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International audience ; It is with the point of view of art, as much ars as techné, that the article approaches the question of digital data. This approach will allow us to take a critical side step towards what is understood in terms of "creation", "innovation" and "appropriation". With ars, we will show how avant-garde artistic movements deny the qualities attributed to them by offering counter-biases to purely positive approaches. With the techné, we will observe that data processing, considered as an art, resides in the opening of its objects, code or data. The consequences of this attitude, which is achieved through art, are anthropological and political: what freedoms, what uses are made of data and, more globally, what model of society? It is a question of considering data as elements of language, computer code and human expression, so that the calculating machines, mimicking human intelligence, do not become confused with human subjects, the only ones capable of political decisions. Art (ars & techné) is here an acting mirror that shows the face of a possible humanity in the era of the digital and the internet. ; C'est avec le point de vue de l'art, en tant qu'il est autant ars que techné, que l'article aborde la question des données numériques. Cette approche va nous permettre un pas de côté critique vis-à-vis de ce qui est entendu en termes de « création », d'« innovation » et d'« appropriation ». Avec l'ars, nous montrerons comment les mouvements artistiques d'avant-garde nient les qualités attribuées à leur endroit en offrant des contre-biais aux démarches purement positives. Avec la techné, nous observerons que l'informatique, envisagée comme un art, réside dans l'ouverture de ses objets, code ou data. Les conséquences de cette disposition d'esprit qui se fait par le biais de l'art sont d'ordre anthropologique et politique : quelles libertés, quels usages faits des données et plus globalement quel modèle de société ? Il s'agit d'envisager les données comme éléments de langages, code ...

International audience ; It is with the point of view of art, as much ars as techné, that the article approaches the question of digital data. This approach will allow us to take a critical side step towards what is understood in terms of "creation", "innovation" and "appropriation". With ars, we will show how avant-garde artistic movements deny the qualities attributed to them by offering counter-biases to purely positive approaches. With the techné, we will observe that data processing, considered as an art, resides in the opening of its objects, code or data. The consequences of this attitude, which is achieved through art, are anthropological and political: what freedoms, what uses are made of data and, more globally, what model of society? It is a question of considering data as elements of language, computer code and human expression, so that the calculating machines, mimicking human intelligence, do not become confused with human subjects, the only ones capable of political decisions. Art (ars & techné) is here an acting mirror that shows the face of a possible humanity in the era of the digital and the internet. ; C'est avec le point de vue de l'art, en tant qu'il est autant ars que techné, que l'article aborde la question des données numériques. Cette approche va nous permettre un pas de côté critique vis-à-vis de ce qui est entendu en termes de « création », d'« innovation » et d'« appropriation ». Avec l'ars, nous montrerons comment les mouvements artistiques d'avant-garde nient les qualités attribuées à leur endroit en offrant des contre-biais aux démarches purement positives. Avec la techné, nous observerons que l'informatique, envisagée comme un art, réside dans l'ouverture de ses objets, code ou data. Les conséquences de cette disposition d'esprit qui se fait par le biais de l'art sont d'ordre anthropologique et politique : quelles libertés, quels usages faits des données et plus globalement quel modèle de société ? Il s'agit d'envisager les données comme éléments de langages, code informatique et expression humaines, de façon à ce que les machines calculantes, mimant l'intelligence humaine, ne se confondent pas avec les sujets humains, seuls capables de décisions politiques. L'art (ars & techné) nous est ici un miroir agissant qui montre le visage d'une possible humanité à l'ère du numérique et de l'internet.

Ton de Leeuw (1926-96) is probably one of the most influential composers at the crossroads between Eastern philosophy and Western technique. A one-time pupil of Olivier Messiaen's in Paris, throughout the latter years of his musical career he concentrated on the marriage of Western emphasis on action and tension, and the ethical function of music in Eastern traditions. The musical world of the twentieth century is a divided one. Numerous histories of it have been written, but few of the exceptional quality of de Leeuw's, who brought into his writing a lifetime of experience as a composer and scholar of music. His work is a lucid and impassioned discussion of the elements, structures, compositional principles and terminologies in modern music that can be regarded as most innovatory. This book is an excellent guide for anyone wishing to gain knowledge of the compositional technique and mentality, particularly university and conservatory students.

"Sociology of the Arts, second edition, is a comprehensive over view of the sociology of the arts and an authoritative work of scholarhip by a leading expert in the field. A thoroughly updated version of the classic, bestselling first edition, it synthesizes theoretical models of art sociology and covers empirical research as well as providing stimulating exemplars of sociological work on the the fine and popular arts. Case studies focus on a range of art forms, including children's books, musicals, popular music, film, romance novels, visual arts, and classical music. These studies combined with the book's considerable theoretical breadth and insight, explore how art is created, distributed, received, and consumed. The book also discusses newly emerging questions on the art itself, including issues of materiality, embodiment, and the social construction of art and aesthetics"--

Let us revive the true sense of fine arts: enchantment! In the conceptualised, commercialised, artificial approach to fine arts, we forgot its authentic experiential sense. It lies at the imaginative heart of all arts there to be retrieved by the creative recipient as the very 'truth of it all'

The president of the American Historical Association surveys the field of journalism history and concludes that the product is thin and uneven. He analyzes the causes of weak performance, states requirements for improvement and recommends establishment of an AEJ press evaluation project.

The treatment of war wounds is an ancient art, constantly refined to reflect improvements in weapons technology, transportation, antiseptic practices, and surgical techniques. Throughout most of the history of warfare, more soldiers died from disease than combat wounds, and misconceptions regarding the best timing and mode of treatment for injuries often resulted in more harm than good. Since the 19th century, mortality from war wounds steadily decreased as surgeons on all sides of conflicts developed systems for rapidly moving the wounded from the battlefield to frontline hospitals where surgical care is delivered. We review the most important trends in US and Western military trauma management over two centuries, including the shift from primary to delayed closure in wound management, refinement of amputation techniques, advances in evacuation philosophy and technology, the development of antiseptic practices, and the use of antibiotics. We also discuss how the lessons of history are reflected in contemporary US practices in Iraq and Afghanistan.

Abstract
Drawing on the works of artists Maria Eichhorn (Berlin) and Dilek Winchester (Istanbul), this article focuses on artistic responses to the twin processes of violence and dispossession in Germany and the late Ottoman Empire and republican Turkey, respectively. Their artistic practices respond to what is irrecoverable in loss, in contrast to dominant discussions on material restitution as a process that always projects a reversibility of past injuries and that remains limited to the logic of possession. The article argues that these practices pose an aesthetic challenge to the conceptual frameworks within which both dispossession and restitution are usually understood. They produce forms of aesthetic redistribution that open paths to alternate ways of envisioning historical justice in transformative rather than recuperative terms.

This project is an exploration of Islamic influences on the Adoration of the Magi (1423) by Gentile da Fabriano. The use of pseudo-inscriptions and Eastern textiles in the painting are central to the investigation of the work. I discuss the contact between the Republic of Florence and Muslim regions and the role of trade, crusades, and political contact on the arts of Quattrocento Florence. I analyze the extent of patron's contributions to the iconography in the altarpiece and the social and political implications of the piece.

The article is devoted to the history of the Moscow magazine "Construction and Decorative Art", which played a significant role in Russian art criticism in 1903, despite its short (within six months) existence. This topic needs to be addressed due to the small number of comprehensive studies in the field of Russian art criticism of the early 20th century. On the basis of archival materials of censorship, the article reconstructs the creation circumstances of two homogeneous magazines ("Architecture and Decorative Art", renamed "Free Art", and "Construction and Decorative Art") and their actual transformation into one press organ. There is examined the rapprochement of the architects Vasily Borin and Leonid Betelev with the scandalous journalist Alexey Filippov, their struggle for the permission to publish a new Moscow magazine about art in 1900—1902, the patronizing attitude of the Main Directorate for Press Affairs and the Moscow Governor-General to the new initiative of Filippov. The author introduces into scientific circulation important recorded sources related to the transfer of the rights to publish the magazine to Vasily Borin, and his attempt to pass off the former magazine of Filippov and Betelev as his own (hitherto non-existent) magazine "Free Art". The article analyzes three issues of the illustrated magazine "Construction and Decorative Art" published in 1903. Basing on the data on the magazine's format and prices, the author concludes that the publication turned out to be expensive and, therefore, unprofitable. The article pays particular attention to the views of Borin and Filippov on the development of contemporary art, Art Nouveau, and the activities of the artists of the group "Mir Iskusstva" ("World of Art"). In the context of a meaningful analysis of the magazine's articles, there is discussed the honoring of the architect Nikolai Nikitin in connection with his anniversary. The author poses the question of how the issues of "Free Art" at the end of 1903 should be assessed. There are analyzed the causes for the mysterious closure of both the magazines in 1904—1905, which was not formalized in accordance with the law.

The purpose of the article. Research and analysis of marketing technology algorithms by studying the motivations of collectors as consumers of fine arts products. The research methodology is to apply comparative, empirical, and theoretical methods. This methodological approach allows us to analyze the motivations of collectors as consumers of works of art with the subsequent use of research results in the marketing processes of promoting works of art in the art market. The scientific novelty lies in the expansion of ideas about the motivation of collectors as consumers in the market of fine arts and in the study of further marketing processes in the activities of collectors of works of art. The article analyzes the algorithms of marketing technologies in the analysis of motivations of collectors as consumers of the art market. The article establishes that in the marketing of fine arts it is relevant and necessary to study the behavior of collectors as consumers of works of art through the analysis of types of collectors, through the analysis of the processes of collecting works of art, through the analysis of situations of consumption of works of art. It should be noted that in the marketing of fine arts, the technologies of studying and analyzing the motivations of consumers of art markets in the promotion of works of art are purposefully and productively used. The analysis of motivations of consumers of art markets gives the chance to classify highly effective groups of consumers and admirers of works of fine arts according to their motivations. Conclusions. The article defines and analyzes the model of consumption of fine arts by Collectors, and, accordingly, describes the situations in which certain groups of individuals (consumer segments) acquire or collect works of art. It is proved that the collector's behavior in art marketing is based on three obligatory components: Individual (Collector) - Product (Work of art) - Situation (Consumption of a work of art in the art market). It is on these components that the types of motivation are formed, on which the model of consumption and consumer behavior is built. Thus, we have studied collectors as Individuals who consume works of art, which in turn are Products presented in kind in private (or other) collections, and we have studied the situations of consumption of works of art acquired in the collection.
Keywords: art market, marketing research, motivation of consumers of works of art, collectors of works of art, behavior of consumers of art market.