Relevant bibliographies by topics / Art and Commodification

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Art and Commodification'

Author: Grafiati
Published: 20 February 2023

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Journal articles on the topic "Art and Commodification"

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Wibowo, Arining, Aquarini Priyatna, and Cece Sobarna. "The Malangese Mask Wayang:The Process of Art Commodification at Asmorobangun Art Center, Pakisaji, Malang." KOMUNITAS: INTERNATIONAL JOURNAL OF INDONESIAN SOCIETY AND CULTURE 11, no. 1 (April 23, 2019): 149–57. http://dx.doi.org/10.15294/komunitas.v11i1.18478.

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The article aims to describe the process of commodification of the Malangese Mask Wayang Art at Asmorobangun Art Center, Pakisaji Sub-district, Malang, Indonesia. Asmorobangun Art Center is one of the surviving art centers engaged in the efforts to preserve and develop the Malangese mask wayang art. The data used in this qualitative study were collected by means of interview, observation, and examination of relevant documents. The results show that the process of commodification of the Malangese mask wayang art manifests in three practices namely the gebyak senin-legian mask wayang performances, art tourism packaging, and mask production. Commodification has transformed the art into commodities/products that are part of the local tourism industry.
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Ganahl, R. "Free Markets: Language, Commodification, and Art." Public Culture 13, no. 1 (January 1, 2001): 23–38. http://dx.doi.org/10.1215/08992363-13-1-23.

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Cohen, I. Glenn. "Complexifying Commodification, Consumption, ART, and Abortion." Journal of Law, Medicine & Ethics 43, no. 2 (2015): 307–11. http://dx.doi.org/10.1111/jlme.12246.

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Like all her work, Jody Madeira’s “Conceiving of Products and the Products of Conception: Reflections on Commodification, Consumption, ART, and Abortion,” is a rich, nuanced discussion that mixes various conceptual vocabularies (Marxist, semiotics, legal) into a complex dish. If her work is like the best of French cooking, my comment, I fear, will be more like fast food. In the short space I have, I want to pick off a few items of common interest and discussion and reconfigure them.
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Letiche, Hugo. "Doubling: there’s no escape from terror/doubling: there’s an escape from commodification …?" Society and Business Review 11, no. 2 (July 11, 2016): 174–92. http://dx.doi.org/10.1108/sbr-04-2016-0028.

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Purpose Commodification doubles self and work, life and object, uniqueness and standardization and art and management. For the artist, the unicity, beauty, inspiration and creativity of art is doubled in the sale, marketing, display, distribution and mass production of “art works”. Making art is intimate, personal and individual; selling art requires public display, pleasing the all important customer(s) and dealing with many sorts of in-betweens. What commodification is on the artist/art work level is doubling on the I/me, self/persona, private/public and in-group/out-group level. This paper aims to examine the commodification and doubling in the case of the Gee’s Bend quilt makers. The quilts foreshadowed the modernist aesthetic and are of the highest aesthetic quality. But, they were made in a traditional rural society by very poor, uneducated black women. The quilts were not made to be sold but were dedicated to familial remembrance and to immediate aesthetic pleasure. But now that they are on display: is escape from commodification possible? Design/methodology/approach Reprint for special issue. Findings Doubling, in the original article below, was tendentious but artistically and politically to be overcome; doubling currently seems much more ominous, omnipresent and out of control. Signifyin(g) has become bomb throwing. Present day doubling apparently produces terror and not just commodification. Originality/value Invited for publication.
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Azatyan, Vardan, Frederic J. Schwartz, T. J. Clark, Sami Khatib, Miško Šuvaković, and Ursula Frohne. "Art and Scholarship in Moments of Historical Danger." ARTMargins 10, no. 3 (October 2021): 159–90. http://dx.doi.org/10.1162/artm_a_00304.

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Abstract Consider the nature and function of art and art historical scholarship in the present: Is there still a line—even fine or porous—securing the fragile autonomy of the arts and humanities from commodification in late capitalism? Can art still serve as a negative and critical mirror for reality under the seemingly complete commodification and technological mediation of social life? Is there any real need for art and art historical scholarship even to exist today? Can the arts and humanities serve an emancipatory social agenda, and, if so, how? What role might the humanist ideals once shared by liberals and communists play in the reformulation of art and scholarship today?
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Oliinyk, Oleksandra. "Commodification as the Means of Cultural Production." Culturology Ideas, no. 18 (2'2020) (2020): 156–64. http://dx.doi.org/10.37627/2311-9489-18-2020-2.156-164.

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The paper discloses the phenomenon of the commodification of cultural production in course of evolutionary transformation of technic, technologic and economic capacities of society. Economic issues, including the definition of cultural product as a commodity, form the apparatus for the objectification of creative intention that does not impact directly on the creativity as freedom. Albeit the tension of social apprehension, spoken in words by either intellectual critics or market demand, and dependence on the market laws, reflecting either the labor issues or distribution and consumption, evoke the shift in the function of art, in particular, the loss of critical and regulative functions. Thus, the article seeks the logic dependence of the functional shifts in art on the phenomenon of commodification. The paper aims to justify the hypothesis that the commodification is an auxiliary tool for communication between the artist and audience, barely directly causing the leveling of aesthetic artistic value. Considering that the comprehension of commodification relies mostly on the philosophic criticism leaving the economic research of cultural production aside and missing the discourse of aesthetic and artistic essence, this paper concludes that the commodification of symbolic production, as the consequence of social and economic development, rather implies communicative capacity for artistic value than the destructive or leveling impact factor causing the shift of social functions of art.
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Vail, D. Angus. "The Commodification of Time in Two Art Worlds." Symbolic Interaction 22, no. 4 (November 1999): 325–44. http://dx.doi.org/10.1525/si.1999.22.4.325.

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Lee, Wendy Lynne, and Laura M. Dow. "QUEERING ECOLOGICAL FEMINISMEROTOPHOBIA, COMMODIFICATION, ART, AND LESBIAN IDENTITY." Ethics & the Environment 6, no. 2 (September 2001): 1–21. http://dx.doi.org/10.2979/ete.2001.6.2.1.

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Farkhatdinov, Nail. "Commodification of Art: Old and New Research Perspectives." Journal of Economic Sociology 12, no. 3 (2011): 127–44. http://dx.doi.org/10.17323/1726-3247-2011-3-127-144.

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Ozdemir, Derya. "A Conceptual Framework on the Relationship of Digital Technology and Art." International Journal on Social and Education Sciences 4, no. 1 (January 15, 2022): 121–34. http://dx.doi.org/10.46328/ijonses.313.

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The ‘new digital art’ genre has emerged to describe various works of art that have evolved with the development of digital technologies. In its broadest sense, digital art encompasses everything from high-end machine learning applications to the use of interactive elements in traditional media. There is also an increase in the interaction between information technologies and art. Science, art and technology has been increasing and becoming widespread since the 60s, when scientists, artists and inventors began collaborating and using electronic devices to create art. The experience that results from consuming art and culture is multifaceted in nature. It can be individual or collective, physical or virtual, active or passive, public or private, on-site or in private places, open-air or indoor. With the spread of digital art, there is a remarkable increase in the commodification of art. This article, in this context, analyzed and discussed digital art, its positive and negative aspects, and the commodification of this art type on the basis of literature.
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Dissertations / Theses on the topic "Art and Commodification"

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Pannier, Jasmin. "(Ad)dressing Afghanistan The Commodification of the Ethnic 'Type' Genre." Thesis, University of California, Irvine, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10288755.

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The relationship between photographer and subject in nineteenth-century photographs of Afghanistan operates as a component of identity construction. To date, this interaction is theorized in terms of power between the photographer and the colonial apparatus and labels the image as orientalist, colonializing, and ethnographic. I propose an additional perspective that places consumer interests in costume at the forefront of image construction. While Western photographers have left us with a perception of nineteenth-century Afghanistan as an intersection between British occupied India and Russia, the social economic impetus of these images require further analysis. An examination of British cultural and photographic practices reveals the role clothes play in the creation of the ethnic `type.? My research addresses these principal themes: the continuities between photographic and pre-photographic visualities; the relationship between European cultural attitudes, the creation of costume books, and reception of commercial photography; how visual information was repurposed and influenced the development of anthropology as a discipline. The importance of studying costume and costume books in the nineteenth century is instrumental to understanding Europe?s transition to a culture focused on classification and commodification. Costume books not only allowed for the creation of a consumable `type? in photography, and permit us to examine the actual mechanics of commodification.

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Iverson, Alexander Sabastian. "Artistic creativity and commodification, a sociological study of pictorial art practices in a provincial art world." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq23808.pdf.

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Parker, Andrew. "Consuming subjectivity in Warhol and Koons, mass appeal and commodification in art." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ48583.pdf.

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Halg, Bieri Anja Kerstin. "Walking in Late Capitalism - Dialectic of Aestheticization and Commodification." Diss., Virginia Tech, 2015. http://hdl.handle.net/10919/86145.

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Walking has become a trend in the USA. In recent years, the desire to walk has brought forth specific urban design for walkable places as well as art forms that focus on walking. Whence this trend? This dissertation studies the socio-economic and cultural context that brought forth the aestheticized forms of walking such as walking in designed walkable places and walking as art. The theoretical framework to study this genealogy is based in social anthropology, critical theory, theatre studies and the practice of audio-walks. A "dialectic of aestheticization and commodification" runs through modernity that generates aestheticized forms of walking today. While walking is initially a form of aesthetic struggle against the rational principles of modernity and the forces of capitalism, this struggle is co-opted by the logic of capital in a continuous interlacing of the processes of aestheticization and commodification. The social and spatial consequences of capitalism together with the process of aestheticization of society produce new spatial forms of capitalism, new commodified forms of social interaction, and new forms of walking. What became of the yearning for agency through walking? With "walkable urbanism", capital returns to the city center and creates new markets for a budding walkable life-style which is fed through conspicuous consumption and the commodified "walkable body". With walking as art, the struggle for more physical, intellectual and political agency through walking goes on. While fighting with the self-referential loop of postmodern performing art, art walking opens up doors to new paths for contemporary art that lead out of post-dramatic art, beyond the phenomenology of embodied experience, and out of the manipulating products of the culture industry in order to create art that offers room for imagination -- the source of social change.
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Hilpert, Zachary Michael. "Ruins Reframed: The Commodification of American Urban Disaster, 1861-1906." W&M ScholarWorks, 2014. https://scholarworks.wm.edu/etd/1539720327.

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This dissertation explores images of urban disaster and related events produced from the Civil War to the dawn of the 20th century, seeking to understand the role such visual media played in the formation of American identity and racial perceptions. Images of disasters that appeared throughout this period demonstrate a desire on the part of a largely white, native-born consumer class to share in a collective grieving process, one that initially recalled the comforts found in the communal suffering of the Civil War, but habitually eschewed the most tragic elements in favor of an optimistic, nationalistic narrative free of lasting trauma. Out of this desire for mutual grieving and recovery emerged a market for tokens of palatable tragedy in the final decades of the nineteenth century. This market was fed by a growing industry of disaster commodification that co-opted urban destruction in the service of an ultimately white supremacist formulation of American identity.;These images gave consumers the ability to experience disaster and loss remotely, in more immediate and vivid ways than news reports or letters. Yet a line of acceptability was drawn in the process of commodifying these disasters, and resulted in a wealth of imagery that tells a far different -- and far more hopeful -- story of each disaster than the death tolls and oft ignored tales of costly human error could ever have crafted. The images instead create a fantasy narrative of disasters and aftermaths firmly under human control, and a racist, ultranationalistic view of the world in which white Americans are challenged by adversity, but always persevere to construct a new and better world -- often in spite of the efforts of the racialized monsters in their midst.
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Boyd, Craniv Ambolia. "Ndebele Mural Art and the Commodification of Ethnic Style during the Age of Apartheid and Beyond." Thesis, Freie Universitaet Berlin (Germany), 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10609294.

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The women of the Ndebele, an ethnic minority living in the rural North of South Africa, decorate their homes in colorful geometric paintings. This thesis retraces how Ndebele mural art was "discovered" by white South African modernist artists at the beginning of the twentieth century. By examining their paintings and photographs, it shows how their specialist interest contributed to Ndebele villages becoming popular tourist destinations during the apartheid era.

This thesis furthermore demonstrates how the format of the glossy coffee-table book facilitated global exposure and appreciation of the Ndebele "style," and eventually led to its commodification as an ethnic brand. Finally, it evidences that despite this appropriation, the designs of Ndebele women are part of a rich cultural heritage that continues to fascinate artists and designers worldwide.

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Sharp, Kristen, and kristen sharp@rmit edu au. "Superflatworlds: A Topography of Takashi Murakami and the Cultures of Superflat Art." RMIT University. Applied Communication, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080522.093156.

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This thesis maps Takashi Murakami's Theory of Superflat Art and his associated artistic practices and works. The study situates Murakami and Superflat within the context of globalising culture. The thesis interrogates Murakami's art and the theory of superflat within the historical, social, and cultural contexts of their production-consumption in Japan, the United States, and Europe. The thesis identifies Superflat art and Murakami's work as actively participating in, and expressing, the cultural conditions associated with the 'global postmodern' and globalisation processes. The thesis employs a Cultural Studies theoretical and heuristic framework, utilising a range of contemporary critical theorisations on postmodern art, Japanese cultural identity and globalisation. This framework and approach are adopted in order to draw attention to ways in which Murakami and Superflat articulate and represent the fundamental contentions and dialogues that characterise contem porary globalisation processes. The tensions that are articulated in relation to the discursive construction of the concepts of art/commodity, modern/postmodern and global/local cultural identities. Importantly, this research demonstrates the ways in which Murakami both participates in, and challenges, the conceptual distinctions indexed within the concepts of 'art' as an aesthetic expression and 'commodity' as an object of symbolic exchange in the global marketplace. It interprets Superflat as an 'expressivity' that challenges binary demarcations being constructed between art and commercial culture, and between the aesthetic-cultural identities of Japan and the West. This thesis problematises the meaning of Murakami's concept and aesthetic of Superflat art by drawing attention to these contestations within Murakami's works and Superflat which are generated as they circulate globally. The thesis argues that Murakami strategically presents his work and Superflat art as an expression of Japanese identity which paradoxically also expresses the fluid imaginings of cultural identity available through contemporary global exchanges. This deliberate territorialising and deterritorialising impulse does not resolve the contentions emerging in globalisation, but rather amplifies them, exposing the key debates on the formation of cultural identity as an oppositional expression and as a commodity in global markets. The concept of 'strategic essentialism' is used as a theoretical lens in order to understand Murakami and Superflat's activation of these global processes. This research contributes a valuable case study to the understanding of cultural production as a strategic negotiation and expression of the flows of capital and culture in globalisation.
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Conradie, Annemi. "Travelling snapshots of the Rainbow Nation : the commodification and performance of 'authentic' cultural identities in contemporary South African postcards." Stellenbosch : University of Stellenbosch, 2010. http://hdl.handle.net/10019.1/4251.

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Bernard, Mary Grace Cathryn. "Non-Western Art and the Musée du Quai Branly: The Challenge of Authenticity." ScholarWorks@UNO, 2014. http://scholarworks.uno.edu/honors_theses/53.

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This thesis discusses the recent construction and anthropological collaboration of the Paris museum: Musée du quai Branly (MQB), an art museum dedicated to showcasing art collections specific to aboriginal and indigenous cultures in the Americas, Africa, Asia and Oceania. The opening of MQB in June 2006 raised a plethora of controversial questions concerning the museum’s methods of curatorial display of the art it has made its primary focus. One of the major issues discussed examines the Quai Branly’s authentic, or inauthentic, representation of certain artworks displayed throughout the museum. Thus, the essay raises the questions: does a non-Western object remain authentic once it is exhibited in a Western society’s art museum? To answer this question, the essay explores the various explanations of art and authenticity in order to reach an understandable conclusion of what constitutes an authentic display of non-Western objects in a Western art museum.
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A, Aljundi Rachelle. "Konst på internet idag : En retorikanalys av konstverksamma organisationers självpresentationer." Thesis, Umeå universitet, Institutionen för kultur- och medievetenskaper, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-85830.

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This is a qualitative study about Art transformation and commodification in the digital age. The study applies a rhetoric analysis with the aim to understand how art sellers, gallery owners and entrepreneurs take part in this transformation process through their websites’ presentation texts ”about us”. The analysis is related to communication theories but it is also inspired by other theories such as Gramsci’s hegemony theory and Bourdieu’s cultural critical theory. The study shows that in an environment of ”Global Communication”, activities that are related to the visual art on the net are strongly influenced by the commodification. Marketers and business managers have a big advantage of this phase of change in Art activities on the net. As senders in a one-way communication process, they use their rhetorical skills in their presentation texts to build identities or to enhance their business, depending on the positions of power they have in the market. They invest in art and artists, in order to expand their businesses and to capture a wider audience of recipients on World Wide Web to get more money and power. The study recommends further research about the Art commodification, preferably from the receiver’s and the artists’ sides to reveal more aspects of the effects of this transformation process in Art and its values.
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Books on the topic "Art and Commodification"

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Cannibal culture: Art, appropriation, and the commodification of difference. Boulder: Westview Press, 1996.

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The logic of slavery: Debt, technology, and pain in American literature. Cambridge: Cambridge University Press, 2012.

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Ferreri, Mara. The Permanence of Temporary Urbanism. NL Amsterdam: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789462984912.

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Temporary urbanism has become a distinctive feature of urban life after the 2008 global financial crisis. This book offers a critical exploration of its emergence and establishment as a seductive discourse and as an entangled field of practice encompassing architecture, visual and performative arts, urban regeneration policies and planning. Drawing on seven years of semi-ethnographic research, it explores the politics of temporariness from a situated analysis of neighbourhood transformation, media representations and wider political and cultural shifts in austerity London. Through a longitudinal engagement with projects and practitioners, the book tests the power of aesthetic and cultural interventions and highlights tensions between the promise of vacant space re-appropriation and its commodification. Against the normalisation of ephemerality, it presents a critique of the permanence of temporary urbanism as a glamorisation of the anticipatory politics of precarity which are transforming cities, subjectivities and imaginaries of urban action.
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Symposium, International Council for Traditional Music Study Group on Performing Arts of Southeast Asia. (Re)producing Southeast Asian performing arts & Southeast Asian bodies, music, dance, and other movement arts: Local identity, tourism and commodification & institutionalizing Southeast Asian performing arts traditions in modern multi-cultural music education movement arts and the Southeast Asian body movement arts, music, ritual and theatre new research, proceedings of the 2nd Symposium of the ICTM Study Group on Performing Arts of Southeast Asia. Manila: Philippine Women's University, 2013.

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Mak, Oliver, and Beth McLaughlin. Under New Management: The Commodification of the Permanent Collection. Fuller Craft Museum, 2021.

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Root, Deborah. Cannibal Culture: Art, Appropriation, and the Commodification of Difference. Taylor & Francis Group, 2018.

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Root, Deborah. Cannibal Culture: Art, Appropriation, and the Commodification of Difference. Taylor & Francis Group, 2018.

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Root, Deborah. Cannibal Culture: Art, Appropriation, and the Commodification of Difference. Taylor & Francis Group, 2018.

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Root, Deborah. Cannibal Culture: Art, Appropriation, and the Commodification of Difference. Taylor & Francis Group, 2018.

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Root, Deborah. Cannibal Culture: Art, Appropriation, and the Commodification of Difference (Icon Editions). Westview Press, 1995.

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Book chapters on the topic "Art and Commodification"

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Kębłowska-Ławniczak, Ewa. "From Commodification to Communal Art: “Above Sex… Above Politics”." In Second Language Learning and Teaching, 377–84. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-21994-8_34.

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Wood, W. Warner. "Art by Dispossession at El Paso Saddleblanket Company: Commodification and Graduated Sovereignty in Global Capitalism." In Art and Sovereignty in Global Politics, 169–95. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-349-95016-4_7.

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Axelrod, Mark. "Jewish Mysticism, the Commodification of Art, and the Notion of Aura in Walter Benjamin’s “The Work of Art in the Age of Mechanical Reproduction”." In No Symbols Where None Intended, 59–67. New York: Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137447326_6.

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Gray, Clive. "The Commodification of the Arts." In The Politics of the Arts in Britain, 11–33. London: Palgrave Macmillan UK, 2000. http://dx.doi.org/10.1057/9780333981412_2.

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Dabhoiwala, Faramerz. "Kitty Fisher: The Commodification of Celebrity." In The Material Cultures of Enlightenment Arts and Sciences, 263–65. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-44379-3_32.

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Miklavič, Klemen. "Academic Values Against the Commodification of Higher Education." In European Higher Education at the Crossroads, 119–38. Dordrecht: Springer Netherlands, 2012. http://dx.doi.org/10.1007/978-94-007-3937-6_7.

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Esmond, Bill. "‘The industrious muse?’ Commodification and Craft in Further and Higher Education." In The Industrialisation of Arts Education, 23–39. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-05017-6_2.

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Turner, Joseph. "Death by a Thousand Hyperlinks: The Commodification of Communication and Mediated Ideologies." In Critical Theory and the Humanities in the Age of the Alt-Right, 173–92. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-18753-8_10.

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Bandelli, Daniela. "The Italian Case: A Strong Opposition in the Name of Women’s Sexual Identity and Motherhood." In Sociological Debates on Gestational Surrogacy, 105–21. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-80302-5_7.

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AbstractSurrogacy is prohibited by law in Italy but it is increasingly undergone abroad by Italian aspiring parents. Although the majority of couples resorting to surrogacy internationally are heterosexuals, the surrogacy debate in Italy intertwines with discussions on homo-parenting and the problem of children born through surrogacy abroad, remaining in a legal limbo once they arrive in Italy. Since 2015, Italian feminists, led by the feminist group Senonoraquando-Libere (Snoq-L), in alliance with French feminists, have mobilized for the universal ban of surrogacy and the enforcement of surrogacy national prohibition, along with saying no to attempts of legalization promoted by same-sex families and civil rights organizations. Italian feminists are engaging in a battle that presently, and until surrogacy will be prohibited by law, does not closely pertain to the exploitation or commodification of women in the country, but to the commodification of women in other countries of the world, and more broadly to the theoretical notion of “the woman”. Although there are other feminists who do not agree with the abolitionist demand, this case study does not identify a structured regulatory or pro-surrogacy feminist front.
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Bardan, Alexandra, and Natalia Vasilendiuc. "But Where Are the Tastes of Yesteryear? Mapping the Commodification of Communist-Era Food Brands." In Food, Nutrition and the Media, 175–87. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-46500-1_13.

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Conference papers on the topic "Art and Commodification"

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Ulivia, Sutiyono, Ulivia Ulivia, and Sutiyono Sutiyono. "Commodification of Nini Thowong Art in Bantul Regency." In Proceedings of the International Conference on Art and Arts Education (ICAAE 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icaae-18.2019.37.

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Luo, Yibu. "The Role of Language and Cultural Commodification in Tourism." In 2022 3rd International Conference on Language, Art and Cultural Exchange（ICLACE 2022). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220706.002.

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Ramadhansyah, Diaz, and Nuning Yanti Damayanti. "Recreation And Commodification Of The Palang Pintu Tradition In The Betawi Cultural Heritage Of Rawa Belong." In ICON ARCCADE 2021: The 2nd International Conference on Art, Craft, Culture and Design (ICON-ARCCADE 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.211228.002.

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Sudarsini, Andrik Purwasito, Suwardi Endraswara, and Titis Srimuda Pitana. "Emprit Goreng Commodification in Museum Tembi Rumah Budaya, Bantul Yogyakarta." In 4th International Conference on Arts Language and Culture (ICALC 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200323.032.

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Sulistyorini, Dwi, Bani Sudardi, Warto Warto, and Mahendra Wijaya. "Commodifying Pilgrimage: Emerge of Ziarah Ritual Commodification in Mount Kawi." In Proceedings of the 1st Seminar and Workshop on Research Design, for Education, Social Science, Arts, and Humanities, SEWORD FRESSH 2019, April 27 2019, Surakarta, Central Java, Indonesia. EAI, 2019. http://dx.doi.org/10.4108/eai.27-4-2019.2286837.

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Kıyan, Zafer. "Rethinking Cultural Production in the Context of Commodification: Two Step or Dual Production." In ISIS Summit Vienna 2015—The Information Society at the Crossroads. Basel, Switzerland: MDPI, 2015. http://dx.doi.org/10.3390/isis-summit-vienna-2015-s3024.

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Keltie, Emma, and Peter Bansel. "The Online Production and Commodification of Gender Variant and Sexuality Diverse Young People." In ISIS Summit Vienna 2015—The Information Society at the Crossroads. Basel, Switzerland: MDPI, 2015. http://dx.doi.org/10.3390/isis-summit-vienna-2015-s3029.

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Casey, John, and Wolfgang Greller. "Jane Austen and the Belly of the Beast Part 2 - Language and Power: Commodification, Technology and the Open Agenda in Higher Education." In ISIS Summit Vienna 2015—The Information Society at the Crossroads. Basel, Switzerland: MDPI, 2015. http://dx.doi.org/10.3390/isis-summit-vienna-2015-s3030.

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Kundu, Ratoola. "The informal syndicate Raj: Emerging urban governance challenges in newly incorporated." In 55th ISOCARP World Planning Congress, Beyond Metropolis, Jakarta-Bogor, Indonesia. ISOCARP, 2019. http://dx.doi.org/10.47472/nnxq9422.

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Peri-urban spaces in the Global South are regarded as sites of radical and often violent of transformation of social and spatial structures, of brutal dispossessions of lives and livelihoods to make way for speculative real estate development and the accumulation of capital through the expropriation and commodification of land. What kinds of politics and governance configurations emerge in the peri-urban areas of mega-cities? A host of state and non-state actors such as developers, aspiring middle-class urban dwellers are reimagining these sites. This paper investigates the complex governance and livelihood transformations following the upgradation of Bidhan Municipality to a Corporation in 2015 through the state driven merger of the existing planned satellite township of Salt Lake with the surrounding unplanned rural and urban areas. The paper argues that a new politics of unsteady alliances characterises the messy, unsettled and restless territories of the newly formed Municipal Corporation. A highly contingent, informalised and powerful configuration of non-state actors – locally known as Syndicates control the development dynamics and political fortunes of the periphery
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Van den Berg, Carolien, and Belinda Verster. "Design principles for interdisciplinary collaborative learning through social, digital innovation." In Seventh International Conference on Higher Education Advances. Valencia: Universitat Politècnica de València, 2021. http://dx.doi.org/10.4995/head21.2021.13092.

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As academics, we are acutely aware of our responsibility in the design of our teaching and learning environment to instil principles of ethics, sustainability, agency and social justice. We are at the crossroad between the commodification of knowledge versus learning that steeped in well-being and innovative socio-ecological and or socio-technical transitions. These complexities prompted a Design-Based Research (DBR) project that commenced in 2020 to test and refine design principles that can facilitate an interdisciplinary, collaborative learning environment that exposes students to future challenges foregrounded in social justice perspectives of local voice, collaboration and co-design. A conceptual model informed by four pedagogical propositions of relationality, reflexivity, responsiveness and recognition is stipulated and nine design principles derived from these propositions are proposed. The overall purpose of this DBR project is to situate the student within a multifaceted learning experience that mimics the complexities associated with an interdisciplinary collaborative learning environment steeped in contemporary societal problems within a specific societal context. The ultimate aim of this project is to shift from interdisciplinary to transdisciplinary collaboration to explore a holistic approach to complex societal problems.
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Reports on the topic "Art and Commodification"

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London, Jonathan. Outlier Vietnam and the Problem of Embeddedness: Contributions to the Political Economy of Learning. Research on Improving Systems of Education (RISE), February 2021. http://dx.doi.org/10.35489/bsg-rise-wp_2021/062.

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Recent literature on the political economy of education highlights the role of political settlements, political commitments, and features of public governance in shaping education systems’ development and performance around learning. Vietnam’s experiences provide fertile ground for the critique and further development of this literature including, especially, its efforts to understand how features of accountability relations shape education systems’ performance across time and place. Globally, Vietnam is a contemporary outlier in education, having achieved rapid gains in enrolment and strong learning outcomes at relatively low levels of income. This paper proposes that beyond such felicitous conditions as economic growth and social historical and cultural elements that valorize education, Vietnam’s distinctive combination of Leninist political commitments to education and high levels of societal engagement in the education system often works to enhance accountability within the system in ways that contribute to the system’s coherence around learning; reflecting the sense and reality that Vietnam is a country in which education is a first national priority. Importantly, these alleged elements exist alongside other features that significantly undermine the system’s coherence and performance around learning. These include, among others, the system’s incoherent patterns of decentralization, the commercialization and commodification of schooling and learning, and corresponding patterns of systemic inequality. Taken together, these features of education in Vietnam underscore how the coherence of accountability relations that shape learning outcomes are contingent on the manner in which national and local systems are embedded within their broader social environments while also raising intriguing ideas for efforts to understand the conditions under which education systems’ performance with respect to learning can be promoted, supported, and sustained.
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