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Relevant bibliographies by topics / Art and globalization

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Academic literature on the topic 'Art and globalization'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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Journal articles on the topic "Art and globalization"

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Bolognini, Maurizio. "Globalization, art and the art system." Ekistics and The New Habitat 73, no. 436-441 (December 1, 2006): 191–95. http://dx.doi.org/10.53910/26531313-e200673436-441115.

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The author's research interests are: art, technology and democracy. On this latter subject he has published several essays and a book entitled Democrazia elettronica (Carocci, Rome, 2001). As an artist he has worked with digital technologies since the 1980s. One of his best-known works is Computer sigillati (Sealed Computers, 1992): more than 200 machines which are programmed to produce flows of random images and then left to work indefinitely, usually without monitors. His works have been exhibited widely in Europe and the USA. He has put on shows, presentations and performances in Paris, New York , Los Angeles, San Francisco, Sydney. His latest one-man shows include: Museo Laboratorio di Arte Contemporanea (Rome, 2003), WilliamsburgArt& Historical Center (New York, 2003), Museo di Arte ContemporaneaVilla Croce (Genoa, 2005). Latest books on his work: D. Scudero (ed.),Maurizio Bolognini: Installazioni, disegni, azioni (on/off line), (Lithos,2003); and S. Solimano (ed.), Maurizio Bolognini: Infinity out of Control(Neos, 2005). The text that follows was made available to the participants of the international symposion on "Globalization and Local Identity, " organized jointly by the World Society for Ekistics and the University of Shiga Prefecture in Hikone, Japan, 19-24 September, 2005, which the author was finally unable to attend.

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Esquivel, Patricia. "Art Narratives and Globalization." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft 56, no. 2 (2011): 135–44. http://dx.doi.org/10.28937/1000106178.

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Arthur Danto proklamierte das »Ende der Kunst«, d. h. das Ende der auf ein Narrativ und auf eine unidirektionale Grundlage basierenden Kunstgeschichte. In der zeitgenössischen Kunstwelt und besonders in der Historiographie hingegen findet man durchaus ein Telos. Dieses Telos ist die Globalisierung. Es gibt heute ein sich ausbreitendes unidirektionales Narrativ, dessen Regel als »Netzwerklegitimation« erklärt werden kann. Ein Netzwerk, dessen Ausmaß (mehr Regionen der Welt), Sättigung (mehr Objekte) und Historizität (umfassendere Entwicklungsketten) zunehmen. Das Netzwerk hat auch einen Mittelpunkt, den Westen, wenn auch nicht für immer.<br><br>Arthur Danto proclaimed the »end of art«, that is, the end of the history of art structured on a narrative and unidirectional basis. But in contrast to Danto’s ideas, we detect a telos in the contemporary art world, especially in historiography. This telos is globalisation. At present, we have a clearly expansive unidirectional narrative in which the norm can be summed up as »network legitimation.« A network that is growing in extent (more regions of the world), saturation (more objects) and historicity ( further-ranging chains of development). The network also has a centre, the West, although it may not last forever.

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Sansi, Roger. "Art, anthropology, and globalization." Journal of the Royal Anthropological Institute 22, no. 1 (January 25, 2016): 204–6. http://dx.doi.org/10.1111/1467-9655.12341.

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Hallam, Huw. "Confronting Globalization." ARTMargins 3, no. 1 (February 2014): 87–101. http://dx.doi.org/10.1162/artm_r_00071.

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This article reviews Pamela M. Lee's Forgetting the Art World (2012) and TJ Demos's Return to the Postcolony (2013). Reviewer examines the texts' shared concern with self-reflexive art practices that in different ways work to expose their own conditions of existence with respect to globalization. Both authors, according to the review, engage with art as a privileged medium that is capable of materializing knowledge about globalization and that thereby holds some potential to shape, mediate, or confront its trajectory. After appraising both the originality and limitations of Lee's and Demos's approaches, reviewer concludes with an outline of the core issues and challenges that globalization poses for art-historical methods.

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Khandekar, Nisha. "GLOBALIZATION AND WARLI TRIBAL ART." International Journal of Research -GRANTHAALAYAH 7, no. 11 (November 30, 2019): 116–21. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3718.

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The globalization has negatively impacted upon the tribal economies, culture and identities. The expansion of the art world under this version of globalization means that freedom of expression among artists is compromised under the pressure to conform to the market in order to succeed financially. The present scenario may change the true reflection of old culture and tradition of the Warli tribe. Because of the commercialization the transformation occurred, and they are venturing into mainstream society for the sake of their art. It has now become the commercial activity of Warli men. Because of the Industrial Revolution and modernization tribal art is a dying activity, now survives only in isolated areas whose inhabitants have a proud tradition of art and making things for themselves. Significance of the art has changed, earlier it used to be a social and religious tradition and ritual for women and everyday life, now it is a source of livelihood and exploration of individual creativity and a symbol of cultural and artistic pride. Introduction of the new modern motif of airplane, car, school building, factory are not necessarily a conscious effort to make art more commercial but rather a reflection of the changing world of the artists and to make painting more consumer- related.

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Omarova, A. K., A. Zh Kaztuganova, and D. F. Karomat. "GLOBALIZATION AND ETHNOMUSICOLOGY." BULLETIN 384, no. 2 (April 15, 2020): 216–21. http://dx.doi.org/10.32014/10.32014/2020.2518-1467.61.

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The interpretation of the category “genre” which is presented based on the classification of makom, due to its internal nature, causes disagreement among the scholars, and difficulties due to its designation of a specific type of work and/or national art form. In particular, the emphasis on circumstances related to the centuries-old, extended, regional, situational development in line with the oral tradition and in the frame of improvisational art, and the definition of the national type of musical art as a “genre” lead to disproportionate indicators in theoretical issues. In this regard, the reasons for the incorrect use of the category “genre” in the studies of the Kazakh kuy art were commented: in one case, it is correlated as a whole with the “kuy” phenomenon, in the other, it is used in relation to certain phenomena arising from the study of its internal distinctive nature. The “Triad of factors” – multivariance, cyclicity and locality – which formed the basis for conceptual generalizations of the famous musicologist T.B. Gafurbekov in the works revealing its system-forming nature in monodic culture is shown in conjunction with principles that reflect the genre specificity of instrumental music of the Kazakhs. The groups of macrovolume can include “Akzhelen”, “Kosbasar”, “Nauayi”, the microvolume barnch by Kurmangazy “Kisen ashkan”, “Kobіk shashkan”, “Turmeden kashkan” etc. The regional kuys with the same name by Kurmangazy, Dauletkerey, Dina “Zhiger” can be cited as an example. The situational kuys include “Kenes”, “16-zhyl” etc. As a final conclusion, the importance of considering the art of the Kazakh kuy in the system of monodic cultures and a new “clarification” of its inner nature is emphasized. From this point of view, the theoretical concept of T.B. Gafurbekov is updated as capable of forming a common scientific platform for studying the traditions of the Turkic-speaking peoples based on improvisation.

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ULUSOY, Demet. "ART IN THE CULTURAL GLOBALIZATION PROCESS." Ekonomik Yaklasim 9, no. 30 (1998): 77. http://dx.doi.org/10.5455/ey.10295.

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Velthuis, Olav. "GLOBALIZATION OF MARKETS FOR CONTEMPORARY ART." European Societies 15, no. 2 (May 2013): 290–308. http://dx.doi.org/10.1080/14616696.2013.767929.

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CARROLL, NOËL. "Art and Globalization: Then and Now." Journal of Aesthetics and Art Criticism 65, no. 1 (January 2007): 131–43. http://dx.doi.org/10.1111/j.1540-594x.2007.00244.x.

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Parmadi, Bambang, and Benardin. "Globalization Of Tourism Industry Toward Culture Of Local Wisdom In The Existance Of Pseudo Traditional Art Case Study of the Commodification of Bengkulu Traditional Arts." Lekesan: Interdisciplinary Journal of Asia Pacific Arts 4, no. 2 (October 31, 2021): 102–9. http://dx.doi.org/10.31091/lekesan.v4i2.1803.

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The influence of globalization toward cultural context is a transaction of cultural things through industrial process affected by modernization. Tourism industry is one of the globalizations which produces cultural things to be commercialized financially and purposefully. One of cultural things to be commercialized in the era of globalization is traditional art. The issue coming up is how to develop patterns so that the supporters of traditional art as the subject of local wisdom are maintained, but hopefully it can, on the other hand, accommodate globalization demands, for both economic and sociocultural aspects which have commodified culture? With the aim of synergizing the existence of traditional art as cultural identity of supporters in sociocultural way and the demands of tourism industry that commodify culture, through field research using qualitative method, it can be concluded that. First, commodification of culture is inevitable in the era of 4.0 which develops in modernity, which can be seen from more developed tourism industry. Second, commodification of culture toward local wisdom can actually be solved with some strategies without marginalizing the supporters of the local wisdom and culture. Third, the space of traditional art as cultural identity can be maintained and revitalized from commodification of culture as long as the conceptual pattern can synergize the perception and responses of the supporters with the demands of tourism industry. Forth, one of the most relevant concept to accommodate the demands of commodification of culture is what is known as pseudo traditional art.

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Dissertations / Theses on the topic "Art and globalization"

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Bydler, Charlotte. "The global art world inc. : on the globalization of contemporary art /." Uppsala : Acta Universitatis Upsaliensis : Univ.-bibl. [distributör], 2004. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-4309.

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Madani, Adnan. "Formations of the contemporary : Islam, globalization and art." Thesis, Goldsmiths College (University of London), 2016. http://research.gold.ac.uk/18894/.

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This dissertation aims to describe a contemporary Muslim subjectivity as it is formed in response to globalization, universalism and secularism. The central theoretical focus is Jean-Luc Nancy’s deconstruction of Christianity, and its claim that secularism and globalization are connected to the internal form of monotheism. Where Nancy accords a special privilege to Christianity as the most autodeconstructive of the Abrahamic faiths, he also sees it losing its specific contours, as it becomes the naturalized form of the world through globalization. I set this thesis alongside narrative descriptions of my own experience as a cosmopolitan artist, theorist and traveller, to discover to what extent Nancy’s philosophy can satisfactorily account for a Muslim experience. Talal Asad’s examination of the complex genealogies of secularism, and his strong refusal of any necessary historical link between Christianity and modern secularism are contrasted with Nancy’s use of the term. Since both Asad and Nancy refer repeatedly if unsystematically to Wittgenstein, I show how his thinking on culture and religion informs the two very different thinkers. I proceed by examining four different histories of the idea of ‘universalism’ in contemporary philosophy: in the writings of Judith Butler on Hegel, Alain Badiou on Paul the Apostle, Akeel Bilgrami on Gandhi, and Louis Massignon on al-Hallaj. A recurrent motif within Christian universalism is Paul’s distinction between ‘circumcision of the heart’ and ‘circumcision of the flesh’, which I examine in Badiou’s philosophy and in the context of my own Muslim experience. I then examine the roots of a certain identity struggle in modern and contemporary art from Pakistan, linked to its emergence as a country founded in the name of Islam, but with the forms and traditions of 19th century European liberalism as well. Through a reading of one of my own art works as well as those of some of my contemporaries, I illustrate and expand on the nature of this conflicted identity. Finally, I suggest a rereading of Nancy that might incorporate Asad’s critique, and allows the possibility of rehabilitating ‘exoticism’ as a model of global encounter.

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Combs, Nicole E. "Postmodernism, Globalization and the Connections to Contemporary Chinese Art." Thesis, University of Oregon, 1999. http://hdl.handle.net/1794/22587.

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149 pages
The reopening of China's economic and cultural doors in the 1970s provided the fundamental stage for development of a new art. The Chinese government focusing its efforts on economic development created policies that actually encouraged an awareness of global culture, tending to an environment conducive to artistic change. The 1980s supplied artists with an introduction to, or reintroduction to Western art theory and practice. Many artists continued to work in traditional style and technique, but others, under the influence of non-Chinese modern art, began infusing their works with a dramatically different feel inspired by the changing society. As a dialogue between global culture and China, Chinese contemporary artists are creating a discourse on the transformation taking place within their society over the past two decades. It is therefore important to look at their art as a "registering apparatus" and realize that its production stems from a reaction to the postmodern, global culture.

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Yoo, Ahyoung. "To Be Two Places at Once: Technology, Globalization and Contemporary Korean Art." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1500618781488661.

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Rapp, Karen M. ""Not the romantic west" : site-specific art, globalization, and contemporary landscapes /." May be available electronically:, 2009. http://proquest.umi.com/login?COPT=REJTPTU1MTUmSU5UPTAmVkVSPTI=&clientId=12498.

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Hancox, Simone. "Global art in an age of global performance : complicity and critique." Thesis, Queen Mary, University of London, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.612580.

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Koh, Bee Kim. "Coming into Intelligibility: Decolonizing Singapore Art, Practice and Curriculum in Post-colonial Globalization." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1397669338.

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Perkins, Morgan. "Reviewing traditions : an anthropological analysis of contemporary Chinese art worlds." Thesis, University of Oxford, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365526.

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Milton-Smith, Melissa. "A conversation on globalisation and digital art." University of Western Australia. Communication Studies Discipline Group, 2008. http://theses.library.uwa.edu.au/adt-WU2009.0057.

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Globalisation is one of the most important cultural phenomena of our times and yet, one of the least understood. In popular and critical discourse there has been a struggle to articulate its human affects. The tendency to focus upon macro accounts can leave gaps in our understanding of its micro experiences.1 1 As Jonathon Xavier Inda and Renato Rosaldo argue there is a strong pattern of thinking about globalisation 'principally in terms of very large-scale economic, political, or cultural processes'. (See: Jonathon Xavier Inda and Renato Rosaldo (Eds.), The Anthropology of Globalisation: A Reader, Malden, Blackwell Publishing, 2002, p. 5.) In this thesis, I will describe globalisation as a dynamic matrix of flows. I will argue that globalisation's spatial, temporal, and kinetic re-arrangements have particular impacts upon bodies and consciousnesses, creating contingent and often unquantifiable flows. I will introduce digital art as a unique platform of articulation: a style borne of globalisation's oeuvre, and technically well-equipped to converse with and emulate its affects. By exploring digital art through an historical lens I aim to show how it continues dialogues established by earlier art forms. I will claim that digital art has the capacity to re-centre globalisation around the individual, through sensory and experiential forms that encourage subjective and affective encounters. By approaching it in this way, I will move away from universal theorems in favour of particular accounts. Through exploring a wide array of digital artworks, I will discuss how digital art can capture fleeting experiences and individual expressions. I will closely examine its unique tools of articulation to include: immersive, interactive, haptic, and responsive technologies, and analyse the theories and ideas that they converse with. Through this iterative process, I aim to explore how digital art can both facilitate and generate new articulations of globalisation, as an experiential phenomenon.

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Bassene, Reine. "L'art contemporain africain : enjeux et perspectives face à l'émergence du marché de l'art globalisé." Thesis, Nice, 2013. http://www.theses.fr/2013NICE2046/document.

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L’art contemporain africain a fait son entrée dans le système globalisé, d’abord par les manifestations artistiques, ensuite dans les maisons de vente. Depuis les années post-indépendances, une nouvelle vision de l’art contemporain africain a émergé avec l’avènement des discours postcoloniaux. Ces idées inédites ont entraîné une lecture différente de l’esthétique contemporaine africaine avec l’appui de certains commissaires d’exposition. Parallèlement, une vision de l’artiste « authentique » subsiste dans les manifestations et donne de l’artiste africain une image qui peut paraître quelques fois figée. Les artistes contemporains africains se retrouvent aujourd’hui dans une situation conflictuelle ; ils doivent soit se rapprocher des centres d’impulsion artistiques c’est-à-dire du marché de l’art occidental ou rester sur le continent africain et tenter par des initiatives diverses et variées d’intégrer un marché qui reste encore en occident. Les zones périphériques arrivent cependant peu à peu à se muter en centres d’impulsion mais restent pour le moment modestes.Avec l’avènement des nouvelles technologies, des opportunités s’offrent aux artistes des périphéries en termes d’usages mais aussi en tant que medium. Leur application pousse à la réflexion, et à une tentative de compréhension des enjeux qui se profilent pour l’art contemporain africain et des perspectives qu’il faudra entrevoir à travers le paradigme des postcoloniales studies et à travers l’avènement des technologies de l’information et des communication. Est-il possible de proposer de nouvelles approches pour promouvoir la diffusion de l’art contemporain africain à travers les dispositifs socio-techniques disponibles mais aussi à travers la gestion de l’information. ? Dans une première partie, cette thèse tente de montrer la diversité des arts de l’Afrique pour en comprendre la complexité aujourd’hui. Puis en analysant les liens qu’elle a eus avec l’occident, d’en comprendre l’histoire.Dans une seconde partie la place de l’identité de l’artiste africain mais aussi son positionnement puis les initiatives qui sont menées sur le continent permettront de mieux appréhender les enjeux et perspectives qui dans la troisième partie, permettront d’avoir un point de vue global sur ce qui régit aujourd’hui l’art contemporain africain
The contemporary African art has made its entry into the globalized system, first through artistic exhibitions then in the auction houses. Since the 1960s’ a new vision of contemporary African art has emerged with the postcolonial discourse. These ideas have led to a different reading of the contemporary African aesthetic with the support of some curators. Meanwhile, a vision of the “authentic” artist remains in many European and American exhibitions. African artist give an image that can sometimes seem fossilized The contemporary African artists today find themselves in a situation, which can be source of conflicts. They can get close to the artistic centers pulse which means the Western art market or stay on the African continent and try by different initiatives to include a market which is still outlying areas like western countriesThe other areas however gradually mutate into centers pulse but remain modest for the time being. With the advent of new technologies, opportunities exist for artists from the third world in terms of use but also as media. Their application pushes the reflection, and then attempt to understand the challenges that lies ahead for contemporary African art and perspectives that will glimpse through the paradigm of postcolonial studies and through the advent of technologies of information and communication. Is it possible to suggest new approaches to promote the dissemination of contemporary African art through socio-technical devices available but also through information management? The first part, this thesis attempts to show the diversity of the arts of Africa to understand it’s complexity today. Then by analyzing the relationship it has with the West, to understand it’s history.The second part tries to understand the identity of the African artist but also its positioning and initiatives that are carried out on the continent will better understand the challenges and opportunities.The third part will give a point of view overall which today governs contemporary African art

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Books on the topic "Art and globalization"

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Bhavanishanker, Shastri, and Vanasthalī Vidyāpīṭha. Dept. of Visual Arts., eds. Globalization & art. Newai, Rajasthan: Navjeewan Publication, 2007.

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1955-, Elkins James, Valiavicharska Zhivka, and Kim Alice, eds. Art and globalization. University Park, Pa: Pennsylvania State University Press, 2010.

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Watson, Mark James. Diplomatic Aesthetics: Globalization and Contemporary Native Art. [New York, N.Y.?]: [publisher not identified], 2012.

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1963-, Schirm Stefan A., ed. Globalization: State of the art and perspectives. London: Routledge, 2007.

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Kehoe, Marsely L. Trade, Globalization, and Dutch Art and Architecture. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2023. http://dx.doi.org/10.5117/9789463723633.

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We all look to our past to define our present, but we don’t always realize that our view of the past is shaped by subsequent events. It’s easy to forget that the Dutch dominated the world’s oceans and trade in the seventeenth century when our cultural imagination conjures up tulips and wooden shoes instead of spices and slavery. This book examines the Dutch so-called “Golden Age” though its artistic and architectural legacy, recapturing the global dimensions of this period by looking beyond familiar artworks to consider exotic collectibles and trade goods, and the ways in which far-flung colonial cities were made to look and feel like home. Using the tools of art history to approach questions about memory, history, and how cultures define themselves, this book demonstrates the centrality of material and visual culture to understanding history and cultural identity.

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Comité international d'histoire de l'art and International Congress of the History of Art (32nd : 2008 : Melbourne, Vic.), eds. Crossing cultures: Conflict, migration and convergence : the proceedings of the 32nd International Congress in the History of Art. Carlton, Vic: Miegunyah Press, Melbourne University Publishing, 2009.

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Persson, Beatrice. In-between--contemporary art in Australia: Cross-culture, contemporaneity, globalization. Göteborg: University of Gothenburg, Acta Universitatis Gothoburgensis, 2011.

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Galenson, David W. The globalization of advanced art in the twentieth century. Cambridge, MA: National Bureau of Economic Research, 2008.

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International Art Space Kellerberrin Australia (IASKA). Spaced: Art out of place : a recurring event of socially engaged art. Kellerberrin, W.A: IASKA, 2012.

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Soulages, François. Mondialisation & frontières: Arts, cultures & politiques. Paris: L'Harmattan, 2014.

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Book chapters on the topic "Art and globalization"

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Lakshminarayanan, Ashwini. "Globalization and Gandhāran art." In Globalization and Transculturality from Antiquity to the Pre-Modern World, 226–44. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003096269-16.

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Dombrowski, André. "Impressionism and Globalization." In Historical Narratives of Global Modern Art, 19–30. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003247678-4.

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Kac, Eduardo. "11. Bio Art." In Beyond Globalization, 189–206. Rutgers University Press, 2020. http://dx.doi.org/10.36019/9780813551944-012.

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"Anti-Globalization." In Art and Politics. I.B.Tauris, 2013. http://dx.doi.org/10.5040/9780755603947.ch-007.

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Jones, Caroline A. "Globalism/Globalization." In Art and Globalization, 129–37. Penn State University Press, 2015. http://dx.doi.org/10.1515/9780271072258-013.

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Jones, Caroline A. "GLOBALISM/GLOBALIZATION." In Art and Globalization, 129–37. Penn State University Press, 2015. http://dx.doi.org/10.5325/j.ctv14gp91q.15.

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Tomii, Reiko. "Contemporary art, “contemporaneity,” and world art history." In Art and Globalization, 171–75. Penn State University Press, 2015. http://dx.doi.org/10.1515/9780271072258-023.

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Tomii, Reiko. "CONTEMPORARY ART, “CONTEMPORANEITY,” AND WORLD ART HISTORY." In Art and Globalization, 171–75. Penn State University Press, 2015. http://dx.doi.org/10.5325/j.ctv14gp91q.25.

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Leitzel, Karl Eric. "Letter on globalization." In Art and Globalization, 138–39. Penn State University Press, 2015. http://dx.doi.org/10.1515/9780271072258-014.

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Araeen, Rasheed. "Letter on globalization." In Art and Globalization, 140–41. Penn State University Press, 2015. http://dx.doi.org/10.1515/9780271072258-015.

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Conference papers on the topic "Art and globalization"

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Haro-Garcia, Noemí de, M. Comas-Lopez, Kajetan Piotr Hincz, Mirela Mazalu, and G. M. Sacha. "Soft Skills assessment in Art and Globalization." In TEEM'18: Sixth International Conference on Technological Ecosystems for Enhancing Multiculturality. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3284179.3284215.

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Yanchuk, T. P. "Art and problems of globalization of culture." In PARTICULARITIES OF ART’S INFLUENCE ON PERSONALITY DEVELOPMENT. Baltija Publishing, 2024. http://dx.doi.org/10.30525/978-9934-26-402-3-21.

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Sung, Jooeun. "MAPO ART MADANG, MAPO ART TANK." In Bridging Asia and the World: Globalization of Marketing & Management Theory and Practice. Global Alliance of Marketing & Management Associations, 2014. http://dx.doi.org/10.15444/gmc2014.06.09.01.

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Utari Anggita, Hendri, Utari Anggita Shanti, Zulfi Hendri, and Akbar Andrian Syah. "Revitalizing Reyog Kendang Tulungagung in the Globalization Age." 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-18.2019.13.

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Guerrero Balarezo, Maria Laura, and Kayvan Karimi. "Urban Art and place. Spatial patterns of urban art and their contribution to urban regeneration." In 24th ISUF 2017 - City and Territory in the Globalization Age. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/isuf2017.2017.6069.

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Cities face several challenges regarding public space and urban regeneration. Some of them are the depersonalization and lack of interest of citizens in their own city, privatization, gentrification, technologization and gender-insecurity. Public spaces lose their character as articulator and generator of human relations, while neighborhoods lose their role as the basic unity of community and urban identity. Nowadays, many bottom-up strategies have arisen as expressions of neighborhood’s inhabitant’s will, producing cultural diversity and civic engagement, with a placemaking effect. Urban art is one of them. Social and economic products of urban art have been studied, but the spatial manifestation and impact have been largely absent from the discourse of urban morphology. Spatial conditions are representational of social practices like art, by structuring patterns of movement, encounter and separation in the city (Cartiere & Zebracki, 2016). This study aims to discover the spatial relation between urban art displays and the network of public spaces, and whether this pattern has a role in neighborhood regeneration. To identify these relations in Shoreditch, London, Space Syntax analysis and spatial clustering were used, combined with a survey of geographically located public urban art (extracted from social networks data). Also, the spatial patterns of land prices and land uses from 1995 to 2016 were examined. Research showed that various types of artwork have a strong relation with certain spatial network characteristics and visibility of locations from each other. Economic and use outcomes were also related to the development of the art pattern through the years.

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Kulikova, S. V. "The essence of sociocultural activity in the context of globalization processes." In CURRENT TRENDS IN ART AND CULTURE. Baltija Publishing, 2024. http://dx.doi.org/10.30525/978-9934-26-427-6-10.

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Chang, Yujin. "SIMPLE LIFE (CHANG UCCHIN MUSEUM OF ART)." In Bridging Asia and the World: Globalization of Marketing & Management Theory and Practice. Global Alliance of Marketing & Management Associations, 2014. http://dx.doi.org/10.15444/gmc2014.06.09.02.

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Chegusova, Z. A. "To the problem of national and cultural identity research in the age of globalization." In CURRENT TRENDS IN ART AND CULTURE. Baltija Publishing, 2024. http://dx.doi.org/10.30525/978-9934-26-427-6-12.

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AlTantawy, Mohamed, Alix Rule, Owen Rambow, Zhongyu Wang, and Rupayan Basu. "Using Simple NLP Tools to Trace the Globalization of the Art World." In Proceedings of the ACL 2014 Workshop on Language Technologies and Computational Social Science. Stroudsburg, PA, USA: Association for Computational Linguistics, 2014. http://dx.doi.org/10.3115/v1/w14-2518.

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Vasanthi, S. "MARKETING OF THE HERITAGE PUGUR HAND EMBROIDERY ART IN INDIA." In Bridging Asia and the World: Globalization of Marketing & Management Theory and Practice. Global Alliance of Marketing & Management Associations, 2014. http://dx.doi.org/10.15444/gmc2014.04.09.05.

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Reports on the topic "Art and globalization"

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Galenson, David. The Globalization of Advanced Art in the Twentieth Century. Cambridge, MA: National Bureau of Economic Research, May 2008. http://dx.doi.org/10.3386/w14005.

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Axford, Barrie. The Implications of Rising Multipolarity for Authoritarian Populist Governance, Multilateralism, and the Nature of New Globalization. European Center for Populism Studies (ECPS), March 2024. http://dx.doi.org/10.55271/pp0031.

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What is it about the current phase of globalization that feeds on and is fed by the populist zeitgeist? In what follows I will tie the discussion of populism to the changing character of globalization, sometimes called the “new” globalization, though that label does less than justice to the overlapping nature of historical globalizations. The “new” globalization is both a description of the de-centered and multi-polar constitution of globality today and a reflex to safeguard against the roils of an ever more connected and turbulent world. It is a reminder that globalization has always been a multidimensional and contradictory process, moving to no single constitutive logic, and historically variable. The new globalization is the context for the current populist surge and, in turn, that surge is testimony to its emergence as a serious political force, perhaps as an embedded global script. In this same context the much-trumpeted failures of multilateralism are set against a burgeoning multipolarity which is itself an expression of the changing face of political modernity.

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Meardon, Stephen. A Tale of Two Tariff Commissions and One Dubious ¿Globalization Backlash? Inter-American Development Bank, January 2006. http://dx.doi.org/10.18235/0010964.

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During much of the previous era of globalization, from the 1860s until the First World War, U.S. tariffs were surprisingly high. Present-day economic historians have suggested that U.S. protection as the result of a backlash against globalization that was the beginning of its decline. They have also argued that the backlash holds a lesson for the present: specifically, that we must attend to the distributive inequities that globalization engenders, or else globalization will again plant the seeds of its own destruction. I show that U.S. tariffs were not the product of backlash. A history of economic ideas in the nineteenth century United States, centered on two tariff commissions in 1866-1870 and 1882, reveals that the ideas debated in intellectual and policy circles alike bore no trace of globalization backlash. The important feature of U.S. intellectual and tariff policy history is not globalization backlash, but rather the absence from most historical accounts of certain thinkers and ideas that were crucial to the debate. Accordingly, the lesson that history holds for the present is not that we must attend to globalization's inequities. (That lesson is likely to stand or fall apart from history.) Instead it is that we need to attend to the /idea/ of backlash, which has a foothold in history that is deeper than the evidence. The lesson implies that to understand the present and future of globalization, what are required are histories of ideas.

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Aisbett, Emma. Why are the Critics so Convinced that Globalization is Bad for the Poor? Cambridge, MA: National Bureau of Economic Research, January 2005. http://dx.doi.org/10.3386/w11066.

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Orozco, Manuel. Worker Remittances: The Human Face of Globalization. Inter-American Development Bank, February 2010. http://dx.doi.org/10.18235/0008701.

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This report is a comparative study of worldwide transfer costs to nine countries in Europe, Asia, and Africa, and specifically at costs for immigrants to send money from major sending countries including from the United States. It also compares these international trends with costs and trends of sending money to Latin America.

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Baris, Kristina V., Ma Charmaine R. Crisostomo, Krizia Anne V. Garay, Christian Regie J. Jabagat, Mahinthan J. Mariasingham, and Elyssa Mariel T. Mores. Measuring Localization in the Age of Economic Globalization. Asian Development Bank, February 2022. http://dx.doi.org/10.22617/wps220038-2.

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The agglomeration indexes together aim to show how domestic sectors contribute to the global economy. The indexes measure the scale of value-added sourced from and/or absorbed into domestic economy sectors and the concentration of value added in the domestic market. They are extended to account for the distribution of activities within domestic sectors.

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Avi-Yonah, Reuven S. Globalization and Tax Competition: Implications for Developing Countries. Inter-American Development Bank, February 2001. http://dx.doi.org/10.18235/0008545.

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The current age of globalization can be distinguished from the previous one by the much higher mobility of capital than labor. The mobility of capital has led to tax competition, in which sovereign countries lower their tax rates on income earned by foreigners within their borders in order to attract both portfolio and direct investment. Tax competition, in turn, threatens to undermine the individual and corporate income taxes, which remain major sources of revenue for all modern states. This paper argues that if government service programs are to be maintained in the face of globalization, it is necessary to cut the intermediate link by limiting tax competition.

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López Córdova, José Ernesto. Globalization, Migration and Development: The Role of Mexican Migrant Remittances. Inter-American Development Bank, August 2006. http://dx.doi.org/10.18235/0011108.

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In this paper we present evidence suggesting that international migrant remittances generally lead to improved developmental outcomes. Using a cross-section of Mexican municipalities in the year 2000, we show that increases in the fraction of households receiving international remittances are generally correlated with better schooling and health outcomes and with reductions in some dimensions of poverty. Our results take into account the likely endogeneity between migration, remittances and developmental outcome variables, and they suggest that measures to facilitate remittance flows are desirable.

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Durdu, Ceyhun Bora, and Enrique Mendoza. Are Asset Price Guarantees Useful for Preventing Sudden Stops?: A Quantitative Investigation of the Globalization Hazard-Moral Hazard Tradeoff. Cambridge, MA: National Bureau of Economic Research, March 2005. http://dx.doi.org/10.3386/w11178.

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Lall, Sanjaya, Manuel Albaladejo, and Mauricio Mesquita Moreira. Latin American Industrial Competitiveness and the Challenge of Globalization. Inter-American Development Bank, June 2004. http://dx.doi.org/10.18235/0009186.

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Manufacturing in Latin America and the Caribbean region (LAC) faces severe competitive stresses as it integrates into the global economy. It is not, on the whole, coping well. Though it was the first region in the developing world - in the post-war era - to liberalize on international trade and investment flows and had the most advanced industrial base, it failed to tap fully the opportunities offered. As a result, it has steadily fallen behind the most competitive economies in the developing world, the Tigers of East Asia. What is behind LAC¿s under-performance? The dominant view in the region puts emphasis on the legacy of import substitution, macroeconomic mismanagement and on a costly "business environment". Although important, these factors do not seem to tell the whole story. The heavy emphasis on "government failures" has led policymakers to overlook key market failures that stand on the way to sustained productivity growth, increasing technological capability and greater competitiveness. This paper can be seen as a first step to redress the balance of the policy debate and focus on benchmarking competitive performance and capabilities in the 1990s in LAC and East Asia, letting the comparisons speak for themselves. While it is known in the region that its recent industrial record has been poor, the dimensions are not well analyzed or understood. This benchmarking exercise, using a simple framework to measure performance and capabilities, should prove instructive to policy analysis.

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