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Borrowed from Allan Kaprow's Essays on the Blurring of Arts and Life, the event "…nonart is more art than Art art" will instead seek to challenge the very concept of the artist studio within contemporary and future artists practices. With Creative Enterprise Zones incorporating artists studios planned by the London Mayor, these urban models will not only further capitalise on the financially and culturally lucrative status of art and artists for governments, developers and other private and corporate investors within regeneration schemes, but will arguably also elevate the status of the artist above other citizens, and away from being in lived social space. Thus shifting artists' practices into a yet more sanitised inverted looking activity. "…nonart is more art than Art art" will question the very need of the artist studio and argue for artists not to reinvent the studio but to divest themselves and their practices conceptually and physically from this traditional model – one that is historically based on the romantic figure of the male artist, and art market transaction – and instead, transcend the boundaries of what it means to be an artist in the 21st century.

Novelist Pip Adam reflects on the processes involved in three of her recent projects: a novel, The New Animals (2017); a community newspaper and art project; and her educational work in creative writing classes in prisons. Drawing on Raymond Williams and Kenneth Goldsmith, Adam considers the relationship between the work of art and the work involved in producing art, and consider some of the ways in which the language of creativity and inspiration may undermine democratic energies.

1. Introduction: A Case for Copies -- 2. Apprentice Artists -- 3. Copies for the Colonies -- 4. Paintings-within-Paintings -- 5. Education and Entertainment. - 6. Copies in Public Collections. - 7. Protecting the Past. - 8. Cash for Copies. - 9. Conclusion: Sorting the Wheat from the Chaff. .

Working in 1970s Italy, a group of artists--namely Ugo La Pietra, Maurizio Nannucci, Francesco Somaini, Mauro Staccioli, Franco Summa, and Franco Vaccari--sought new spaces to create and exhibit art. Looking beyond the gallery, they generated sculptural, conceptual, and participatory interventions, called Arte Ambientale (Environmental Art), situated in the city streets. Their experiments emerged at a time of cultural crisis, when fierce domestic terrorism aggravated an already fragile political situation. To confront the malaise, these artists embraced a position of artistic autonomy and social critique, democratically connecting the city's inhabitants through direct art practices.

Abstract: Contemporary post-aesthetic art implies an expanded concept of the work of art that also includes political functions. Beuys's concept of social sculpture and Marcuse's idea of society as a work of art can be complemented by Abreu's project of
a musical orchestra as a social ideal (the Venezuelan example of the music and education project El Sistema) and the Neue Slowenische Kunst transnational state formed from the core of art. These concepts are close to the views of Hakim Bey (Temporary Autonomous Zone), with D'Annunzio
also touching upon them with his State of Fiume (1919–1920), for which he wrote the constitution and defined music as its central governing principle. Although the art state is a utopian project, art can serve a variety of emancipatory functions even in the dystopian present to intervene
in and change the political. In this article, we also discuss the case of art activism in Slovenia, where culture (with many engaged artists) has become a central part of civil society oriented towards social change. Art activism contributes to an expanded concept of the political, which includes
new subjects and new forms of antagonisms. Likewise, such repurposing of art emphasises its role in research.

Art is some sort of social fight. ln that battle we express sadisfaction, aggress,on, desıres. gracefullness, power, chinizam and fear. Every aspect ot these matters depends on specific social contexts. Accordıng to that specific context we can experience art like some sort of amusement or some sort of politic act, what is more value in thal case, art like a modern aphrodisiac for our hidden pleasures or the eternal urge tor searching the truth beyond reality? ldeology is the heart of every art and without it, art would be just a shady form of cheap aesthetic lor hordes ot people For young people that are willing to be new gladiators in art world, stands a thorny path. The Canadian philosopher Marshall Mcluhan predicted the world wide web and it global impact on our society.

Through its embrace of the 'cultural turn' and the 'practice turn' in cultural sociology, recent work in the subfield of arts sociology has helped to advance our understanding of the role of culture in social life through its focus on arts-in-action. Empirically, this focus grew out of earlier work in the production and consumption of the arts, while, theoretically, it resonates with traditions within ethnomethodology, cognitive sociology, and the sociology of science and technology. The authors describe how new work in arts sociology unearths and develops our understanding of aesthetic consciousness, the tacit and often embodied bases of action, cognition, and engagement with cultural forms. This recent emphasis on materials and actions in turn permits critique of rule-based and more overtly cognitive models of agency structure. It also leads some of its proponents into areas that would not normally be viewed as topics for the field. [Reprinted by permission of Sage Publications Inc., copyright 2008 The American Academy of Political and Social Science.]

Through its embrace of the "cultural turn" and the "practice turn" in cultural sociology, recent work in the subfield of arts sociology has helped to advance our understanding of the role of culture in social life through its focus on arts-in-action. Empirically, this focus grew out of earlier work in the production and consumption of the arts, while, theoretically, it resonates with traditions within ethnomethodology, cognitive sociology, and the sociology of science and technology. The authors describe how new work in arts sociology unearths and develops our understanding of aesthetic consciousness, the tacit and often embodied bases of action, cognition, and engagement with cultural forms. This recent emphasis on materials and actions in turn permits critique of rule-based and more overtly cognitive models of agency structure. It also leads some of its proponents into areas that would not normally be viewed as topics for the field.