self-dependence. (shrink)

In the paper we are analyzing the Polish ART market. It can be noticed that the lack of legal regulation has resulted in many discrepancies among the policies adopted by various ART agencies. The social acceptance of ART procedures available mostly in private clinics led to growing commercialization of the Polish ART market. Additionally, the language of gift and altruistic rhetoric that are overwhelmingly employed by ART agencies reveals hypocrisy of the Polish ART market.

A work of Vietnamese art crossed a million-dollar mark in the international art market in early 2017. The event was reluctantly seen as a sign of maturity from the Vietnamese art amidst the many existing problems. Even though the Vietnamese media has discussed the issues enthusiastically, there is a lack of literature from the Vietnamese academics examining the subject, and even rarer in from the market perspective. This paper aims to contribute an insightful perspective on the Vietnamese art (...) market, and hesitantly the Vietnamese art as well, through the lens of fake, forgery and copy artworks. 35 cases of fake, forgery and copy paintings were found on the news and from the experts' wisdom. Through the examples, we argue that the Vietnamese art market is a temporary reaction to the immaturely rising of the Vietnamese art and the economy. Therefore, the art market is unable to function healthily unless the Vietnamese art and the economy developed. (shrink)

Over the last three decades, the art market has undergone a remarkable transformation. Before the 1990s, artworks were sold with hardly any concern about whether they had been stolen or looted, whereas now any reputable gallery or auction house checks the “provenance” of any substantial work before sale. This transformation reflects interlocking changes in law, norms, and institutions. New York’s and more broadly the United States’ assertion of jurisdiction and application of U.S. substantive law has destabilized title to stolen (...) and looted goods worldwide because American statutes of limitations generally provide weaker protection for those who possess stolen or looted goods even in good faith. Application of American law has had a profound effect, especially for the high end of the market, because European or Asian investors who purchase art outside of the U.S. may eventually want to sell or display their works in the U.S. Defective title under American law thus affects prices worldwide. The tightening and broader application of American law reflects both longstanding legal principles and changes in social norms towards the redress of historical wrongs, most notably prominent campaigns relating to art confiscated or sold under duress in Nazi Germany. New institutions, most importantly searchable databases recording stolen and looted art such as the Art Loss Register, are also changing perceptions about minimum standards for good faith purchase, which in turn affects both social norms and court cases. These new norms, induced by both legal changes and better information, have influenced the market even for less valuable art, for which sale or display in the U.S. is not a relevant consideration and for which the threat of costly legal action is not credible. The fact that social and institutionalized norms play an important role in protecting original owners is probably good, because norms and institutions can be effective even where law is not and often do so at lower cost. (shrink)

The analysis focuses on the manner in which public authorities in Romania have carried out their role of supporting artistic creation, as well as on the institutional and financial instruments put into practice for this purpose. First, it is about exposing the contradictory logics that grounds the public action in supporting arts and artists and understanding the character of the State intervention in the cultural field, pointing up its oscillations between mediator and cultural agent roles, neutral and valorizing instance, artistic (...) and social rationales. Secondly, a comparative analysis points out to what extent the State intervention, especially using as instrument the direct subsidy, responds to the assumed role of supporting artistic creation and if it has contributed and is able to contribute to the development of the artistic sector and, implicitly, to the improvement of the artists’ social and professional status, in the actual context of an internationalized art and a free and global art market. (shrink)

This book takes an interdisciplinary, transnational and cross-cultural approach to reflect on, critically examine, and challenge the surprisingly robust practice of making art after death in an artist's name, through the lenses of scholars from the fields of art history, economics and law, as well as practicing artists. Works of art conceived as multiples, such as sculptures, etchings, prints, photographs and conceptual art, can be - and often are - remade from original models and plans long after the artist has (...) passed. Recent sales have suggested a growing market embrace of posthumous works, contemporaneous with questioning on the part of art history. Legal norms seem unready for this surge in posthumous production and are beset by conflict across jurisdictions. Non-Western approaches to posthumous art, from Chinese emulations of non-living artists to Native American performances, take into account rituals of generational passage and emotional aspects foreign to Western ideas. The book will be of interest to scholars working in art history, the art market, art law, art management, museum studies, and economics. (shrink)

This article develops an analytical framework to study the role of narratives in markets and argues that there is a relationship between the structure and composition of narratives produced by market actors and market dynamics. With respect to theory, the article bridges the perspectives that study markets as cultures and as fields and draws from the organizational studies approach to the analysis of narratives. Two empirical cases of the crises narratives in the emerging contemporary art markets of Russia (...) and India illustrate the use of the framework. The analysis is based on in-depth interviews with artists and art dealers as well as observations in Moscow, Saint Petersburg, New Delhi, and Mumbai conducted between April 2012 and June 2013. The article shows that there is a widely shared crisis narrative with a coherent structure in the Indian art market. In contrast, fragmented and contested stories that lack narrative structure dominate in the Russian art market. The analysis of the first case highlights the narrative structure and shows the productive work it does in the Indian market—it provides a moral justification of existing market norms and produces a perspective for the future. The analysis of the second case focuses on the context of narrative production and connects the conflicting interpretations of the crisis in the Russian art market to contested hierarchies and persistent uncertainty. (shrink)

The object of the study is the process of globalization, the subject of the study is its impact on the structure of the art market and national artistic cultures. Based on the idea of a dialogical cultural model, which was adhered to by V. Bybler and M. Bakhtin, the author justifies the use of the term "dialogue of cultures" to characterize the processes taking place in the space of the modern art market. Special attention in the study is (...) paid to the analysis of its structural transformations: according to the author, inclusivity, which primarily consists in the decentralization of the internal structure of the art market, is a key characteristic that allows to periodize its development into classical and modern stages. A special contribution of the author of the study is an in-depth analysis of exhibition projects: "Magicians of the Earth" by J.-Y. Martin, as well as "Cities in Motion" by H.-W. Obrist and H. Hanru. It is established how these projects aroused the interest of Western collectors in the exotic and changed the share of representation in the art market of non-European art. The main conclusion is that the process of globalization of the art market acutely poses the problem of deformation of the perception of cultural heritage: the appeal of the Western world to traditional cultures in the forms of cultural and art tourism leads to fragmentation and differentiation of once integral national artistic cultures. (shrink)

This article explores the possibilities offered by Collins’ model of interaction rituals to an understanding of the emotional dynamics of art auctions. It argues that whilst it explains how the art object becomes the focus of attention, and thus the repository of solidarity and emotional energy, it also obliterates some of the institutional aspects of the auction market that can influence such outcomes. It discusses the need to include an examination of the specific practices of auction houses operating in (...) an international market in their capacity to target specific audiences for their sales. (shrink)

The future of art is dirt and decomposing shit. A deconstructed intestinal sea of microorganisms, spread out into the soil they were released back into following the extinction of their complex vessel. The genetic information they exchanged with each other as well as with their container, now existing in a vague memory, perhaps a feeling of sadness and longing, as they digest the once cherished artifacts of their human predecessors.

In this study of an economic field and its relationships to a cultural field, we apply Pierre Bourdieu’s central concepts of economic capital, cultural capital, symbolic capital and field, and thus follow in a tradition that at the outset was considered to be post-structuralism, but which by Bourdieu later has been brought into the realm of realism. We have mapped relationships between the actors and thus the field structures that these relationships entail. The fields in which a segment of an (...) art world is operating is represented in multi-dimensional figures which illustrate relationships and bonds between the different categories of organizations. Some of the business actors we have studied are engaging in cultural activities with a great deal of autonomy, others are connected to the cultural field in less active ways. In participating in the cultural field they are in different ways and to different extents accumulating symbolic capital including prestige and honor. The method we have applied is multiple correspondence analysis which was frequently used by Bourdieu. (shrink)

The rise of non-fungible tokens (NFTs) has been astonishing, in particular for the arts and creative industries. The dominant discourse both in mainstream media and in academia today focuses predominantly on what this new technology can do for the art market rather than art itself. However, framing NFTs in art in the context of money and markets draws attention away from the more subtle and creative role of NFTs. Consequently, this article asks: What is the role of NFTs in (...) art, beyond the market? This research complements existing empirical work, by conducting a case study and interviews with members of DADA, a historic NFT art project which is particularly critical towards the role of the art market. The findings foregrounded five roles that NFTs play in art: as (1) a tool for systemic change, (2) a new way to community, (3) a ritual artefact, (4) a means for preservation and (5) a new medium. (shrink)

The Art Firm explores the seemingly unorthodox alliance of the arts, management, and marketing. Art firms—as avant-garde enterprises and arts corporations—have existed for at least two hundred years, using texts, images, and other types of art to create corporate wealth. This book investigates how to apply the methods artists use in creating value to the methods more traditional managers use in running their businesses. Guillet de Monthoux offers a crash course in aesthetics from Kant to Gadamer, showing how aesthetic management (...) and metaphysical marketing can create value. Using case studies of successful art managers from Richard Wagner to Robert Wilson, the author illustrates the creative role—so central to value-making in contemporary economies—performed by aesthetic play in art firms. Along the way, Guillet de Monthoux points out how responsible aesthetic management and marketing can eradicate the problems of banality and totality, the two capital sins of an art-based economy. (shrink)

The development of art marketing as a new field of management occurs in a context of great confusion as to what constitutes the very definition of art, one aspect of this confusion being nothing else but the confusion between art and marketing itself. This confusion leads to conflicts between those who consider that art should be defined by a clear aesthetic criterion and those who accept the absence of such a criterion as a legitimate consequence of the principle of freedom (...) which applies both to the creation of the artist and to the taste of the public. This state of confusion does not seem to be experienced in the same way in France where it has tended to be considered as a symptom of crisis in the world of art and in the United States where it has raised as a dominant force in contemporary art. Hence the confusion of art and marketing varies as a function of time (as shown by the emergence of a new field of management) and of space (as shown by the comparison of the French and American cases). It will be proposed that it is possible to account for these historical fluctuation thanks to an institutional approach based on the notion of system of legitimacy. We shall propose the essentially dynamic institutional foundations of modernity leading to the proliferation of innovations which consequences are ever more difficult to anticipate as a reason why, in America, philosophers coming from the analytic tradition found it meaningful to address questions such as “What is art” (Arthur Danto) or “When is there art” (Nelson Goodman”) expressing the need to go beyond pragmatism as expressed by John Dewey’s Art as Experience to promote a positive attitude towards contemporary art, while, in France confusion between art and marketing has been commonly considered negatively as the sign of the triumph of the most radical form of rhetoric, i.e. sophism. (shrink)

This paper explores the contemporary art landscape of the Philippines, mapping its multiplicity across local terrains and within definitions of regionality and the art market. It discusses the ruptures that have caused this landscape to shift intermittently, spawning new networks and value structures that are less defined by the frame of ‘nation-based identity’ favoured in the past, and instead locates difference within the experimentation, historiographies, and pace of this contemporary ‘art scene’. It highlights flashpoints and uses case studies across (...) the last five years in particular to illustrate that Philippine artists, art scenes and art markets are highly reflective of cross-civilizational cultural flows, alert to global trends and of their own currency within regional markets. This paper does not seek to provide a comprehensive overview but rather draws a map of some potent changes and significant players in this contemporary landscape. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Author, Art, and the Market: Rereading the History of AestheticsChristopher McClintickThe Author, Art, and the Market: Rereading the History of Aesthetics, by Martha Woodmansee; 200 pp. New York: Columbia University Press, 1994, $29.50.Martha Woodmansee’s book The Author, Art, and the Market: Rereading the History of Aesthetics deftly employs a historical, materialist focus to trace the growth of the middle-class in eighteenth-century Germany and to (...) analyze its startling, significant effects on literary aesthetics and the construction of canon, genre, and treatment of gender. The first five chapters are devoted, essentially, to an outline of the development of German aesthetics and the concluding chapter to the English reception of Kant. Woodmansee’s study offers much insight into the period and helps greatly to demonstrate “how a cultural formation that evolved as recently as ‘art’ could have entrenched itself so thoroughly that we imagine it always to have existed” (p. 8).Woodmansee’s central contention is that populist theories of aesthetics in Germany and England, which in many ways anticipated important elements of materialist or cultural studies emphases, were muted by canonized writers of the eighteenth century like Schiller, Wordsworth, and Coleridge. These writers propagated instead the Kantian notion of art as a realm separate from other human activities and the distinction between high and low art forms. The first three chapters are particularly strong and provide the historical and methodological underpinning for Woodmansee’s rereading of the history of German aesthetics. Chapter One begins with a discussion of the little-studied German writer Karl Philipp Moritz who, she says, “gave the first unequivocal and systematic expression to what I have called our modern conception of the arts” [End Page 176] (p. 11). Woodmansee points particularly to the fact that Moritz champions the notion of art as having an intrinsic value, an idea that five years later, in Kant’s Critique of Judgment, “came to fruition” (p. 12). In Chapter Two, “Genius and Copyright,” Woodmansee lucidly discusses texts such as Lessing’s essay “Leben und leben lassen,” clarifying the tensions regarding “the emergence in the eighteenth century of writers who sought to earn their livelihood from the sale of their writing to the new and rapidly expanding reading public” (p. 36). The survey includes Herder, Wieland, Fichte, and Goethe, and reveals how these writers’ concerns about the often exploitive relationship of authors and publishers, the growth of a middle-class readership, and the integration of literature into the general economy, greatly contributed to the establishment of the author as the main focus of any critical undertaking.It is Schiller, however, as the archinterpreter and proponent of Kantian aesthetics who is singled out for a particularly thorough rereading. In Chapter Three, Woodmansee writes that Schiller does not represent the kind of political liberality he is purported to in works like On the Aesthetic Education of Man (1793) but instead, “at a historical moment when so much discursive activity was being carried on in the name of the people, sought to write them out of his model of poetry” (p. 75). Schiller’s relationship to the middle-class market and its role in his transcendental aesthetic is graphically traced—from his attempts to penetrate the market and, failing this, his acceptance of, and dependence on patronage, and consequent dismissal of the reading public.In Chapter Six Woodmansee devotes her attention to English criticism, ending somewhat abruptly her discussion of German aesthetics with neoclassicism. Here she clarifies the great influence of Kant on Addison, Coleridge, and Wordsworth, who perpetuated the notion of art as an ideal realm, as well as the idea that criticism is a task which has “essentially to do with the recovery of a writer’s meaning” (p. 55). Woodmansee scrutinizes Wordsworth’s ostensibly nonmaterialist artistic motives partly by discussing the poet’s indefatigable efforts to get parliament to extend copyright laws in order to reward high art projects which, Wordsworth believed, the public could not properly appreciate until a later date. Woodmansee’s materialist focus seriously challenges the contention, as many would have it, that Wordsworth was a champion of the working people.Chapter Five, “Engendering Art,” does not adequately develop the... (shrink)

A study of Picasso's status in the art community and his influence on the avant-garde market follows his early year search for a gallery and his monumental rise to fame, noting his popularity among dealers and his commercial strategies.

In a global economic landscape of hyper-commodification and financialisation, efforts to assimilate digital art into the high-stakes commercial art market have so far been rather unsuccessful, presumably because digital artworks cannot easily assume the status of precious object worthy of collection. This essay explores the use of blockchain technologies in attempts to create proprietary digital art markets in which uncommodifiable digital artworks are financialised as artificially scarce commodities. Using the decentralisation techniques and distributed database protocols underlying current cryptocurrency technologies, (...) such efforts, exemplified here by the platform Monegraph, tend to be presented as concerns with the interest of digital artists and with shifting ontologies of the contemporary work of art. I challenge this characterisation, and argue, in a discussion that combines aesthetic theory, legal and philosophical theories of intellectual property, rhetorical analysis and research in the political economy of new media, that the formation of proprietary digital art markets by emerging commercial platforms such as Monegraph constitutes a worrisome amplification of long-established, on-going efforts to fence in creative expression as private property. As I argue, the combination of blockchain-based protocols with established ambitions of intellectual property policy yields hybrid conceptual-computational financial technologies (such as self-enforcing smart contracts attached to digital artefacts) that are unlikely to empower artists but which serve to financialise digital creative practices as a whole, curtailing the critical potential of the digital as an inherently dynamic and potentially uncommodifiable mode of production and artistic expression. (shrink)

Visual culture has normalized systemic and institutional cruelty toward animals in North America through an iconography of oppression. Certain kinds of images that sanitize and celebrate the consumption of animal bodies through our contemporary food systems are constantly repeated through marketing channels. In doing so, they help us to avoid addressing the very ethical questions at the heart of these practices. In contrast to this, a number of contemporary artists have relied on visual culture to disrupt this pattern of representation (...) and to challenge the status quo. The following discussion explores some recent attempts to reimagine human–animal relationships in nonspeciesist terms through imagery and artistic practice. (shrink)

Assisted reproductive technology is a global market engaging a variety of local moral economies where the construction of the demand–supply relationship takes different forms through the operation of the politics of value. This paper analyzes how the market–culture relationship works in different settings, showing how power and resources determine what value will, or will not, accrue from that relationship. A commodity’s potential economic value can only be realized through the operation of the market if its cultural status (...) is seen to be legitimate. At the same time, local moral economies and their associated social orders are potentially susceptible to the destabilizing implications of new commodities. The formal or informal organization of power relationships in the market–culture interaction can enable potential value to become manifest and tangible over time or block its path. The interaction is steered through national institutional sources of cultural authority embedded in state and religion, where the visible contest in the politics of value is conducted. Increasingly, that interaction finds its expression in transnational institutions of governance where the struggle for control of the cultural agenda reflects the global nature of the ART market. (shrink)

Applied philosophy has been a growing area of research for the last 40 years. Until now, however, almost all of this research has been centered around the field of ethics. A Companion to Applied Philosophy breaks new ground, demonstrating that all areasof philosophy, including epistemology, metaphysics, philosophy of science, and philosophy of mind, can be applied, and are relevant to questions of everyday life. This perennial topic in philosophy provides an overview of these various applied philosophy developments, highlighting similarities and (...) differences between various areas of applied philosophy, and examining the very nature of this topic. It is an area to which many of the towering figures in the history of philosophy have contributed, and this timely Companion demonstrates how various historical contributions are actually contributions within applied philosophy, even if they are not traditionally seen as such. The Companion contains 42 essays covering major areas of philosophy; the articles themselves are all original contributions to the literature and represent the state of the art on this topic, as well as offering a map to the current debates. (shrink)

This essay charts the outlines of the historical transition from the artisanal workshop to the artist’s studio and the transition from the artisan to the artist, not through the transition from patronage to the art market but through an analysis of the transformation of labour’s social division of labour. The essay reassesses the discourses on the artist as genius and the artist as worker through a reinterpretation of the elevation of the Fine Arts above handicraft. This sheds new light, (...) also, on the discourse of deskilling in art. This essay argues that the transition from the artisan to the artist is an effect of the social division of labour in which the knowledge, skills and privileges of the master artisan are distributed among a set of specialists. (shrink)

Faced with an ever-growing number of ethical marketing issues and uncertainty about the impact of specialized ethics journals, researchers are struggling to keep abreast of developments in the field. In order to address these challenges, our paper provides a comprehensive review of the literature on marketing ethics over almost 50 years, offers a citation analysis and develops a unique marketing ethics impact factor (MEIF). We contribute to the field in three important ways. First, we present a state-of-the-art picture of marketing (...) ethics research. This provides an account of the research focus in each decade, assesses the importance of specific topics in the debate and identifies existing research gaps. Second, we identify the most influential papers and researchers in the marketing ethics area. Third, we evaluate the most important journals in terms of their impact on marketing ethics. To this end, we have developed an MEIF. This improves our ability to judge a journal's influence on this particular sub-discipline. (shrink)

This is an international survey of contemporary art, taking a critical look at the work of established artists and exploring broad international trends and movements. The book takes the impact of feminist, structuralist and postmodern theories on the visual arts as a central theme. The dominance of New York as a centre of the art market is discussed and the work of lesser-known artists from around the world is acknowledged. In addition, there are features on contemporary art in France, (...) Britain and Russia. (shrink)

This paper considers recent experiments in art and artificial intelligence that crystallize around training algorithms to generate artworks based on datasets derived from the Western art historical canon. Over the last decade, a shift towards the rejection of canonicity has begun to take shape in art historical discourse. At the same time, algorithmically enabled practices in the US and Europe have emerged that entrench the Western canon as a locus and guarantor of aesthetic value. Operating within the epistemic framework of (...) a “view from nowhere,” this tendency in generative art inherits the coloniality of both art history and artificial intelligence. Producing “art histories from nowhere,” this tendency conflates the conceptual category of visual art with the histories of Western cultural production. It reproduces a set of aesthetic values that entrench the mythology of the artist-genius and his imputed whiteness and masculinity; the extolment of innovation and novelty as self-evident virtues; disembodied Cartesian models of knowing and sensing; and the erasure of contributions that have been occluded from canonical visibility. As we encounter systems trained on particular visions of art history and of the artist, how might we remain attentive to the specific lens through which they are taught to see? This essay addresses that question by bringing the coloniality of recent experiments into view, bridging data feminisms and decolonial studies to formulate alternative visions of encounters between art and AI. (shrink)

The purpose of this paper is to consider Dewey’s influence on American artistic culture between the nineteen-twenties and the nineteen-fifties by focusing on the social and political implications of his approach to art in terms of experience. This entails recapturing, in a concise form, the impact of Dewey’s thought on the development of the Federal Art Project and on Abstract Expressionism. On the basis of the pragmatist assumption that the soundness of a theoretical proposal is to be measured according to (...) its capacity to meet the difficulties arising in our everyday interactions, the present paper systematically examines the theoretical implications of Dewey’s aesthetics in the light of the historical consequences of a specific cultural policy. Dewey’s conception of art and aesthetic experience appears to have made a decisive contribution by providing new opportunities to enjoy the arts and by widely promoting practices with the potential to be aesthetically satisfying. Dewey’s ideas actually led to an undermining of the hierarchy between the fine arts and crafts, between popular culture and design, etc. More problematic are their connections with questions of cultural identity and of art market. Dewey’s influence on the Abstract Expressionists is evident in the way it shifted the artistic focus from art objects toward the experiential dimensions of artistic practices. Some problems regard the accessibility of this kind of works for a general audience and a certain reinforcement of the conception of the artist as creative genius, included the related interpretation of artistic creation as extreme subjective expression. (shrink)

This essay provides a rationale for a regulated market for human oocytes. Although the commodification of human oocytes raises important moral concerns, these concerns do not justify laws banning commerce in human eggs. Given the burgeoning ART industry and the growing oocyte market, the most prudent course of action is to develop regulations for the human oocyte market that are designed to protect and promote important social values, such as health, safety, liberty, and respect for human life. (...) Other responses, such as banning the sale of eggs altogether or allowing donors to be compensated only for their services, would either create a black market or would lead to corruption and abuse. Society still needs to debate specific rules and policies that should govern the human egg market, but further discussion of that important task is best left to legislative bodies and other commentators. (shrink)

Written over the course of two months in early 2008, Art as "Night" is a series of essays in part inspired by a January 2007 visit to the Velázquez exhibition at the National Gallery of Art, London, with subsequent forays into related themes and art-historical judgments for and against theories of meta-painting. Art as "Night" proposes a type of a-historical dark knowledge crossing painting since Velázquez, but reaching back to the Renaissance, especially Titian and Caravaggio. As a form of formalism, (...) this "night" is also closely allied with forms of intellection that come to reside in art as pure visual agency or material knowledge while invoking moral agency, a function of art more or less bracketed in modern art for ethical and/or political agency. Not a theory of meta-painting, Art as "Night" restores coordinates arguably lost in painting since the separation of natural and moral philosophy in the Baroque era. It is with Velázquez that we see a turning point, an emphasis on the specific resources of painting as a form of speculative intellect, while it is with contemporary works by Gerhard Richter and Anselm Kiefer that we see the return of the same after the collapse of modernism, and after subsequent postmodern maneuvers to make art discursive yet without the austerities of the formal means present in Art as Art. Art as "Night" argues for a nondiscursive form of intellection fully embodied in the work of art – and, foremost, painting. A synoptic and intentionally elusive and allusive survey of painting, through the collapse of the art market in late 2007, Art as "Night" suggests by way of this critique of an elective "night" crossing painting that the art world is an endlessly deferred version of pleroma , a fully synthetic world given to an exploration and appropriation of the given through classical mimesis and epistemology and its complete incorporation and transfiguration in a theory of knowledge and art as pure speculative agency. In effect, Art as "Night" is an incarnational theory of art as absolute knowledge. (shrink)

Owners of businesses represent an interesting case in the study of the intersection of personal and corporate philanthropic values. Because individuals who own businesses have the means and the ability to act on philanthropic motivations through the medium of their businesses, it is interesting to explore the extent to which their corporate contributions to nonprofits are philanthropic in nature or instrumentally motivated, as in the instance of cause related marketing. The trade-offs between cause related marketing and corporate support of nonprofits (...) are complex. Although larger firms are increasing their investments in cause related marketing, the extent of and motivations for adoption of cause related marketing among privately held businesses is less well understood. This study of 478 businesses which are supporters of arts organizations shows that privately held businesses of medium size (300 to 500 employees) are participating in cause related marketing to a significant degree. The adoption rate of cause related marketing is about 40%, and the primary benefits sought are company image enhancement and product marketing support. Adoption of cause related marketing among privately held and smaller enterprises will grow as CEOs exhibit satisfaction with the results of their program, intend to engage in positive word of mouth about it, and plan to allocate more resources to it. (shrink)

Creativity: what might this mean for art and art educators in the creative economies of globalisation? The task of this discussion is to look at the state of creativity and its role in education, in particular art education, and to seek some understanding of the register of creativity, how it is shaped, and how legitimated in the globalised world dominated by input-output, means-end, economically driven thinking, expectations and demands. With the help of Heidegger some crucial questions are raised, such as: (...) How can art maintain its creative ontological and epistemological potential in the creative economies of globalisation? Is it possible for art and the creative arts to act as a process of ‘revealing’ and ‘becoming’ and ‘throwing light’ on the world while working within the market economies of innovation and entrepreneurship where creativity has become a generalised discourse? What matters in this discussion is to find a way to argue for the sustainability of art education as a creative mode of enquiry through which self and the world may be better understood, identity might be realised as difference and being-in-time might be possible. (shrink)

Introduction Introduction / Jan de Vries 1 Art in History / Gary Schwartz 7 History in Art / J. W. Smit 17 Pt. I Art and Reality Market Scenes As Viewed by an Art Historian / Linda Stone-Ferrier 29 Market Scenes As Viewed by a Plant Biologist / Willem A. Brandenburg 59 Marine Paintings and the History of Shipbuilding / Richard W. Unger 75 Skies and Reality in Dutch Landscape / John Walsh 95 Some Notes on Interpretation / (...) E. de Jongh 119 Are These Girls Really So Neat? On Kitchen Scenes and Method / Jochen Becker 139 Didactic and Disguised Meanings? Several Seventeenth-Century Texts on Painting and the Iconological Approach to Northern Dutch Paintings of This Period / Eric J. Sluijter 175 The Changing Face of Realism / Lyckle de Vries 209 Pt. II Art, Economy, and Society Art History / Jan de Vries 249 The Volume and Value of Paintings in Holland at the Time of the Dutch Republic / Ad van der Woude 285 Works of Art in Seventeenth-Century Amsterdam: An Analysis of Subjects and Attributions / John Michael Montias 331 Conclusion Science, Commerce, and Art: Neglected Topics at the Junction of History and Art History / David Freedberg 377 Biographical Notes on the Authors 429 Index. (shrink)

One of the most persistent problems of marketing has been the question of what is meant by ‘marketing’. In the fifties and sixties discussion focused on the alleged scientific character of marketing. “Is marketing an art or a science?” was the principal question of the day [14], [5], [28]. This preoccupation with the procedures and the conceptual framework of marketing was followed by an eager interest in the contributions which clarification of marketing concepts could make to attaining the objectives of (...) marketing managers. Managerial marketing and management science in marketing are the results of this identification of marketing with the objectives of its managerial users [16], [25]. More recently the emphasis has switched from procedures, conceptual framework, and objectives to the problem of the proper boundaries of marketing [19], [23], [18]. (shrink)