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This paper presents a genealogy of "art mod" (artistic videogame modification) definitions and frameworks. Such frameworks serve, either intentionally or unintentionally, to establish modding within a tradition of analysis and critique: whether participatory design, alternative media, folk art, and/or fine art. By situating the definition and history of art mods within a particular discourse, researchers construct the ground from which to make arguments towards organizing the reception and critique of these works. Such arguments include whether mods in general (and art mods in particular) are inherently political or banal (even boring), whether these works speak back at all to games themselves (and whether they should), whether these works are powerful and disruptive; or compromised (by virtue of their parasitic position), and as a result marginal. A genealogy of art mod frameworks highlights the boundary politics of the critique of art mods, and the problem of presenting transparent interpretive lenses in an interdisciplinary field such as game studies.

(An adaptation of a paper given at a conference held in June 2005 at Zhejiang U, Hangzhou, China. The authorities didn't allow the paper to be published as part of the proceedings of the conference & had blocked the Dissent Web site from reception in China; but before this issue went to press, that ban was lifted.) The 1989 Tiananmen Square demonstrations served as a powerful argument to a government that had been glad to see an end to Maoist authoritarianism, but not powerful enough for it to recognize its citizens as free people. Now, however, China is participating not only in the global economy, but also in globalized culture -- from art to clothes to digital cameras. It is argued that this would not have surprised or dismayed Karl Marx, who saw communism as a way to fulfill the promises of citizenship & human rights that had been broken by democracy. He wanted the masses to enjoy the benefits of modernization. It was modern capitalism that he rejected , since he saw capitalism as alienating people from themselves. It is argued here, however, that capitalism is the only social system that, while it may oppress people, does so in a way that makes them stronger & smarter. It makes people mobilize for their benefit, whether that be education, economic opportunity, or social acceptance. The question is posed: "When will Chinese intellectuals explore the mysteries & contradictions at the heart of their own social order?". J. Stanton

A whole new deference has now appeared in Western discussions of China. "A New China Rises," said a Time magazine headline in June 2005, as it noted, "The People's Republic has embraced the modern world as never before. Is that cause for celebration or anxiety?"; "Chinese Strength, U.S. Weakness," proclaimed the New York Times in the same month, while in July 2005 it asked, "Who's Afraid of China, Inc?" and described "The New Power Brokers, Born in China, Closing Deals for U.S. Firms" and "The China Syndrome on Wall Street." Meanwhile, China has developed a brilliant film culture, a cinema reminiscent of Italian Neo-Realism, which has brought the world a vision of both the marvelous expanse of Chinese streets and the internal pressures that drive Chinese lives. China's power surge and rapid development form one of the most exciting stories of the late twentieth century.

Examining and illustrating the art scene surrounding the birth of modernism and its simultaneous rise among the burgeoning working class Mod scene of the Sixties, Paul Anderson's Mod Art is the definitive work on the visual culture of Mod. 0With interviews from key artists, scene members and a rich understanding of the how the collision of high art and mass culture formed, Mod Art will appeal to fans of history, music, fashion and art. 0Gorgeously illustrated with a treasure trove of hundreds of colour photographs of famous, rediscovered and rare images from the era Mod, Art will be read and re-read for years to come

"Diversifying the current art historical scholarship, this edited volume presents the untold story of modern art by exposing global voices and perspectives excluded from the privileged and uncontested narrative of "isms." This volume tells a worldwide story of art with expanded historical narratives of modernism. The chapters reflect on a wide range of issues, topics and themes that have been marginalized or outright excluded from the canon of modern art. The goal of this book is to be a starting point for understanding modern art as a broad and inclusive field of study. The topics examine diverse formal expressions, innovative conceptual approaches and various media used by artists around the world and forcefully acknowledge the connections between art, historical circumstances, political environments and social issues such as gender, race and social justice. The book will be of interest to scholars working in art history, imperial and colonial history, modernism, and globalization"--

These critical essays on art and artists by T.G. Rosenthal, chosen by the author from his considerable output over more than fifty years of writing and reviewing, focus mainly on what has come to be known as 'Modern British' art - art from the 20th century. Rosenthal knew many of his subjects personally and some became friends: Michael Ayrton; Arthur Boyd; Ivon Hitchens; Thelma Hulbert; L. S. Lowry; Sidney Nolan; Paula Rego. There are also essays on Wyndham Lewis, Jack B. Yeats and the paint