Suchergebnisse

Der »Orient« als kulturgeografische Kategorie ist zugleich diffus und überdeterminiert: changierend zwischen den Klischees von Tyrannei und Despotismus einerseits, Sinnlichkeit und Weisheit andererseits. Obwohl die Idee einer orientalischen Entität ideologiekritisch hinterfragt worden ist, wird der Topos heute nicht nur verklärend als touristisches Reiseziel in Katalogen gepriesen, sondern auch in der aktuellen politischen Situation als Bild des arabischen, orientalischen Anderen massenmedial fortgeschrieben. In diesem Kontext erhalten Kunst und Literatur eine wichtige Funktion als Reflexionsmedien, mit denen Fremdbilder kritisch hinterfragt werden können.In zehn interdisziplinären Beiträgen analysiert der vorliegende Sammelband künstlerische und literarische Praktiken der Differenzsetzung der »orientalischen Fremde«.

Summary
The objective of this paper is to understand certain developments in contemporary arts from an economic point of view. The peculiarity of art is its aesthetic quality in combination with its value as an investment object. Accordingly, four segments of the art market may be distinguished: warehouse art, business art, connoisseur art and high art. Because of their high aesthetic quality, only the last two segments of the market are of interest in this paper. On the market for high art, a dominance of investors is to be expected because this art has to please the average taste of investors. The market for connoisseur art will be dominated by an art elite which is merely interested in aesthetic quality. One of the crucial elements of contemporary art is its chutzpah. The economic reason for this is the necessity to attract interest. This aspect of modern art is seen as a common feature of art and marketing. This may explain the alliances between art and enterprises as well as the blur of the boundaries between art, fashion and design.

"The empirical question in this paper addresses problems of institutionalizing inventories of knowledge under conditions of uncertainty. As a focus, negotiations of discursive evaluation of the new or of inventions as innovations lead the empirical approach. This determines the empirical approach to understanding the process of legitimation, and makes patterns as well as variations intelligible. What characterizes this research project is an unconventional theoretically based setting by the sociology of knowledge approach to discourse analysis (from now on SKAD) (Keller 2008) that will be discussed in this paper. An extended comprehension of social innovation is tied to the field of contemporary art where the assembly of novelty is conventional and actors are mainly engaged with the selection and valuation of novelty. In the first section of the article I introduce my methodological and theoretical framework and relate them to questions of how to conduct empirical research on innovations. The case study explores the question how contemporary art is legitimized with reference to Howard S. Becker's theory of art worlds. It builds a bridge between a semantic level of discourse and the level of discursive practices. Section two introduces the field and the case of the study, and how the study is arranged. Section three describes the methods used, discussing the relevant aspects of the study for innovation research, and leads into the conclusion." (author's abstract)