Journal articles: 'Artification'

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Lories, Danielle. "Artification/désartification." Nouvelle revue d’esthétique 24, no. 2 (2019): 5. http://dx.doi.org/10.3917/nre.024.0005.

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Andrzejewski, Adam. "Framing Artification." Estetika: The European Journal of Aesthetics 52, no. 2 (November 25, 2015): 131. http://dx.doi.org/10.33134/eeja.136.

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Hughson, John. "The Artification of Football: A Sociological Reconsideration of the ‘Beautiful Game’." Cultural Sociology 13, no. 3 (June 20, 2019): 305–20. http://dx.doi.org/10.1177/1749975519852802.

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Football is widely referred to as the ‘beautiful game’. This gives the impression that the sport can be aesthetically appreciated by its human observers. However, while many people might acknowledge that some of the physical movements made by top level football players exhibit grace, even beauty, this does not equate to football being accepted as a form of culture comparable to other areas of human activity described collectively as ‘the arts’. While this article takes an interest in philosophical inquiry into the aesthetic possibilities of football, it is primarily concerned with a sociological explanation as to how football has become ‘artified’. In doing so, the article draws upon the concept ‘artification’ as developed by Roberta Shapiro and Nathalie Heinich. The approach is not concerned with definitions of art according to aesthetic criteria or notions of appreciation, but with ‘how and under what circumstances art comes about’. This requires examining football in relation to discernible ‘constituent processes’ of artification. For reasons explained in the article, the contextual focus is on the artification of football in England. Artification is not a closed and finished matter. In that it can be said to have occurred, artification must be balanced against ‘de-artification’ in the form of potentially countervailing tendencies. Such consideration is taken up in the conclusion, via reflection upon the damaging impact of the excesses of commercial organisational control. Overall, artification is advocated as a sociological model that offers insight into the cultural significance of football in contemporary life.

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Heinich, Nathalie. "Signature et artification." Hypothèses 9, no. 1 (2006): 377. http://dx.doi.org/10.3917/hyp.051.0377.

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Shapiro, Roberta. "Artification as Process." Cultural Sociology 13, no. 3 (August 16, 2019): 265–75. http://dx.doi.org/10.1177/1749975519854955.

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The term ‘artification’ springs from a simple idea: art is not a given and cannot be defined once and for all as the consecrated body of works of established institutions and disciplines. Rather, it is a construct and the result of social processes that are located in time and place. Although this last statement is so fundamental to the sociological outlook as to border on truism, it entails adopting a socio-historical perspective that is less common than one would expect. This introduction recalls some of the empirical findings on culture on which the concept is based, while placing the theory of artification within the framework of process sociology. The apparent simplicity of the idea of artification is deceptive; it leads to a materialistic and socio-genetic perspective the implications of which have yet to be fully discovered.

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Hyla, Magdalena, Katarzyna Krasoń, and Jolanta Jastrząb. "The Boundary Situation as a Space of Artification." New Educational Review 74 (2023): 43–56. http://dx.doi.org/10.15804/tner.23.74.4.04.

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Artification occupies a specific place between art and non-art and is determined by giving a subjectively aesthetic meaning to the objects that previously had no such properties. We refer here explicitly to the studies and findings of Ellen Dissanayake and Ossi Naukkarinen. The study aimed to focus on the potential of artification at the end of one’s life, exemplified by reports of the qualitative study conducted in one of the hospices in Katowice, Poland. The psychological flexibility categories, extracted from artification activities, were used in this research.

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Beom, Seohee, and Eunhyuk Yim. "Artification of Luxury Fashion Products." Journal of the Korean Society of Clothing and Textiles 45, no. 2 (April 30, 2021): 346–55. http://dx.doi.org/10.5850/jksct.2021.45.2.346.

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Vukadin, Ana, Jean-François Lemoine, and Olivier Badot. "Store artification and retail performance." Journal of Marketing Management 35, no. 7-8 (March 11, 2019): 634–61. http://dx.doi.org/10.1080/0267257x.2019.1583681.

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Vorontsova, D. O., V. R. Zhyliak, and R. V. Karpenko. "WOMEN’S RIGHT TO ARTIFICATION OF PREGNANCY." Juridical scientific and electronic journal, no. 11 (2021): 145–48. http://dx.doi.org/10.32782/2524-0374/2021-11/34.

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Andrzejewski, Adam. "Authenticity Manifested: Street Art and Artification." Rivista di estetica, no. 64 (April 1, 2017): 167–84. http://dx.doi.org/10.4000/estetica.2077.

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Joy, Annamma, Kathryn A. LaTour, Steve John Charters, Bianca Grohmann, and Camilo Peña-Moreno. "The artification of wine: lessons from the fine wines of Bordeaux and Burgundy." Arts and the Market 11, no. 1 (January 8, 2021): 24–39. http://dx.doi.org/10.1108/aam-11-2020-0048.

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PurposeIn this paper, the authors argue that fine wines can be considered art and as such can be awarded luxury status. The authors discuss the processes of artification, through which such wines are recognized as art (Shapiro and Heinich, 2012), and heritagization, in which the cultural differentiation implicit in the concept of terroir (the various elements of a microclimate that contribute to a wine's specific attributes) connects a wine to its history and provenance. The investigation focuses specifically on fine wines from Bordeaux and Burgundy, which are renowned worldwide for their depth and flavors. What traits are intrinsic to the definition of art, and what social processes culminate in transforming an entity from nonart to art?Design/methodology/approachIt is a conceptual paper that requires blending several viewpoints to present the authors’ own viewpoints.FindingsThis study aims to address the above questions and argues that fine wines, as a source of aesthetic pleasure, are themselves an art form.Research limitations/implicationsThe implications for producers of fine wines and other artisanal products seeking to elevate brand awareness are discussed.Practical implicationsThe findings of this study are of interest to wine scholars as well as wineries. They provide evidence as to how artification occurs.Originality/valueWhile there are papers that address the issue of artification and heritagization individually, the authors bring to bear the importance of both concepts on specific wine regions in France: Burgundy and Bordeaux.

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Van de Peer, Aurélie. "Re-artification in a World of De-artification: Materiality and Intellectualization in Fashion Media Discourse (1949–2010)." Cultural Sociology 8, no. 4 (July 14, 2014): 443–61. http://dx.doi.org/10.1177/1749975514539799.

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Through a grounded theory analysis of 1301 collection reviews from The New York Times and The International Herald Tribune, issued between 1949 and 2010, the article discusses the shift in the themes that journalists employ to make sense of the latest collections. Contemporary journalists pay far less attention to the materiality of fashion than their earlier colleagues did. In the late 20th century they construed designer fashion as an intellectual practice. The article traces this shift to developments in the structural organization of the field of high-end fashion production, which today is involved in a process of de-artification, as the commercial aspects of the fashion system became more apparent in the later 20th century. In the 1990s leading fashion journalists drew on the new intellectual conception of designer fashion to engage in a process of re-artification. Hereby they seek to create an image of cultural worth for their object of criticism and for themselves, while they also seek to reinforce the long-standing but challenged division between mass market and high-end fashion.

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Sizorn, Magali. "The Artification of Trapeze Acts: A New Paradigm for Circus Arts." Cultural Sociology 13, no. 3 (July 17, 2019): 354–70. http://dx.doi.org/10.1177/1749975519853718.

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This article uses the concept of artification to analyze how circuses have been transformed. Through a socio-historical study of trapeze artists’ work since 1850, I will show that the opening of two schools for circus performers in Paris in 1974 (the Carré Monfort school and the Fratellini school), as well as the concomitant development of new aesthetics constituted decisive factors in the shift to artistry and contributed to a redefinition of trapeze acts and the circus as arts. While my fieldwork was conducted mainly in France, the purpose of this contribution is also to initiate wider discussion about the effects of artification in a globalized context. The transformations, begun in the 1970s, succeeded in creating new markets, but also new spaces for training, production and circulation dedicated to the circus arts, within which actors, skills and values now circulate.

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Steinmetz, Rudy. "Artification, désartification et réartification dans l’architecture contemporaine." Nouvelle revue d’esthétique 24, no. 2 (2019): 91. http://dx.doi.org/10.3917/nre.024.0091.

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Dissanayake, Ellen. "Roots and Route of the Artification Hypothesis." AVANT. The Journal of the Philosophical-Interdisciplinary Vanguard 8, no. 2 (2017): 15–32. http://dx.doi.org/10.26913/80102017.0101.0001.

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Milczarczyk, Paula. "Artyfikacja codzienności i odwrócony mimetyzm, czyli życie, które naśladuje sztukę." Przestrzenie Teorii, no. 31 (December 6, 2019): 247–60. http://dx.doi.org/10.14746/pt.2019.31.13.

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In this paper, I analyse the phenomenon of artification of everyday experience. Using the concept of “artification” developed in the field of Everyday Aesthetics, I define the non-artistic experience, which is co-shaped by art and related to its models of perception. As the consequence of this mechanism, I indicate the tendency to project some artistic cognitive schemas (or their elements) to the existing reality. As a result of this process, events and non-artistic views are captured in the image of art, as ”art-like”. The process of the interpenetration of the fields of art and non-art may lead in turn to the reversal of the mimetic order – when artistic creation determines the forms of examining the world to the extent that it creates the effect of “life imitating art”. This phenomenon of formalizing experience according to artistic models is illustrated by examples from the linguistics, visual arts and literature.

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Hwang, Jin-Ju, and Eun-Hyuk Yim. "Artification in Flagship Stores of Luxury Fashion Brands." Fashion & Textile Research Journal 22, no. 4 (August 31, 2020): 413–31. http://dx.doi.org/10.5805/sfti.2020.22.4.413.

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Kapferer, Jean-Noël. "The artification of luxury: From artisans to artists." Business Horizons 57, no. 3 (May 2014): 371–80. http://dx.doi.org/10.1016/j.bushor.2013.12.007.

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Jastrząb, Jolanta. "Artyfikacja jako innowacyjna metoda aktywizacji twórczej seniorów." Parezja. Czasopismo Forum Młodych Pedagogów przy Komitecie Nauk Pedagogicznych PAN, no. 2(20) (2023): 63–76. http://dx.doi.org/10.15290/parezja.2023.20.05.

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The end of working life results in social isolation for seniors, which can be compensated by using art therapy, understood as a therapeutic practice. Its development, among other things, is provided by medicine, especially neurology and the results of research into brain ageing. Used for geriatric rehabilitation purposes, it is based on equivalent elements: art and therapy, with the overriding function of the idea as the cause of the work. Artification, on the other hand, understood as a situation or process in which objects not commonly regarded as art are transformed into some thing similar to art or into something that alludes to artistic ways of thinking and acting, is a more subtle form of working with emotion and perception in older people. These considerations inspired the development of a working method on the interface between (art)therapy and art education. Tested at institutions supporting seniors and people with disabilities (Hospicjum Cordis in Katowice, Hospicjum Dar Serca in Częstochowa), artification became a method aimed at strengthening the creativity and sense of subjectivity of seniors by means of a creative process and involvement in discovering their lives as art. The method was developed by a team of researchers from the Academy of Fine Arts in Katowice and the University of Silesia in Katowice, and the project developed with grant support of the ‘Good Innovations’ programme. The process is depicted in a video accompanying the handbook, enabling therapists to create their own therapeutic plans, inspiring the exploration of their own creativity and that of their clients, targeted at improving selected areas of functioning. Artification is a way of activation that can be applied to different groups. It is also a service based on stimulating the ability to perceive the world spontaneously and creatively.

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Kosut, Mary. "The Artification of Tattoo: Transformations within a Cultural Field." Cultural Sociology 8, no. 2 (July 18, 2013): 142–58. http://dx.doi.org/10.1177/1749975513494877.

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Crane, Diana. "Fashion and Artification in the French Luxury Fashion Industry." Cultural Sociology 13, no. 3 (September 2019): 293–304. http://dx.doi.org/10.1177/1749975519853667.

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Fashion design is created in systems of collaborative relationships comparable to art worlds but fashion systems differ from art worlds in the relative emphasis on economic considerations and in the utility of what is produced. A brief history of the French fashion systems underlying haute couture and luxury ready-to-wear fashion reveals that both systems exhibited a tendency toward partial artification, as seen in the creation of designs with avant-garde connotations, although designers were primarily concerned with economic rewards. This tendency was reversed toward the end of the 20th century as both types of designers ceded control over their firms to luxury fashion conglomerates. The importance of fashion collectibles as a form of cultural heritage increased with the emergence of fashion museums but auction prices of fashion collectibles are significantly lower than in the fine arts. Higher auction prices for fashion collectibles occur in cases of celebrity validation or when the fashion collectible has some connection with fine art.

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Sizorn, Magali. "Le cirque à l'épreuve de sa scolarisation. Artification, légitimation... normalisation ?" Staps 103, no. 1 (2014): 23. http://dx.doi.org/10.3917/sta.103.0023.

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Turki, Ramzi. "L’esthétique du partage sur Facebook : art de l’improvisation et « artification »." Ligeia N°173-176, no. 2 (2019): 73. http://dx.doi.org/10.3917/lige.173.0073.

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Oh, Mi Yeon, and Younhee Lee. "Characteristics of collaboration and artification in the fashion of Issey Miyake." Research Journal of the Costume Culture 30, no. 2 (April 30, 2022): 173–88. http://dx.doi.org/10.29049/rjcc.2022.30.2.173.

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Vincent-Cassy, Mireille. "La première artification du culinaire à la fin du Moyen Âge." Sociétés & Représentations 34, no. 2 (2012): 37. http://dx.doi.org/10.3917/sr.034.0037.

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Bargenda, Angela. "The artification of corporate identity: aesthetic convergences of culture and capital." Qualitative Market Research: An International Journal 23, no. 4 (February 10, 2020): 797–819. http://dx.doi.org/10.1108/qmr-12-2017-0182.

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Purpose The purpose of this paper is to critically examine the claim that artworks and corporate art collections contribute a qualitative dimension to corporate identity by satisfying aesthetic, social and cultural standards. Design/methodology/approach To explore the qualitative research purpose, the theoretical framework is supplemented with in-depth interview data from five European banks. Findings The findings show that corporate art achieves synergies between culture and capital, internal and external communication and thus offers significant opportunities for innovative marketing communication and identity-building strategies. Practical implications The paper provides insights into how the arts interface with branding-related innovations, assisting managers in long-term decisions on value-based branding and identity construction. Social implications Increased arts engagement by corporations creates new synergies between cultural institutions and corporations through partnerships and philanthropic initiatives. Originality/value The originality of the paper is twofold. It thematically explores the under-researched field of art in marketing scholarship. From a methodological point of view, the research design is multidisciplinary and thus delineates new avenues for marketing practice and scholarship.

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Ha, Euna. "The Artification of the Brand : Focused on the Gentle Monster Brand." Korean Society of Science & Art 41, no. 3 (June 30, 2023): 421–30. http://dx.doi.org/10.17548/ksaf.2023.06.30.421.

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Maguire, Caroline Angle. "Artification and Decolonization at the Musée d'Art Africain de l'IFAN, Dakar." Journal of West African History 10, no. 1 (2024): 55–84. http://dx.doi.org/10.14321/jwestafrihist.10.1.0055.

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Abstract The first major museum in Senegal, the Musée d'Art Africain de l'IFAN, has its origins in the 1936 creation of the Institut Français d'Afrique Noire (IFAN), a research institute designed to coordinate scientific and ethnographic research on West Africa. The museum's temporary expositions and the first permanent galleries, opened in 1961, presented West African objects organized by ethnic groups and accompanied by photographs, illustrating African daily life to Europeans following ethnographic standards set by the Musée de l'Homme. However, in 1971, administrators redisplayed the objects as examples of aesthetic expression divorced from context. Based on archival research conducted in Dakar, this article reviews this shift, situating it in the contentious postcolonial period and the ongoing debates over European neocolonialism in Senegal. I also argue that the IFAN museum's renovation should be read into debates around what it means to “decolonize the museum.”

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Masè, Stefania, Elena Cedrola, and Geneviève Cohen Cheminet. "ARTIFICATION PROCESSES FOR MAJOR LUXURY BRANDS: ART-BASED MANAGEMENT FOR BRANDING PURPOSES." Global Fashion Management Conference 2019 (July 11, 2019): 348–53. http://dx.doi.org/10.15444/gfmc2019.03.05.04.

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Phatak, A. P., and Jeffrey S. Stevenson. "Inseminations at estrus induced by the presynch protocol before timed artification insemination." Kansas Agricultural Experiment Station Research Reports, no. 2 (January 1, 2004): 62–69. http://dx.doi.org/10.4148/2378-5977.3180.

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Batat, Wided. "Transforming Luxury Brand Experiences through Artification : A Marketing and Consumer Research Perspective." Marché et organisations 35, no. 2 (2019): 135. http://dx.doi.org/10.3917/maorg.035.0135.

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Jones, Graham M. "New Magic as an Artification Movement: From Speech Event to Change Process." Cultural Sociology 13, no. 3 (May 13, 2015): 321–37. http://dx.doi.org/10.1177/1749975515584082.

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In recent years, a small but prolific network of French magicians and their allies have taken calculated, systematic, and very public steps to reposition magic as a form of high culture, produced and received according to a set of distinctively artistic criteria, and linked institutionally to the realm of fine arts. They call what they are doing ‘new magic’ ( la magie nouvelle). This article takes a conversation analytic approach to a verbal disagreement between one of new magic’s principal proponents and a relatively senior music scholar who questions how art-like new magic really is. The speakers mutually accomplish the activity of arguing by realizing associated design features such as negative personal assessments, overlapping talk, format tying, sarcasm, bald directives, and interruption. In so doing, they also co-construct interactional identities as cultural insurgent and cultural gatekeeper, shaping this particular speech event as a skirmish in a conflictual and unresolved process of artification.

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Podlipniak, Piotr. "Kwestia pierwotności funkcji estetycznej muzyki w świetle znalezisk archeologicznych." Folia Praehistorica Posnaniensia 24 (December 15, 2019): 191–206. http://dx.doi.org/10.14746/fpp.2019.24.12.

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Bony flutes dated back to around 43,000 years old are the clearest examples of musical instruments ever found. There are also other archeological artifacts related to the possible musical activity of Homo sapiens and Homo neanderthalensis, which are the subject of numerous controversies. Bearing in mind that singing is the simplest form of musical activity that does not need any tools, the beginning of music must have been much older than the first musical instruments. Due to the fact that the sonic results of prehistorical hominins’ musical activity have not been preserved, the question of the artistic nature of hominins’ music requires the ethological knowledge as well as archeological findings. One of the widely discussed ethological hypotheses concerning human proclivity to behave artistically is the idea of artification, which has been proposed by Ellen Dissanayake. This idea suggests that the source of the human proclivity for art is the species-specific predisposition of Homo sapiens to transform the mundane non-artistic phenomena into art. However, while in the case of visual arts, the archeological discoveries of prehistorical paintings are by themselves the proof of such transformation in order to recognize the aesthetic function of our ancestors’ sound expressions the interpretation of the archeological discoveries of musical instruments in a broader context seems to be indispensable. The main aim of this article is to indicate that communication that has led to social consolidation has been the primordial function of music. Only together with the accelerating cultural evolution that occurred at the end of the middle Paleolithic period, musical activity was transformed from a simple communicative tool into an aesthetic phenomenon. It is proposed that this transformation could have been possible thanks to the appearance of the proclivityto artification.

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Dissanayake, Ellen. "The Artification Hypothesis and Its Relevance to Cognitive Science, Evolutionary Aesthetics, and Neuroaesthetics." Cognitive Semiotics 9, no. 5 (September 1, 2009): 136–58. http://dx.doi.org/10.3726/81609_136.

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Santos, Daniela Vieira dos, and Derek Pardue. "Brazilian Performers go beyond the Street: The Queering and artification of Hip Hop." Novos Estudos - CEBRAP 42, no. 2 (September 2023): 351–70. http://dx.doi.org/10.25091/s01013300202300020007.

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In this article we argue that Brazilian hip hop has opened up and become transgressive in terms of commodification practices, spaces of performative occupation and racial and gendered identification. Such expansion has meant not only an ideological broadening of what counts as hip hop and Black but also where such expressions are recognized as legitimate. This article focuses on the work of Emicida, Linn da Quebrada, Rico Dalasam and Jup do Bairro.

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Bessette, Anne. "Le vandalisme d’œuvres dans les musées d’art : réception contrariée et artification mise en échec." Culture & musées 44 (2024): 75–93. https://doi.org/10.4000/12svp.

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Les atteintes portées à l’intégrité physique d’œuvres d’art au sein de musées confrontent de manière directe les institutions muséales aux contradictions inhérentes à leurs missions de conservation et d’exposition du patrimoine. On peut se poser la question de savoir si les atteintes portées, par le public, aux œuvres exposées dans des musées peuvent être analysées comme une expérience culturelle contrariée du côté du public, qui exprimerait une incompréhension ou un mécontentement par le biais d’actes de vandalisme. Cet article propose d’explorer cette problématique, en s’appuyant sur les résultats d’une enquête sociologique portant sur le vandalisme d’œuvres dans les musées d’art en Europe et en Amérique du Nord, entre 1970 et 2020. Il détaille des exemples de vandalisme qui révèlent un ratage de l’expérience culturelle, puis explore des atteintes aux œuvres qui montrent un autre ratage, celui du décalage entre les intentions déclarées de leurs auteurs – à savoir un vandalisme créatif – et l’interprétation qu’en font les musées et les critiques – à savoir un déni de légitimité artistique.

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Leote, Rosangella. "Biomimicry and Art." International Journal of Creative Interfaces and Computer Graphics 12, no. 2 (July 2021): 1–18. http://dx.doi.org/10.4018/ijcicg.291090.

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The concept of Biomimicry has been used in various fields, from nanotechnology to machine intelligence, for various purposes, inspired by natural processes and organisms. The main application of Biomimicry has been to produce artifacts and ideas from what we can know about what nature has already done. Many artists have devoted themselves to the development of works with poetics of hybridization and mimicry. How close would they be to Biomimicry? Or would they be Bioinspiration? This discussion is the starting point to present the “VIRIDIUM” project, which focuses on the development of semi-autonomous and translucent 3D-printed sculptures. In addition to the Biomimicry (Biomimetics), Bioinspiration and Darwinian evolution concepts, the concept of Artification is also addressed as a possible model of understanding the poetic process, both in "VIRIDIUM" and in the works of the artists listed.

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Bajard, Flora. "The Unfinished Artification of Ceramics in France: Reversing Stigma and Creating a New Artistic Norm." Cultural Sociology 13, no. 3 (August 2, 2019): 276–92. http://dx.doi.org/10.1177/1749975519852828.

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Ceramic artists emerged as a professional group in France in the second half of the 20th century by shunning industrial standards and basing their practice on the notion of singularity. They also reappropriated the craft legacy of the small pottery companies that began disappearing in the 1940s, embracing principles such as seriality and functionality, and defining a specific bundle of tasks. Ceramicists underwent a partial artification process, rendering their practice discordant with what institutionally and legally constitutes art, as well as diverging from the standard definition of craft. Certain art ceramicists contest the cultural ranking that policymakers apply which excludes art-crafts from the purview of art. To claim recognition for the composite nature of their practice, they seek recourse to the courts to create new legal norms. They also strive to expand the definition of art. The article demonstrates how shifts in the balance of power both inside a professional group and between the group and government agencies can influence institutional definitions of art.

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Kim, Hye-Young. "Homo Aestheticus and the Open Concept of Art - Family Resemblance, Forms of Life, and Artification." Journal of the Daedong Philosophical Association 105 (December 31, 2023): 53–82. http://dx.doi.org/10.20539/deadong.2023.105.03.

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Proust, Serge. "Portrait of the Theatre Director as an Artist." Cultural Sociology 13, no. 3 (April 8, 2019): 338–53. http://dx.doi.org/10.1177/1749975519837400.

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In France, the theatrical field is split between a commercial pole and a public pole. Within the latter, theatre directors occupy a central position. They monopolize public subsidies, run theatre-related institutions and receive most of the symbolic rewards. As a result of their efforts, theatre direction has gained recognition as a work of art, but at the cost of conflicts with actors and playwrights. Furthermore, thanks to government intervention, they have neutralized the need to adjust to private demand. However, their success is still limited by several factors. Theatre directors are subjected to several types of axiological criticism revolving around their excessive integration into the state apparatus. Artification is largely dependent on state intervention, and above all, the immaterial and temporary nature of a theatrical performance contradicts the western conception of the work of art, which is understood as something enduring (as with paintings and books).

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Snijdelaar, Tosca. "The Apotropaic Phallus. Materialisation of a Human Biological Process." Anthropos 119, no. 1 (2024): 199–218. http://dx.doi.org/10.5771/0257-9774-2024-1-199.

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This article focuses on the apotropaic function and meaning of the erect phallus. The simultaneous experience of fear or anxiety and the attainment of a (non-sexual) erection may have led to the attribution of apotropaic properties to the penis. There are several possible physiological explanations for this phenomenon that are discussed. Since great apes have a socio-sexual communication repertoire that closely resembles that of Homo sapiens, I assume that it is a phenomenon that can be traced back to the common ancestor. Given the age of the apotropaic function and significance of the male genital, a course of development is outlined that provides insight into how the apotropaic phallus reached the Upper Paleolithic in behaviour, rituals and/or myths. About 125 phallic artefacts from the Upper Paleolithic are known. By the context in which they were found or how they were created, they confirm Dissanayake’s artification theory.

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Jankowska, Marlena, and Berenika Sorokowska. "From Fashion Brand to Artwork: Divergent Thinking, Copyright Law, and Branding." Laws 12, no. 3 (May 19, 2023): 46. http://dx.doi.org/10.3390/laws12030046.

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The purpose of this study is to explore the interaction between copyright, branding, marketing, and heritage protection with regard to a fashion brand. The authors use analytical-critical and legal-dogmatic methods, supplemented with desk research, a case study approach, and a review of the marketing literature. This paper argues that the top-tier fashion brands use the concept of artification in order to build their brands, mesmerize clientele, and increase revenues. Although design and reference to the arts play a major role in the luxurious and premium end of the fashion business, this analysis proves that the top players do not necessarily observe the appropriate laws in these areas. The reader will see examples of the flouting of basic legal constraints by big players, e.g., copyrights or property rights, including the monetisation of the creativity of others with the expectation of no legal challenge. Offenders capitalise on the likelihood that a legal suit is too demanding for smaller players, such as foundations or museums.

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Zhirkov, D. D. "AXIOLOGICAL VECTOR OF THE REGIONAL COMPONENT, OR ON SCHOOL FILM ADAPTATION." Pedagogical IMAGE 17, no. 3 (2023): 388–98. http://dx.doi.org/10.32343/2409-5052-2023-17-3-388-398.

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In the introduction, the author outlines the problem of organizing extracurricular activities of students as a technology of communication with film art. The purpose of the article is to show school film adaptation of a literary work as one of the forms of updating materials of the national-regional component of Federal State Educational Standard, the introduction of which acquires axiological orientation. Materials and methods. The study is based on an axiological approach that creates the necessary conditions for the value self-determination of the individual within the creative process. Among other things, the involvement of works on regional Yakut themes, according to the author of the article, is designed, on the one hand, to facilitate the immersion of students in the history of the Little Motherland, on the other hand, to preserve the unified cultural field of Russia. The ballad “Saatyr” by A. Bestuzhev-Marlinsky, the story “Makar’s Dream” by V. Korolenko, the poem “Knock” by I. Brodsky, the poem “Diamonds and Tears” by E. Evtushenko were chosen as objects for adaptation in the context of the phenomenon of artification. Bibliography overview. Based on research in the field of methods of teaching literature, film pedagogy and literary criticism, the author highlights the issue, specifies current trends in the organization of extracurricular activities of students in the aspect of the phenomenon of artification. Results. The author substantiates genre definition of the video series “Russian Writers in Yakutia” and the reasons for referring to the chosen literary material, including the lack of experience in film practice of its interpretation. An algorithm of work on a school film adaptation is presented where the most important stages are highlighted. It is shown that arising questions aimed at the development of the students’ value-semantic sphere, designing of axiological situations, and implicit text analysis are essential stages of the work on a film version of a literary work. Besides, the author focuses on video editing as a technique to cultivate a specific kind of cognitive activity in students. Conclusion. The experience of creating a video series that was uploaded to YouTube leads to the conclusion that it is necessary to organize the text-generating activities of schoolchildren in order to form their subjective position and to find personal meanings in art.

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Gilemkhanova, E. N. "Cultural Norm and Personal Security: The Bifurcation Point of the Sociocultural System." Cultural-Historical Psychology 20, no. 4 (December 25, 2024): 78–87. https://doi.org/10.17759/chp.2024200409.

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<p>The work examines the current state of the sociocultural environment and raises the question of how to assess the direction of cultural changes. The author argues for the divergence cultural and civilizational development vectors and posits that the primary contradiction within the sociocultural system, in the present cultural-historical context, arises from the dichotomy of The identified trends in civilizational development necessitate a reevaluation of fundamental cultural norms related to human security, highlighting a critical juncture in the evolution of these security norms. Consequently, addressing the issue of changing norms is linked to the concept of artification, which refers to the transformation of the natural into the artificial, and naturalization, which denotes the conversion of the artificial into the natural. In this context, the sociocultural system is analyzed through the lens of processes of reproduction and development, particularly in relation to the transformations in the context of the “naturalization and artification”. Based on the information presented, the objective of this work is to establish a theoretical framework for analyzing the key concepts of the sociocultural system within the space-time continuum of contemporary reality through the application of bifurcation theory. This study offers a theoretical and methodological justification for utilizing bifurcation theory in the examination of sociocultural systems and elaborates on the essence and content of the theoretical construct. According to bifurcation theory, the sociocultural system encompasses three parameters: phase space, time, and the laws of evolution, which collectively enable us to describe the state of the system. The author outlines the key dynamic and system-forming characteristics of a sociocultural system. In conclusion, a sociocultural system, as defined by bifurcation theory, can be conceptualized as a space comprising three topologically equivalent planes: material existence (activities influenced by the type of civilization), cultural existence (cultural norms and standards), and spiritual existence (personal meanings and superordinate values). The multidimensional analysis of time cycles indicates that the sociocultural system is currently undergoing a qualitative transformation, during which the control parameters of the system—specifically security and subjectivity—are evolving. This qualitative transition in the system necessitates the selection of a trajectory for the development of cultural norms, particularly in the context of disrupted cycles of cultural translation and the rapid emergence of new elements within intellectualized digital spaces.</p>

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Fertat, Omar. "De la rue à la scène : la danse hip-hop, histoire d’une artification, exemple de Farid Berki." Horizons/Théâtre, no. 12 (January 1, 2018): 140–61. http://dx.doi.org/10.4000/ht.426.

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Fartas, Nadia. "Artification de la politique, désartification de l’art ? Esquisse d’un style militant dans quelques expositions au XXIe siècle." Nouvelle revue d’esthétique 24, no. 2 (2019): 81. http://dx.doi.org/10.3917/nre.024.0081.

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Michela, Magliacani. "Artification as a driver of public value co-creation: Evidence from the photographic exhibition on Italian Ghost hotel." African Journal of Business Management 14, no. 6 (June 30, 2020): 170–83. http://dx.doi.org/10.5897/ajbm2020.9007.

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Masè, Stefania, Elena Cedrola, and Genevieve Cohen-Cheminet. "Is artification perceived by consumers of luxury products? The research relevance of a customer-based brand equity model." Journal of Global Fashion Marketing 9, no. 3 (June 12, 2018): 223–36. http://dx.doi.org/10.1080/20932685.2018.1463861.

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Poirson, Martial. "Politique de la merveille : Le Charlatan ou le Docteur Sacroton (1780) de Mercier, préfiguration de la première société du spectacle." Études littéraires 43, no. 3 (July 2, 2013): 23–39. http://dx.doi.org/10.7202/1016845ar.

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Résumé Le Charlatan ou le Docteur Sacroton (1780) de Louis-Sébastien Mercier est propice à l’analyse d’une sorte de « première société du spectacle ». La comédie-parade interroge, par cette figure éminemment théâtrale, la civilisation du simulacre qui éclot au coeur du Siècle des Lumières. Le personnage du bonimenteur surjoue le rapport à l’illusion théâtrale, multiplie les effets d’ostentation spectaculaire et suggère l’existence d’une relation désintermédiée entre orateur et auditeur. En tant que figure de comédien, mais également du tribun, susceptible de haranguer les foules et d’anticiper sur les effets de réception, il apparaît comme un procédé commode d’« artification », susceptible de porter le doute sur l’espace public structuré par la représentation. Mercier met ainsi en place une véritable politique de la merveille : au-delà de la satire du charlatan et des croyances populaires, la plaisante évocation de cette parole susceptible de donner vie, à la manière du mystère de l’Eucharistie, lui permet non seulement de sublimer l’efficacité symbolique du dispositif théâtralisé, mais encore d’entacher l’autodétermination et la conscience critique du public dont il vient pourtant de glorifier la capacité de jugement. Il s’agit de proposer une analyse dramaturgique précise de l’économie des affects et de l’anthropologie de l’attention qui s’y jouent.

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Suh, Sungeun. "Fashion Everydayness as a Cultural Revolution in Social Media Platforms—Focus on Fashion Instagrammers." Sustainability 12, no. 5 (March 5, 2020): 1979. http://dx.doi.org/10.3390/su12051979.

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This study qualitatively analyzes the phenomenon of fashion everydayness as a cultural revolution in the digital space as everyday life continues to expand into digital platforms. The analysis proceeded in four perspectives based on Lefebvre’s theoretical framework: the festivalization of everyday life, the artification of everyday life, the holistic stylization of everyday life, and cultural revolution as a daily practice. Instagram, the case for this study and the most popular image-centric social network, leads the digital aesthetics paradigm through creative acts that weave fashion into the daily life of the individual. The study focuses on three fashion mega-influencers whose successful careers began with blogs documenting their daily lives. The analysis showed that Instagram, as a social platform, is a creative space for sharing everyday life with its appropriation of time and space. In there, fashion visualizes the look of the everyday beyond the boundaries of time and space. In practice, it suggests a digital cultural revolution: a composite lifestyle expressive of various tastes and styles—a vital medium to inspire and sustain fashion everydayness. This has implications that the information and communication technology of the digital age created a new cultural space and that daily visualization through fashion will eventually produce sustainable cultural contents.

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Journal articles on the topic 'Artification'

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