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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.

In another round of the case "Metall auf Metall", the German Federal Court of Justice is asking the Court of Justice of the European Union how to define the concept of pastiche. The CJEU response will not only be crucial for the rules of artistic imitation, but also set the legal frame for the digital reference culture of millions, as expressed in Memes and GIFs every day. This Article takes the referral to the CJEU as an opportunity to recapitulate the proceedings with a sideways glance at the Supreme Court's Warhol case. Its discussion of transformative use addresses the questions the CJEU will have to answer when defining "pastiche". How should we deal with the art of imitation?

[ES] Definición del término Arte militar en el diccionario Dicter. ; [EN] Definition of the word Arte militar in the dictionary Dicter.

Logic of equal aesthetic rights -- On the new -- On the curatorship -- Art in the age of biopolitics: from artwork to art documentation -- Iconoclasm as artistic device: iconoclastic strategies in film -- From image to image file--and back: art in the age of digitalization -- Multiple authorship -- The city in the age of touristic reproduction -- Critical reflections -- Art at war -- The heros body: Adolf Hitler's art theory -- Educating the masses: socialist realist art -- Beyond diversity: cultural studies and its post-Communist other -- Privatizations, or artificial paradises of post-Communism -- Europe and its others

In order to articulate the contributions that experimental performance and feminist scholarship on reproduction have already made to one another and to highlight other fruitful areas for future engagement, I examine several key moments between 1991 and 2008 when two seemingly unrelated narratives have overlapped. These narratives concern (1) the development and implementation of reproductive technologies from the sonogram to in vitro fertilization to regenerative medicine, and (2) the expansion of a range of experimental performance practices in new media and bio art performance. The moments when these histories converge are marked by a series of performances by Deb Margolin, Critical Art Ensemble, Anna Furse, the Olimpias Performance Research Group, and the Tissue Culture and Art Project, and by a body of critical writings from the artists themselves and a group of performance scholars. This journey is also marked by strategic expeditions back into the 1960s to revisit and reinterpret foundational moments in the histories of feminist, activist, and new media performance. Moving between the 1960s and the 1990s/2000s, I use contemporary performance to re-imagine the relationship between gender, technology, and embodiment in some of our origin myths about performance art. I also use the historical performances to unpack the contributions and limitations of the contemporary work. In my analysis of these materials, I do two things: I tease out how the artists in question have used experimental performance to generate new theoretical, tactical, and physical ways of engaging with reproductive technologies. At the same time, I also examine the ways in which reproductive technologies - as a set of political, ethical, and representational issues and as material objects/practices - are pushing performance theory and practice in new directions, complicating our theorizations of participation and providing new avenues for spectatorial interaction. Positioning Carolee Schneemann's Eye Body (1963) as the beginning of an unfolding of feminist corporeal interrogations of technology and technological interrogations of corporeality, I argue in Chapter 1 that genealogies of new media and feminist performance must take seriously feminist performance's long history of investigating the politics of technology. I then lay out the project's topic, scope, and the secondary literature on notions of participation, reproduction, and technology within the fields of experimental performance, science and technology studies, and feminist theory. In Chapter 2, I present a close reading of feminist playwright and performance artist Deb Margolin's solo performance Gestation (1991) alongside cultural histories of the sonogram. I pair these stories to show how feminist performance artists' experience with technologies of representation became a place where important debates around technology, agency, and embodiment could be staged at a crucial time in the history of feminist theory. Intervening in ongoing debates within new media theory about interactivity and embodiment in Chapter 3, I detail the ways in which the tactical media collective Critical Art Ensemble crafted physical and affective structures of interactivity in order to engender certain forms of public resistance to in vitro fertilization in its groundbreaking 1998 performance Flesh Machine . In Chapters 4 and 5, I move on to analyze the risks and rewards that emerged from two long-term collaborations between art and biotechnology. In Chapter 4 I put British director and producer Anna Furse's Glass Body: Reflecting on Becoming Transparent (2006-2008) in conversation with performance projects by the Olimpias Performance Research Group to demonstrate how collaborations with biomedicine reshape issues at the center of debates around social practice. In Chapter 5, I recast the Tissue Culture and Art Project's 2002 bio art performance installation The Pig Wings Project within the tradition of feminist maintenance artists such as Mierle Laderman Ukeles, Betye Saar, and Mary Kelly in order to argue that together, this new constellation of maintenance artists has crafted a set of interactive performance practices which stage maintenance and the duration of performance in order to reveal the ways in which regenerative medicine disavows its dependence on feminized labor.

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.