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Knowledge transfer between universities and the commercial sector is becoming more prevalent, and different processes have been adopted to facilitate the transfer of knowledge. The 'In Light of Visual Arts' project aimed to facilitate knowledge exchange in relation to an innovative concept, the 'eco-philosophy of light', between the lighting industry and the arts and cultural sector through an Informal Learning approach. Young visual artists, light designers and lighting technicians were encouraged to explore and exchange experiences in the areas of visual communication, art appreciation and art archiving to create practical lighting solutions. This project offers a feasible framework for the enhancement of artistic training through knowledge sharing, for the benefit of the participants themselves and, in turn, academia, industry and the community.

Keywords: informal learning, experiential learning, knowledge transfer, art education, interdisciplinary study

The development of the fine arts in post-war West Germany was influenced by the Office of Military Government for Germany, US (OMGUS). In mid-1946, a small group of OMGUS officers proposed the development of a fine arts policy aimed at neutralizing the Soviet cultural offensive. They were also interested in overcoming the cultural isolationism inherited from the Third Reich, & in strengthening the link between Western Germany & the democratic West. In 1947, the Monuments, Fine Arts, & Archives Branch (MFA&A) of OMGUS began to develop an active fine arts policy. Its officers organized art exhibitions, provided exhibition space, established art contests, invited international speakers to lecture on art, created art appreciation groups, purchased work by German artists, channeled funds to German artists, & connected German artists with American museums, universities, & art patrons. Formal & informal, overt & covert networks were established to develop German-American artistic relations in the context of a cultural policy emphasizing collaboration. 3 Figures. Adapted from the source document.

Art festivals are a feature of many urban districts undergoing gentrification; they help to catalyze change by drawing a set of consumers with particular cultural interests. This article examines whether the arts produce racial exclusions by examining long–term Black and White residents' participation in and perceptions of the monthly Last Thursday Art Walks in Portland's gentrifying Alberta Arts District. We use surveys to measure arts participation and follow–up, in–depth interviews to understand whether long–time residents feel excluded by the arts, and if race is a factor. We find that Black residents participate less in Last Thursdays than White residents, and they often feel uncomfortable or unwelcome. We conclude that the arts–anchored symbolic economy results in racial exclusions that have little to do with differences in arts appreciation, but much to do with perceptions of people associated with the arts, and with residents' abilities to use the arts to identify with neighborhood changes.

Public subsidization of the arts can be harmful, since it fosters profligacy & indulgence in the artist as well as in those who distribute the funds. Underwriting artistic endeavor has never guaranteed quality. Art created to please critics, & to keep public funds coming in, is contrived; quality is sacrificed in the pursuit of originality. Subsidies may also damage appreciation of art. No longer trusting its own response, the public comes to rely on the judgment of appointed experts. Specified in the dissection of the British Labour Party's arts policy are the dangers of official cultural positions. Notable institutions, eg, Covent Garden & the National Theatre, probably would fold under present circumstances without some state support; however, rescinding entertainment taxes is seen as a means of restoring funds to the art-conscious public that could be used for private support. Greater public access to art could also be encouraged through the subsidized establishment of more bookshops. D. Dunseath.

"Nicolas Tertulian nous livre un formidable document d'histoire des idées, donnant à connaître le parcours du philosophe hongrois Georg Lukàcs (1895-1971) à travers sa réception en Europe de l'Est et de l'Ouest au fil du XXe siècle. Il situe la pensée de Lukàcs dans le paysage de la philosophie européenne contemporaine, en la confrontant avec celle des promoteurs de l'école de Francfort Adorno, Horkheimer et Marcuse, en rendant compte d'un entretien avec Martin Heidegger, ou en développant un dialogue entre l'esthétique et la philosophie de Lukâcs et les travaux d'un autre grand hégélien du siècle, Benedetto Croce. Des personnalités aussi différentes que Hans-Georg Gadamer, George Steiner, Emil Cioran ou Pierre Bourdieu sont également évoquées. Conçu comme une autobiographie intellectuelle, l'ouvrage développe une radiographie implacable de la situation de la pensée marxiste dans les pays de l'Est, en illustrant, par l'exemple de la Roumanie, la dégénérescence de la pensée communiste en une idéologie totalitaire de type néostalinien. La personnalité et l'oeuvre de Lukàcs sont présentées dans ce contexte comme une des grandes alternatives offertes à la pensée de gauche pour faire revivre l'authentique pensée de Marx."--Page 4 of cover

"Vorwort" -- "Inhaltsverzeichnis" -- "Rechtsprechungsübersicht" -- "Kapitel 1: Einleitung" -- " I. Problemaufriss" -- " II. Methodischer Zugriff" -- "III. Ausblick auf die Arbeit" -- "Kapitel 2: Die Entstehung der margin of appreciation" -- " I. Der institutionelle Kontext: Der Europarat, Verfahren und Organisation des EGMR" -- " II. Die Entwicklung der margin of appreciation durch die Konventionsorgane" -- "1. Art. 15 EMRK" -- "2. Artikel 8–11 EMRK" -- "3. Jüngere Rechtsprechung" -- "Kapitel 3: Diskursstand: Die dogmatische Verschränkung von margin of appreciation und Verhältnismäßigkeit und die Bemessung staatlicher Beurteilungsspielräume" -- " I. Forschungsstand bis 2012" -- "1. Die dogmatische Verschränkungen von margin of appreciation und Verhältnismäßigkeitsprüfung in der Rechtsprechung des EGMR" -- "2. Weite, enge und "bestimmte" margin of appreciation: Der Diskursstand zur Bemessung staatlicher Beurteilungsspielräume" -- "3. Die Abkehr von der induktiven Methode" -- " II. Die dogmatische Neuausrichtung: Die margin of appreciation nach Andrew Legg" -- "1. Die Hypothese" -- "2. Die Theorie externer Faktoren" -- "3. Externe Faktoren in der Rechtsprechung des EGMR" -- "4. Zwischenbilanz" -- "5. Die Bewegungsgesetze richterlicher Zurückhaltung aufgrund externer Faktoren" -- "III. Zusammenfassung" -- "Kapitel 4: Monokausale richterliche Zurückhaltung: Eine neue margin-Dogmatik" -- " I. Der Konsensfaktor" -- "1. Konsens in der Rechtsprechung des EGMR" -- "2. Margin of appreciation und evolutive Interpretation – Die Doppelfunktion der rechtsvergleichenden Methode" -- "3. Die Dekonstruktion des Konsensfaktors als margin-Faktor" -- "4. Die Dekonstruktion des Konsensfaktors als Schrittmacher der evolutiven Interpretation" -- "5. Zusammenfassung" -- "6. Die Ablösung des Souveränitätskonzepts durch das Subsidiaritätsprinzip

Although many scholars have been in favor of providing first amendment protection for art, no one has offered a justification for its constitutional protection suited to art's singular capacities. Rather, commentators and courts have been inclined to place art under the rubric of general speech, which limits protection to ideas and content. Professor Hamilton argues that art offers significantly more than its content and deserves first amendment protection tailored to its particular potential. Art enables individuals to experience unfamiliar worlds and thereby to gain new perspectives on the prevailing status quo, including the government's. It performs this function without exposing the individual to the risks inherent in actually experiencing a foreign world view. Moreover, its subversive potential not only occurs at the moment artwork is experienced but also can be stored, making art a powerful and immanent tool of critique. Professor Hamilton concludes that governmental funding of art projects should be examined with the closest scrutiny, because governmental involvement in the art market skews the market away from works that defamiliarize. Finally, public funding of arts education and appreciation should be a high priority so that students can build a storehouse of reorientation experiences that will protect them against the bewitchment of common sense posed by official power.

This anthology provides a single-volume overview of the essential theoretical debates in the anthropology of art. Drawing together significant work in the field from the second half of the twentieth century, it enables readers to appreciate the art of different cultures at different times. Advances a cross-cultural concept of art that moves beyond traditional distinctions between Western and non-Western art. Provides the basis for the appreciation of art of different cultures and times. Enhances readers' appreciation of the aesthetics of art and of the important role it plays in human society

The market for art can be as eye-catching as artworks themselves. Works by artists from da Vinci and Rembrandt to Picasso and Modigliani have sold for hundreds of millions of dollars. The world's ultrawealthy increasingly treat art as part of their portfolios. Since artworks are often valuable assets, how should financial professionals analyze them?Arturo Cifuentes and Ventura Charlin provide an expert guide to the methods, risks, and rewards of investing in art. They detail how to apply the financial and statistical tools and techniques used to evaluate more traditional investments such as stocks, bonds, and real estate to art markets.The Worth of Art: Financial Tools for the Art Markets shows readers how to use empirical evidence to answer questions such as: How do the returns on Basquiat compare to the S&P 500? Are Monet's portraits as valuable as his landscapes? Do red paintings fetch higher prices than blue ones, and does the color palette matter equally to the sales of abstract Rothkos and figurative Hockneys? How much should be loaned to a borrower who is pledging one of Joan Mitchell's late abstract paintings as collateral? Would the risk-return profile of a conventional portfolio benefit from exposure to Warhol?Rigorous and readable, this book also demonstrates how quantitative analysis can deepen aesthetic appreciation of art

Die vorliegende Arbeit analysiert den, dem Gesetzgeber vom Europäischen Gerichtshof für Menschenrechte zugestandenen, Spielraum im Bereich der medizinisch assistierten Fortpflanzung. Die in dieser Arbeit gestellte Forschungsfrage ist, ob den Mitgliedstaaten der Europäische Menschenrechtskonvention bei Fragen der Einschränkung des Rechts auf medizinisch assistierte Fortpflanzung zum Zwecke des Schutzes der Moral, die in das Recht auf Privatleben (Artikel 8 EMRK) eingreifen, ein Spielraum zugestanden werden darf. Der Fokus liegt dabei auf Verboten der Eizellenspende und der heterologen In-vitro-Fertilisation. Kapitel II gibt einen Überblick über die Interpretationsmethoden des EGMR. Kapitel III analysiert die Margin of Appreciation Doktrin allgemein, bevor Kapitel IV sich mit dem europäischen Verständnis von Demokratie befasst. Kapitel V analysiert, was der Begriff "Schutz der Moral" unter der EMRK umfasst. Das letzte Kapitel beschäftigt sich mit der Anwendbarkeit der Margin of Appreciation Doktrin auf Fälle der medizinisch assistierten Fortpflanzung. ; This thesis is concerned with a special aspect of the application of the ECtHR?s margin of appreciation doctrine: medically assisted reproduction. The main question raised is whether the States can legitimately be granted a margin of appreciation when it comes to the assessment of whether a restriction of the right to private life is necessary in order to protect morality in cases concerning the application of medically assisted reproduction techniques, with a focus on ovum donation and heterologous in vitro fertilisation. The analysis starts with a general overview of the interpretation of the European Convention on Human Rights and the methods and principles used by the European Court of Human Rights. Chapter III attempts to describe, explain and analyse the margin of appreciation doctrine in general. Chapter IV tries to capture the European understanding of democracy. It is necessary to analyse the relationship between the provisions enshrined in the Convention and the goal of promoting democracy, not only to interpret the phrase necessary in a democratic society of Art 8 (2) ECHR, but also in order to assess what restrictions of human rights the Convention allows in order to protect the morality. Chapter V analyses the protection of morality under the Convention. Firstly, the meaning of the notion protection of morals is examined. Fort this purpose the case law of the ECtHR is analysed and contrasted with the values of a liberal democracy. Secondly, the notion necessary in a democratic society with regard to morality is analysed on the basis of the relevant case law. Finally, chapter VI analyses the application of the margin of appreciation to cases concerned with medically assisted reproduction. Firstly, the scope of Art 8 is examined on the grounds of the ECtHR case law. Secondly, the application of the margin of appreciation in these cases is analysed. ; eingereicht von Gabriele Wadlig ; Zsfassung in dt. und engl. Sprache ; Graz, Univ., Dipl.-Arb., 2014 ; (VLID)240012

Wie wird die zeitgenössische Kunst Afrikas von lokalen nigerianischen Künstlern wahrgenommen? Schon vor der Unabhängigkeit Nigerias 1960 gab es eine intensive Auseinandersetzung mit dem Kunstbegriff. Maler wie Ben Enwonwu oder Uche Okeke wollten durch die Zusammenführung internationaler Konzepte mit lokalen Begrifflichkeiten und Praktiken die postkoloniale Gesellschaft aktiv mitgestalten. Die Autorin analysiert diese Entwürfe vor dem Hintergrund von Selbst- und Fremdbildern zentraler Figuren und zeichnet die Entwicklung einer Kunstszene nach, die in ihrer theoretischen Fundierung und künstlerischen Praxis bis heute zwischen einem avantgardistischen Selbstverständnis, dem lokalen Markt und den Erwartungen einer globalisierten Kunstwelt jongliert

Performance is a process-oriented tool which improves our sensuous, intellectual, social, and aesthetic appreciation of life and the world we live in. A performer is a doer whose action is carried out in a space shared with a public. The visible image of a performer contradicts the stereotypical image of the passive female in Arab societies. What is more inconsistent is the presence of the female performer as an economic player in contemporary Arab societies. She does not live on the margin of society but is a professional, an evident contributor to the cultural scene, and above all has been instigating change in her community by expanding the horizons of her gender and certainly exercising power. Scheherazade's bedtime stories proved to be a stratagem to change her fate and that of her sisters.

Intro -- Title Page -- Copyright -- Dedication -- Acknowledgments -- Contents -- Inappropriate Bodies: An Entry Point -- Part I -- Chapter 1 -- Chapter Two -- Chapter Three -- Chapter Four -- Chapter Five -- Chapter Six -- Chapter Seven -- Part II -- Chapter Eight -- Chapter Nine -- Chapter Ten -- Chapter 11 -- Chapter Twelve -- Part III -- Chapter Thirteen -- Chapter Fourteen -- Chapter Fifteen -- Chapter Sixteen -- Chapter Seventeen -- Chapter Eighteen -- Afterword -- Contributor Notes -- Index of Illustrations -- Deepest appreciation to Demeter's monthly Donors.