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This series has an insipid main character who is a CPA but is constantly getting side-tracked from her work: how does this woman support herself?

The hostage is a nun, who knows a secret for which the other knights would kill to know. For some months a Buddhist monk from China lived on the Grinnell campus, conducting group meditations characterized by chantin.

Fascinating story but Cunliffe clearly struggles to tell us much due to the obscurity of Pytheas; it does, however, provide ample opportunity to digress into the archaeology of pre-historic North-Western Europe.

Not surprisingly, the comparison of the holocaust with animal maltreatment is controversia. Theo is an honest and trustworthy character, that readers will find themselves rooting fo.

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She grows up with a drug addict for a mother who eventually almost drowns her in the Gulf of Mexic. Harlow gets a big job making four dresses for a wedding for a well known famil.

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Anti-intellectualism in Britain continued to undermine the positions and interests of the Lunar Men, mob rule often being precipitated or abetted by partisan politicians, eg Edmund Burke, pushing conservative view.

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Additionally, at times, the books plot did not make sense. Here is the story: 17 year old Alice Grimm has to leave school to go to Italy to view the corpse of a suspected year old witc.

For anyone old enough to remember the beginning and all of the years in between, like me, it is a true treasur. In his earlier stories starring private investigator Charlie Parker the horror elements were always sort of at the backgroun.

Samantha Shaw runs a dating service and does a little sleuthing on the side, which ends up being most of the tim. Prince Alexei is arrogant in a fun way and Pamela is a good match for hi.

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The book covers the development of this rather recent technology and a the great skills that the brain employs to turn text into phonetic sounds in the head and finally automatically into images and thoughts.

Of course thinks can go wrong with any technology and a sizeable part of the population has trouble acquiring this unnatural skill and develop reading disorders like dyslexi.

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Impromptu question-and-answer sessions round out some of the lectures, giving the listeners a chance to pose their own question.

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But we have too much stuff to fit in our apartment! And regardless of what conclusions we draw in the end or what we decide to accept, the fact that we question will always bring up closer to our trut.

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Soon, Chloe and Timothy find themselves knee-deep in the investigation as they work against the clock to find out the truth behind what really happened to Katie Lambright.

I enjoyed several things about this boo. How could I not have know what an incredible book was sitting in my librar.

The story was good and for some characters there were some references to events or people in past books but I think there needed to be more.

I may read more of this series to catch up! It might have been just a chance meeting, but first a train derailment and then the predicted blizzard keep Seth and Kieran in close proximit.

It is clear in the opening chapters that although Deena appears to possess all the trappings of success, her emotionally abusive extended family has robbed her of her self estee.

No explanation of how he she? David EddingsDavid Eddings was an American author who has written several best-selling series of epic fantasy novel.

Fascinating detail about the changes on their way — medicine, politics, technology — in the wake of the Great War, and a superb sense of time and plac.

That is until Izzy receives help from an unlikely source: the ultimate guardian ange. I liked the sentiment and ideas, but the writing is not especially great and the citations are specious at best.

At least one Nationalist boasted that his side killed ten leftists for every Nationalist killed by the Republicans.

You immediately feel for this girl, and realize what a hard life she has had to liv. One thing that this novel does very well is evoke the time period and plac.

The snippets of her radio show at the beginning of each chapter made the action drag for m.

The nerve!!! The story I got instead was about a girl living during the French Revolutio. Embrace is a high school story where the main character learns that she comes from a long line of witches and has to embrace her magi.

In need of a bit of a lift? This novel is notable for its well-deined characters, particularly the fifteen-year-old protagonist, who are appealing and relatabl.

Can he convince Anya the Christian, to live in his world of science? Can Utopia separate from the UK and become their own country or will they be destroyed?

She uses correspondence between the captains of the slave ships and the companies that contracted them to show the point of view of the Europeans during the process as well as using their records and invoices to give the reader a realization of just how many people were: bought and sold at the ports of exchange, how many died on the ship, and how many died during internment in the holding prisons like Cape Coast Castl.

I am always amazed at the variety of books that Scott Westerfeld has written. The story Anne tells us is about Jeanne Le Page, a former resident of Guernsey man, I want to visit this island after reading the book Who was the real Edward Driffield?

Tommy will do anything to obtain his share of the American Dream, even commit murder. The main character who is carried over from the previous tale is barely mentioned in the other story, and her feelings about the folks back there are diametrically opposed to that of the heroine in the first story.

We meet Prince Henry after another night out boozing and not knowing where is his leads to his court appearance, and despite been royal he is carted off to reha.

For me this first novel just shades the rest as a visceral, raw, subversive and humorous rites of passage tale.

But a great oral history demands an excellent curator, and this one is only goo. The story unfolds through two parallel journeys: a road to kinghood and a descent into slaver.

Recommended for when you are in the mood for an easy-to-read but well written thriller, one almost tailor-made for an ITV three-part dram.

The characters also have a unique connection, which is not immediately evident early on in the story but ties together by the end.

Clive CusslerCussler began writing novels in and published his first work featuring his continuous series hero, Dirk Pitt, in The author has made a conscious effort to provide a fair and balanced depiction and include the point of view of his characters, and it show.

Feel free to drop her a line at info tonigriffin. The name dropping was just annoying and a little disturbing that the author included real people in his fictio.

Seconds before they had been willing to shoot each other; now they came forwar. He could smell it! A story about a deeply bonded pair of chopsticks who find out how to discover the world on their ow.

For someone to get from a building to an automobile is to learn about the door opening, and closing, and the footsteps, and what the sky looks like, and the smell of the car, and how long the car takes to star.

They bring in special integrator Trent to get a confession out of Jaso. Though half of the book I wanted to slap Zach upside the head and call him a moron, but what kind of a story would it be without drama.

Once I got my head around this change of attitude I actually found myself cheering on the star-crossed lover.

I met and got to know some of these women when I lived in San Francisc. Reading it from beginning to end causes some lulls, some boring-ish moments, but on the whole, this book is great for any couple that does want to create a relationship on a spiritual path, BUT watch out what you ask for, because it could seem overwhelming, and definitely presents a serious, on-going challeng.

But, as we get further in, we see things begin to change gradually and we realize that those very choices will be their very downfal.

But, in the end, so much love. My emotions were all over while reading Reflected in Yo. Un racconto molto carino da leggere per tutti,scritto dalla parte di un bambino,veloce e scorrevol.

I like Anna Pigeon as well, she is resourceful, intelligent, a strong woman who above all is a survivo. Still, overall, it was pretty good, and I enjoyed it for the most par.

I can not wait to read book 3! It kind of reminded me of the movie The Mummy Returns with Brendan Fraser and Rachel Weisz when they were married with a young son ; in terms of the different way they behave and work togethe.

I do love the way Elizabeth puts the art into her storyline with the intent that the creator of the art has put into the piece, very different and original.

I did find the first half of the book, slower paced but the second half made up for i. After the trouble she faced in Berlin I had been eagerly anticipating my return to Maggi.

Chee catches a Hopi eagle poacher literally red-handed — huddled over the bloody body of a young Navajo Tribal police officer — he has an open-and-shut cas.

Marly Landers sets out on revenge against a man she thought she loved until he betrayed he. I found it most intriguing, how the Cairo Guard were build and the multiple sacrifices they face.

After years at sea, Manjiro, who is renamed John Mung, is adopted by the Captain and begins life in the U.. And my personal favorite…older dogs that potty in the house means physical discipline may be in orde.

This is my favorite type of Morrison; crazy ideas, but grounded in a comprehensible stor. As someone who has lived most of my life in Pennsylvania, meaning I took the requisite Pennsylvania history course in 8th grade, I was already well familiar with many of the Pennsylvania happenings and persons: Forts Necessity, Ligonier, Duquesne and Pitt; Kennewick Man; Conrad Weiser; Lenape, Conestoga, Susquehannock natives; the shameful Walking Purchase; and the Hochstetler massacre, an account of the attack of my 8xg-grandparent.

Her debut novel, Timeless Love, the first of three standalone books in her forthcoming Love Series was released on February 11, , followed by Heartbreaker, on July 11, Providence Rag is a gripping novel of suspense by one of the rising talents in the mystery field.

I remember never caring for it, even as a preteen, and I wondered if that had change. At her side, a pillar of strength and compassion, is her best friend, Benson Whit.

Because I was more invested in this sequel I think that the things that I loved and the things that bothered me stood out a lot mor.

Did they predict that in ? But the middle slogged on quite a bit to the point that I found my mind driftin. The flip-side of each card features photographs from the book, and also includes previously unreleased and rare photographs of Yoganand.

Their initial rejection and ultimate embrace of this new era unfolds with insight and compassio. Vivien had also been known as Mistress Matchmaker however her last two matches had ended in happy marriage.

Somehow she had to summon the courage to endure: to honor her beloved dead and to rebuild the shattered lives of the sons who depended on her strengt.

I have to assume that there is something that I am missin. Family arrangements required completion, and Christopher Dale required ready mone.

They expect the MBC to interfere there, so Dojo has Iku sit that mission out to keep her from possibly getting hurt or killed since she never did explain to her parents what her real job i.

A good read, nonetheless. My day job is that of a computer jockey and all the hands on and hands off work that entail.

What emerged was a beautiful novel set in Ghana, Nigeria, Lagos, and Bosto. I think I am slowly getting over my triggered anxiety response to the words wedding and planning in the same sentenc.

It began to get good more than halfway through, but by then it was too little too late. I am beginning to realize that, in a broader sense than I normally think of it, education is a central purpose of this mortal existence.

I remember my mission experience fondly, but like every missionary I had some challenge. In fact, she does a great job of telling us what goes into the every day life of being a baker without once making it seem boring or tediou.

Lauren BarnholdtRating: 3. Occasionally the writing style started to perplex me, until I realized that some instances of odd word choice or phrasing are probably a result of the fact that the author has been speaking and most likely, thinking in Russian for many year.

So when they get to the ranch her secret grandfather and Rick a helper around the ranch try to get the girl talk like ask her questions she has to answer not yes or no question.

The problem here is that many of the parts behave in the same way, and it seems that there could have been much more variety between the.

Typical of this condition is that a person has difficulty picking up and interpreting body language and other non-verbal cues from peopl.

Too bad for her super mean, mean girl Veronica is all over him, and then they start dating. The first novel I ever wrote was Losing Elizabeth, a novel for young adults about a girl who becomes trapped in an abusive relationship.

The author remembers it, a few years later, reduced to the humble office of a smoke-house. In an expedition was sent against the hostile Indians, who dwelt about a hundred miles west of Otsego, on the banks of the Cayug.

Light-hearted and fun loving sidekick Chip Harrison makes this ride a light and laughable on.

The author is able to mix political saavy with good character developmen. I did appreciate the depth of his pop culture references, although he could stray further from the Butcher repertoire.

Curmudgeonations aside, I still had quite a bit of fun reading thi. Patrick DesboisThis is an incredible book that tells heartbreaking stories of people who were stripped of their humanity and lost in the holocaus.

Anna is a librarian and described as a book lover — I do find it strange that ALL she cares about are these really old books she read as a child, and that most women who comes to her store seem to be the same wa.

The characters seem somewhat one-dimensional, a little fla. In my opinion the best volume of the series so fa. Crude, unforgiving life, in which we can bring the apocalypse onto ourselves through our ignorance, indolence and depravit.

What a change this book has made in my lif. He decides to show her that Christmas still has plenty of magic, even for grown-up girl. I definitely think that Meloy could have cut down some of the parts and made it a bit shorte.

I am looking forward to part tw. Which is mentioned, she is starting to have old feelings for Jackson pop up and that is scaring her.

Her parents and sisters hate Jackson for what they think he did to Loretta because she never did tell them what he di.

With some of these characters I feel like they are very plai. It was great to read about a part of the world that I have never been to, but would love to visi.

Another book of hers I have read are: The Falls another cliff hanger. She is quickly becoming another of my must read authors Mike MignolaMike Mignola was born September 16, in Berkeley, California and grew up in nearby Oaklan.

When he was a teenager he moved out of his parents house whom he hated to end up broke on the streets occasionally sleeping over at friends house.

These characters and their stories in the Bible have always fascinated me, and looking through their eyes as portrayed in this story has given me even more to think abou.

I also appreciated his intelligent, intuitive nature that helped him to understand things about Caitlin that she may not have even understood hersel.

Jack McKenzie is a harmonica player, soldier, dreamer, and small-time professional fisherman from a tiny island in Bass Strai.

Please read the following sentence twice:This is an absolutely fantastic book. On the outskirts of the Galaxy, far from the physical constraints of the Galactic core, faster-than-light travel is possible, and Transcended intelligences flourish to a complexity that dwarfs human comprehensio.

I put off reading A Tree Grows in Brooklyn for many years, partly because of my own assumptions about i. The Shaken Earth is well-written, memorable, and eye-openin.

I downloaded this e-book on kindle for free and give an honest review. Through the very pervasive use of scripture she gently reminds us that Satan is the father of lies and that God through His Son Jesus has a plan for us.

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On the basis of this in the third part of the book it is discussed what the various institutional approaches in relation to the art philosophical concepts have to offer to the organisation of art world practices in such a way that the arts will be supported in realising their values in society.

Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means electronic, mechanical, photocopying, recording or otherwise without the written permission of both the copyright owner and the author of the book.

This was in reaction to the difficulties encountered when attempting to understand artworks as artefacts with particular distinctive features that are produced by the unique activity of artists.

While each of the scholars who contributed to this approach emphasized the importance of the relationship between the production of art and the reception of it, they mainly studied the domain of production; very little attention was paid to the domains of distribution and reception in these attempts to understand how the arts function in society.

On the basis of a critical overview of the art world, as well as field, network, and system theories, this study attempts to bring together the thinking on the organizational side of the world of arts and an understanding of the functions art fulfils in a culture; to put it more precisely: to find out how the organization of the art worlds serves the functioning of arts in society.

It is not at all superfluous to rethink the relationship between theoretical approaches and how the art worlds function in a practical way.

On the contrary, in both areas one can notice a tendency to avoid making distinctions between various types of art; instead, a more general idea of art or even culture is favoured.

As a consequence, the value of art can be formulated only on a very general level, whereas in practice very different types of art function in very different ways for very different groups of users.

The art world is considered a world in which artists, museums, collectors and others create and discuss developments in art; it is a context in which a work can be seen as an artwork.

Becker in the English-speaking world, and then on the European continent as well, particularly under the substantial influence of Pierre Bourdieu.

Luhmann, finally, developed a meta-theory of how social systems operate and relate to each other, not considering actors, individuals or organizations as the basic elements of such systems anymore, but communications; communications in the sense of utterances, including artworks.

It can be questioned, by the way, whether the last two approaches can be called institutional any longer. Although the specific values of these approaches will be discussed thoroughly here, this book seeks to find agreements between ways of thinking and opportunities to connect various points of view, rather than to detail the differences between the approaches discerned.

Because of this none of the authors will be studied extensively; only those parts of their work that are concerned with how organizational relations in an art world, field, or system might influence the functioning of the arts in society will be discussed.

Whereas during the s and s, Monroe C. Beardsley had to defend this latter approach as best he could on the American side of the Atlantic, in Europe functionalists were supported historically by a long philosophical tradition of seeking out the distinctive features of art.

This status is conferred by a member of the Art world, usually an artist, who has the authority to confer the status in question by virtue of occupying a role within the Art world to which that authority attaches.

Maybe Davies was right to prefer the institutional definition to the functional one; for his point of view was that the institutional approach is a more general and neutral one than the historically or culturally standardized functional definitions of art.

In this sense, the institutional approach is value free; but it is precisely this freedom of value which constitutes the weakness of institutionalism, because it blocks all thinking about the value the arts contribute to society and the functions they are able to serve.

After having studied the different approaches and the key terms used, it can finally be concluded that what is usually called a functional or functionalist approach especially concerns not the functions of art, but its values.

This description gives rise to the question of whether it is necessary to consider art principally as a non-functional phenomenon.

It seems to be more useful, however, to separate the production of aesthetic values from the intrinsic and extrinsic functions to be fulfilled through the realization of these values by users.

This is an intermediary section that bridges the gap between institutional approaches to art on the one hand and questions of how the arts acquire meaning and significance in a culture from an organizational perspective, on the other.

This philosophical expedition can not and will not be exhaustive; instead, I try to categorize contemporary ideas on the characteristics of aesthetic experience which can then be used to study the functioning of art in society.

Together with the more or less stable, historically shaped and changing patterns to which they are related, these processes form the basis for ways of production, distribution and reception of art, and even partially of the contextualization of the effects of aesthetic experiences.

And, as an important consequence of this, one can expect that differences on the level of these patterns and processes will cause differences in the functioning of art in a society.

With this in mind, one of the motivations for writing this book is to find ways of thinking which might allow one to discover whether and if so, how the functioning of art in different countries might well be based on the differences in the organisation of production, distribution or reception.

The functioning of art worlds In art theory a kind of overlap or entanglement exists between the terms value, function and functioning e.

Kieran and Davies In this study, value of art will be used to describe the capacity of artworks to generate aesthetic experience in the act of reception.

Through this description it will become clear that the value of art is, on the one hand, considered to be an objective category in the sense that an artwork holds within itself the very conditions for a possible aesthetic experience and that all artworks have this value in common; while, on the other hand, it has an aesthetic value which has to be seen as a subjective category, in the sense that the value of a work exists in its being felt as an experience by art consumers and, consequently, as something specific in a personal or in a group-bound way.

Whereas the value of art lies in its capacity to generate aesthetic experiences, the value of an artwork can be found in the way in which this particular work is able to generate aesthetic experiences.

Although the specific value of art appears here to be very close to the specific function, the first can be identified as generating an aesthetic experience by forcing the perception domain to produce new schemata, in order to sharpen perceptive capacity or to strengthen imaginative power, which can be seen as aesthetic functions.

Once one begins to wonder why the production of aesthetic value is of any importance, or once one begins to read the phrases which governments use to legitimize their financial support for the arts, the thinking on the functions of art starts.

In short, the difference between value and function is that the first serves the second. The term functioning brings us back to the main topic of this book.

This is a complex notion because it can refer to art as such, as well as to the art world. The former will be seen here as a part of the latter.

In addition, not only can the operation of the system in structures and processes be meant when using the word functioning in the context of art or the art world, but also the various outcomes of the operation in terms of types of artworks and the use made of them by people or groups of people.

Counting four different domains in, or directly linked with, an art world domains of production, distribution, reception and context and three levels at which these domains can be studied individual, institutional and societal , the question of how an art world functions can be approached in at least 87 ways.

Figure 0. Organizational structures, processes and outcomes are actually three moments in the operation of a system. On the one hand, contextual systems politics, education, economy can be of significance for the operation of the art world; on the other hand, the results of the operation of the art world can have an impact on those very contextual systems.

These processes can be defined as processes by which the assimilation of the outcomes of one system is organized in another system.

Because of this choice and in spite of the fact that all parts of the model are equal, some columns and rows can be indicated as being more crucial than others, as is shown in figure 0.

Structures Personnel and mutual relations. Working conditions Personnel and mutual relations. Working conditions.

Space Perception and communication schemata of user s Total mindset user s Processes Conceiving Elaborating Rehearsing, etc.

In many cases this domain is understood as an extension of art production, whether in the form of exhibitions or performances.

But even in that particular case the fact is that audiences meet an extensive aesthetic service, with the original artwork at its core, but it is this service as a whole that will attract people, make an aesthetic experience possible for them and carve out a place in their lives.

So, the column of distribution, in which the aesthetic production is transformed and made available in events, is very central to the functioning of an art world, in that it brings production and reception together and organizes the aesthetic experience in specific ways.

It is hoped that this line drawn from institutional thinking on the arts, via an effort to discern various values of the arts, towards the organizational patterns and processes in art worlds, will help scholars in this field, as well as practitioners and even politicians, to understand how art world systems can support the functioning of the arts in society; or, in other words to shape conditions for the societal realization of their values.

In the second part, a distinction between aesthetic and artistic experiences will be discussed further. In the model presented here, the term reception has been preferred over the term consumption, in order to emphasize that, in perceiving, art audiences carry out their own production process.

This is based on the choice of whether to consider the societal use made of art as the first function of an art world, rather than the development of art as such, which remains, of course, an essential condition.

See e. In a number of articles and four books published during this period, he defended his approach against what he called instrumental, traditional or romantic theories; all of these, however, were discussed by Stephen Davies as functional theories in his thorough comparison of institutional and functional definitions of art Davies Reading Dickie means a continuous confrontation with Beardsley, with whom he more or less seems to be fascinated.

At the same time, his list of books also shows a deep interest in the characteristics and values of artworks.

An Institutional Analysis , he notes: In developing my own conception of aesthetic object I will be following the lead of Monroe Beardsley.

In so doing, it will be necessary to reject one part of his theory and to develop a network of ideas underlying his theory but not explicitly recognized by him.

Dickie And ten years later, when Dickie aimed to improve and complete his institutional theory, he wrote The Art Circle. A Theory of Art ; this book was dedicated to none other than Monroe Beardsley.

His views will play a part in the second part of this book dealing with the values and functions of art. The first problem arose as soon as an object is considered to be art but looks exactly like a real object.

Something is needed to make a distinction between the two objects possible and in order to see the one as reality and the other as a work of art.

It is the theory of art that takes it up into the world of art, and keeps it from collapsing into the real object it is. Apart from the functional implications of this view and leaving aside the interesting question of who it was Danto considered to be the kings of his time, the essence of this statement is that Brillo boxes as artworks have something to say, something to express themselves and are not purely a repetition of real Brillo boxes.

There is a certain space between Brillo boxes as artworks and Brillo boxes as reality, and this space is filled by the artwork through its saying something about reality.

The answer, writes Danto, lies in the fact that this artist has returned to the physicality of paint through an atmosphere compounded of artistic theories and the history of recent and remoter painting.

In point of fact, Danto deliberately aimed to shift the attention of art historians, critics and other professionals from the traditional idea that artworks have intrinsic and typical features which make them art, to the view that works become art on the basis of their position in the historical context, in other words because of their position in an art world.

Dickie misinterprets this approach: I take Danto to be implying that the painters of Lascaux or any other persons must either be aestheticians and consciously hold an art theory or have an art theory told to them by an aesthetician so that they can consciously hold the theory in order to create works of art.

In my opinion, Danto is right not only for his own time, but also for the periods before. His concern was that objects or works could only be seen as art if a conscious distinction between art and non-art was available.

A second controversy between Dickie and Danto concerns the contributions of the latter to the much-needed revision of art theory. In both conceptions Dickie finds a space between artworks and something else.

For Danto it is the space between the artwork and what it represents that matters; for the institutional theory it is the space between art and not-art.

That Dickie has difficulties in recognizing this could be caused by the fact that Danto tries to integrate his contextual concept with his interest in intrinsic features of art.

Dickie, in addition, cannot free himself from the latter interest, if only because of his relationship to Beardsley.

Of course, he was reacting with this statement, as Danto and Dickie would do a couple of years later, to the inability of traditional efforts to define art on the basis of intrinsic properties, such as aspects of form, expression or mimesis; he rightly establishes that works can always be found which do not meet the criteria in these terms, but which are, nevertheless, considered artworks.

But from his first major publication onwards , Aesthetics: an Introduction , the latter also criticized Weitz for his conclusion that art had no essence and thus could not be defined, saying that this view could be true for the traditional aesthetic theories mentioned, but not necessarily for all art theories.

Dickie thought an institutional definition of art was definitely possible. The institutional theory is fully based on the classificatory meaning of the notion of artwork.

An example of this might be a finely formed piece of wood or stone which can be seen as art simply because the wonderful or surprising appearance of a bird can be recognised in it, thus making it as beautiful as art.

In his later work e. This third meaning suddenly opens up the possibility of being art to three types of works: forgeries, results of activities of animals, and natural objects.

In judging the fine piece of wood in the form of a bird to be an artwork, both the evaluative and the derivative meaning are active.

In order to speak of artworks in this classificatory sense, artifactuality is for Dickie a conditio sine qua non.

Activities of such a different type could not generate similar types of outcomes, and, from this point of view, it was not illogical, according to Dickey, that the entire philosophy of art had always been occupied with artifactual art Artifactuality, consequently, played a central part in the definitions Dickie presented from on.

Dickie repeated this definition and worked it out in Arts and the Aesthetics, an Institutional Analysis , his first main study on the institutional theory of art.

One of the problems his first definition raised was the fact that art history includes artworks that seem not to have been produced by the activity of artists.

In Dickie still held the opinion that in the act of exhibiting not only the status of candidate for appreciation, but also that of artifactuality, should be ascribed to the object.

Dickie asked the rhetorical question of whether art can be created independently of a framework. With this description Dickie is not far removed from Howard S.

Becker anymore; Becker made the role of conventions one of the core themes of his approach, as will be discussed in the next chapter. Now he thinks that a series of definitions, not only of the centre, but of all vital parts of the framework should serve to conclude his arguments.

To make it a bit more concrete: the theatre world is a framework for the presentation of a theatre production by theatre artists to an audience, the members of which possibly understand this production.

Dickie is aware of this and also knows that in modernist scholarly work this type of definition is not acceptable. In his publications he even devoted a certain amount of attention to these matters, mostly in the form of a dispute within the framework of his own theoretical attempts.

So there is more to art than the institutional theory talks about Consequently the essence of art can only be formulated within an institutional theory.

Whether this point of view can be considered a correct one will be the subject of research in the second part of the present study.

When Dickie wrote The Art Circle he had the feeling that his institutional theory was ready and he was right: it was finished and sufficient; the circle was round and the statement had been made.

As he says, his theory does not do very much to provide help with thinking about the functioning of art in society, nor does it strongly support the attempts to find out how art world systems make art, artists and artworks function in society; what this institutional theory mainly does is aim for the victory over definitions of art based on essential properties, values or functions.

For art sociologists who are trying to discover the functioning of art and art worlds, this understanding of the distinction between both ways of thinking opens up the possibility of investigating the possible relationships between them.

Both of these aspects have been extensively worked out by Howard S. Becker, as will be shown in the next chapter.

The latter will be briefly discussed in the next chapter in relation to Howard S. This piece of music consisted of the sounds heard during a period of four minutes and thirty-three seconds of not playing the instruments s.

This terminological question will be discussed in depth at the end of part one of this study. Becker and Paul Dimaggio 2.

Becker and published in , was a book-in-between. None of the participants in these discussions develops as organizationally complicated a conception of what an art world is as in this book, although my description is not incompatible with their arguments.

Four of these problems are discussed briefly, under the titles: Who? How Much? This also means that the status of artworks depends on an often unstable consensus among participants in an art world, which, by the way, is not at all in contradiction to the institutional approach.

Bourdieu, as we will see, is a bit more precise on this point, stating that activities influencing an existing field can be considered part of it.

Because he defines art worlds in terms of the activities their participants carry on collectively, Becker tends to discern many different art worlds, although he also sees two types of factors which concern all of them, so that from a certain point of view one can speak about one art world as well.

The founding fathers of symbolic interactionism at the University of Chicago, such as C. Cooley , G.

Mead and H. Blumer , developed the social psychology of the Chicago School in a direction that gave more space to human beings in their struggle with existing social structures.

The Dutch art sociologist Ton Bevers calls this approach the social-scientific perspective, which takes a position in the middle between two poles: the individual and society.

This challenge has also been taken up by Becker and Bourdieu, but in two essentially different ways, based on their points of view as well as their working methods.

More about this will become clear in this and the following chapter, but here it can already be said that both, in doing research on social relationships, stake out very different positions on the scale between the individual and the institution.

Whereas Becker, coming from an interactionist tradition, stresses that human beings make their own history, his European counterpart, coming from a structuralist tradition, bases his research especially on the given circumstances with which human beings are confronted.

Before these thematic elaborations take place, a conceptual chapter is devoted to the role of conventions. I have used the term [art world] Institutionalist Pragmatism of Becker and Dimaggio 2.

IX Although the activities to be done vary from one sub discipline to the other, Becker composes a provisional list of seven regular activities in making art.

The next stage is that the idea, be it a film script, a composition or a design for a monumental sculpture, has to be executed 2.

For many disciplines it is also true that execution of the idea needs materials and equipment, such as paints, cameras or musical instruments that have to be manufactured 3.

To develop ideas, to execute them and to distribute the results requires in most cases various supporting activities 5 , such as copy editing, sweeping the stage, bringing coffee and manipulating machinery.

Two other types of activities, finally, are not concerned with the making of artworks as such, but can still be seen as necessary for their existence.

Both have far-reaching theoretical backgrounds, which are not discussed here by Becker, but are simply taken for granted.

And a number of examples follow showing how poets copied their own manuscripts or even decided not to make them public at all Emily Dickinson.

Again, a number of examples of labour division and training activities on the basis of which labour division can occur are presented to convince the reader of the importance of this view: a lot of meat on very thin bones, so to speak.

So the answer simply appears to be: as little as is imaginable can be enough. The work of authors of scripts, composers, directors and conductors, as well as actors and set designers can be seen as artistic core activity.

Becker points out that people who like to give the artistic credit of a collectively made work to a core person see the intentions of this contributor as central to the work.

But there is only a sociological problem, because the philosophical question of who should be the artist in collectively made works can easily produce a pluralistic answer based on a thorough aesthetic analysis of the work.

It will become clear that seeing the making of art as a cooperative activity is based on what Becker calls cooperative links, which for their part are executed in shared practices based on a joint knowledge of conventions.

This is all the more interesting when specialized personnel, such as musicians, printers or technicians, participate in executing the work.

Becker makes especially clear how conventions relate artists to people involved in the domains of the distribution and reception of art: composers write music which requires more performers than existing organizations can pay for.

Playwrights write plays so long that audiences will not sit through them. Becker pays special attention to the role of conventions in the relations between artists and distributors, on the one hand, and between artists and audiences, on the other.

His point of departure is that the domain of distribution is there to generate income for the artists, so that they can make new work and so on and so forth: Fully developed art worlds Maybe the strength of this lies in the fact that the public-sale system can be considered the most general type of art distribution in the industrialized world.

But opportunities for artists to escape from overly strong constraints imposed by a distribution system seem to exist.

One possibility has been mentioned already: artists who are refused by an existing system can try to develop a new one, more adequate to their work.

If their work is already strong enough and already offers the existing distribution system an opportunity to make some money or to have hope for doing so at a future time, deviant work can even try to change the existing distribution system.

For, as has been noted before, works have to be experienced by others in order to be artworks, according to Becker, and artworks make the artist.

So self-support and patronage can be considered resource systems in the domain of production which break the chain of producing-presenting-selling-buying and materials-making for new work.

In the latter case there has to be something of an employment situation within which the artist delivers the type of works asked for. To challenge conventional distribution systems is not without significance, simply because distribution institutions, such as museums or concert and theatre halls, are the organizers of the encounters between art and audiences.

But, because of the conventionalized way of organizing the aesthetic encounter, it will always be of a certain type and for a public with a certain background.

If that is true, we can understand any work as the product of a choice between conventional ease and success and unconventional trouble and lack of recognition.

The last-mentioned possibility depends on the extent to which an audience is prepared to cooperate with the artist in responding to his work and in this way provide financial resources to continue making art.

Becker is more than clear about his opinion that conventions do change and the distribution of conventional knowledge with them.

One of the important aspects of a sociological analysis of a social world, he notes, is how participants draw the lines between what is characteristic for that world and what not.

This is definitely true, but whether it can be called a sociological analysis is questionable. Two other, more theoretical difficulties, both already mentioned, keep coming up throughout the text.

As has become clear, Becker cannot and will not defend this view against his own opinion that art becomes art only by challenging conventions, but this should lead to the idea that so-called artists who do not innovate on conventional ways of aesthetic perception should not be called artists anymore, at least not in art sociological studies.

Also, further to this point, an art philosophical choice should be made to find a solution.

In the first place, Becker is right when he states that no other study has opened up so many views on so many activities and links between them in the art world.

It definitely gives a very concrete picture of what is going on in that world, as well as a lot of material and a new understanding of what is worth studying further.

The most important contribution to the study of art worlds and the understanding of their functioning lies, however, in the amount of attention Becker devotes to the distribution system.

Although he does not define, categorize or study it very systematically, he does deal with it as the central domain in an art world where production and reception come together and where the functioning of art in society is organized for a large part.

This is a huge step forward in the direction this study should go. In a sense, sociology without institutional thinking is not really imaginable, but the main issue behind many conflicts between sociological schools concerns just this: the extent to which institutions dominate participant behaviour, or the other way round.

Becker, as we saw, barely discusses the concept of institutions and prefers to think along the lines of conventions, because they leave more room open for considering the participants themselves as being responsible for their types of interactivity.

How compellingly they govern social relationships, as well as how much space for change or deviance they leave, are points of discussion among institutionalists.

Why the New Institutionalists, who are especially active in the sociological study of organizations, are discussed here, is because some of them, especially DiMaggio, have applied their views to parts of the art world.

Besides the implicit criticism of symbolic interactionism institutionalists have, the empirical way in which they research concrete institutionalizing, as well as institutionalized processes in the art world, legitimizes the introduction of the New Institutionalists at the end of this chapter devoted to Howard Becker.

DiMaggio and Powell try to trace this relationship in their introductory chapter in The New Institutionalism in Organizational Analysis , highlighting the work of Philip Selznick , and Talcott Parsons Both institutionalisms share a scepticism towards rational-actor models of organization, and each views institutionalization as a state-dependent process Both emphasize the relationship between organizations and their environments Each approach stresses the role of culture in shaping organizational reality.

They not only refer to the relationship between individual and institutional influence on societal processes, but also to the question of how institutions enable changes to occur.

Usually institutions are thought of as constraining change as well as innovative action within organizations, especially because they reduce uncertainty.

Finally, new institutionalism as a theoretical approach has to compete with network theories. So networks are seen as sets of relationships directly connected to exchange or transactional activities, whereas institutions function in relation to these networks as sets of guiding and controlling principles, norms and patterns of acting, operating around the network, as well as inside it and internalized by actors in the network.

For that reason they consider the theatre rather than the creative artist as their unit of analysis, relying on Becker and Bourdieu, among others.

A less important but striking methodological aspect is the concept of artistic innovation in theatre. It is questionable whether this very restricted idea of artistic innovation in US resident theatres in the early s has had any influence on research outcomes because, from that period onwards, theatre people all over the world have experimented with brand-new ways of performing well-known plays and regular theatre-goers would have been exposed to important aspects of artistic innovation as well.

Based on DiMaggio , the authors determined four parts to this process, presented here extensively in order to be able to compare them with the conditions Bourdieu formulates for the development of what he sees as a field: 1.

An increase in the extent of interaction among organizations 2. The emergence of interorganizational structures of domination and patterns of coalition 3.

Institutional isomorphism has three forms: coercive, mimetic and normative isomorphism. The first form results from formal and informal pressures by other organizations in the field and by cultural expectations in society.

Mimetic isomorphism means that organizations model themselves by imitating other successful organizations with a similar position in the field.

Uncertainty and ambiguous goals stimulate mimetic processes, according to DiMaggio and Powell. DiMaggio and Powell determine two aspects of professionalization that cause isomorphism: a cognitive base produced by university specialists and professional networks that span organizations and across which new models diffuse rapidly.

In this article the role of professionals appears to be central in the structuration of the field concerned.

By , the dominant form of art museums in the US reflected the interests of urban elites who governed these museums. Conservation and sacralization of the collection were central tasks.

DiMaggio determines several factors that have influenced the decisive role of professionalization in the struggle between both movements.

Between and , the number of art museums increased from 60 to about In addition the museums themselves grew rapidly, as well as, necessarily, their staff.

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