Suchergebnisse

Abstract
In Indonesia, more than 200 illegal used lead acid battery (ULAB) smelters are currently operating. Only a few health studies support the finding of lead-related symptoms and diseases among populations living near the smelters. To assess the blood lead levels (BLLs) and potential health impacts among the population surrounding ULAB recycling smelters, we evaluated health effects reported from 2003 to 2013, conducted focus group discussions with lead smelter owner/workers and a group of 35 female partners of smelter owners or workers not actively engaged in smelter work, and retook and measured BLLs. It was found that many children in the areas were having difficulty achieving high grades at school and having stunting or other problems with physical development. The average mean of BLLs increased by almost double in 2015, compared with in 2011. The risk of having hypertension, interference in the ability to make red blood cells in females occurred among 24% of respondents; Elevated blood pressure, hearing loss, and interference in the ability to make red bloods cell occurred in 20% of males; Kidney damage, infertility in male, nerve problems, including decreased sensation and decreased ability to move quickly occurred in 13%; Decreased ability to make red blood cells (20%), and; Frank anemia, decreased life-span, coma/seizures were experienced by 22%. The populations living in areas surrounding ULAB smelters are experiencing severe chronic health problems. It is recommended that the smelters must be moved and placed far away from the municipality.

In no other area of human activity is the relationship between production and money as perverse as in the art world. The peculiarity of this relationship may be responsible for the appreciative failure of much of contemporary art and in particular conceptual art. If value is attached to 'intrinsic' qualities of an object it would be hard to justify the high prices attached to contemporary artwork. This however raises interesting questions as to the extent to which it is possible to separate economic from other values in art. There have been numerous attempts to break the link between art and money - Roger Fry's Omega Workshop experiment, offered participants a guaranteed minimum income to free them from economic pressure. Commencing with Art and Commerce in 1926 Fry explored this relationship in a series of publication. In 1971, the Art Workers' Coalition produced a statement of demands which asked for a small measure of what Fry had offered artist fifty years earlier. In the 1960s and 70s, there was a proliferation of highly politicized work challenging the art/commerce relationship, focusing on the dematerialisation of the artwork as a decommodification strategy. In this paper I will explore these strategies, concentrating mainly on the work of three artist:- Lygia Clark, whose ephemeral artwork, made of easily available cheap material, questioned notions of value and the interaction between the object, the spectator and the artist: Hans Haacke whose 1971 exhibition highlighting the hidden relationship between the art world and commerce, was cancelled by the Guggenheim for fear of offending the museum's patrons: and the auto destructive work of Gustav Metzger. I will analyze the success or failure of the strategies employed by these artists in light of the art world's tendency to turn anything into a commodity.